So here we go 2024 and The Dictators are back in the ring swinging but let’s first address the elephant in the room. This is Andy Shernoff led Dictators no Handsome Dick Manitoba. So regardless of the why and whereforths or who did what where when and why I’m gonna review this with an open mind like the Dictators are brand new band and the baggage is left outside the studio door.
‘Get The Band Back Together’ is a sprightly opener on this ten-track proto-punk record and a jolly decent introduction it is too. Welcome to 2024 The Dictators are in da Mofo Funkin house. To be fair the tempo is fist-pumping heart-racing stuff and the energetic gang vocals on ‘My Imaginary Friend’ is most welcome and the production is massive and really helps create a really good energy. Sure they’re not here to reinvent the wheel but more designed to show the listener that these guys still have the chops to deliver good old school hard rockin punk n roll with the best of em and to be fair they deliver throughout. Its clear the MO was to rock out, do it to the best of your ability and leave nothing behind and as far as that goes it’s job done. I really enjoyed ‘All About You’ and this one showcases a really strong lead vocal on a song that is as good as anything the band has in the catalogue. Stick to what you know is always a safe and authentic move and songs like ‘God Damn New York’ hammer this home. It’s got a beating Big Apple heart and the chorus is something you’ll be punching the air to and that is always welcome be it the 70 or the 2000’s its great to hear. I guess this album does exactly what you wanted it to, if you’re a fan from the old days or you’re a more recent disciple looking for a fix from a band who knows who and what they are and just delivers.
The world is always a better place with bands like this making albums and writing new material as good as this and to close the album off there’s a tribute to one of Noo Yawks finest – ‘Sweet Joey’ is a tribute to the one and only Joey Ramone and a really good tribute it is too with heart-felt lyrics and some great riffage from Ross The Boss. Don’t worry about the politics of the band just play the record and appreciate how damn good it is, it’s only Rock n Roll baby and I like it.
PROPHETS OF ADDICTION TO RELEASE NEW ALBUM, ‘FACE THE MUSIC,,’ – THROUGH BRAVEWORDS RECORDS
At some point in your life you just have to take account for your actions and face the music. PROPHETS OF ADDICTION mainman Lesli Sanders has taken that to heart. PROPHETS OF ADDICTION’s fourth album, Face the Music is set for a release on 25 October via BraveWords Records. The first single, Superhero, from the upcoming album will be released 27 September.
Kicking things off with the downright dirty “Flavor of the Danger,” the listener is immediately clued in to what they’re getting with Face the Music, an album loaded with catchy late 70s inspired glam punk n roll riffs, powerful and emotionally resonant vocals and a clever lyrical output. “Let’s Get High” sees the band slide slightly into a melodic goth route ala Sisters of Mercy. The song isn’t a drug reference, but a “recollection of the excitement that a new record would bring as a teenager and after the long wait finally able to hear it for the first time,” says Sanders. The band’s take on the Rod Stewart classic “Maggie May” is nothing short of punk magnificence, The band had the opportunity to play the track for drum legend Carmine Appice, who played with Stewart from 1976 – 1982. Appice was so impressed that he asked, “would you mind if I send this to Rod?” The album’s lead single “Superhero” comes complete with a hook that won’t leave your head for days. “Superhero is a song I have been sitting on for a few years and wasn’t going to record until the right musicians were put in place, realizing the potential. I finally found that group of musicians,” the frontman states.
Face the Music, PROPHETS OF ADDICTION’s debut for Bravewords Records was recorded between 2022 and 2023 in Seattle, WA and Las Vegas, NV and produced, mixed and mastered by Phil Soussan (bass player for Ozzy Osbourne, Billy idol and more). Drummer Wayne Stokely says of the album, “We wanted to make a classic 70’s style rock n’ roll album without losing our raw and punky vibe, but with a modern 2024 production. There’s not a lot of records out there like this one, so I think we achieved our goal. The songs speak for themselves,” while Sanders adds “this is the record I have been wanting to record for years. The feel is right, the musicianship is right, the songs are right and now the time is right for you all to give us your thoughts.”
Of the band’s signing with hotshot upstart label Bravewords, Sanders declares “We were looking for the right label and the search was extensive, the most important aspect to me was getting it out there for people to hear – otherwise, what’s the point, right?” while Stokely adds, “I’ve known Tim and Giles for years now. Plus, I’m already signed to the label with another act so it seemed like a natural fit.”
‘The Soul Of The Fabulous Courettes’ out September 27th via Damaged Goods Records
A rock’n’roll sensation from the word go, Danish-Brazilian The Courettes are back with their fourth and best album to date – ‘The Soul Of The Fabulous Courettes’. And this time, they’re bigger, wider and deeper than ever before as they add more to the blistering ramalama that’s seen them cause pandemonium across the venues, festivals and airwaves of the UK, Europe, USA and Japan. Hitting the sweet spot that straddles garage rock, girl groups, doo-wop harmonies, heartache and all points in between, here The Courettes build on the momentum of predecessor ‘Back In Mono’ with a collection of songs that opens up their sonic scope while confronting dark, emotional matter to reveal ‘The Soul Of The Fabulous Courettes’.
“We didn’t want to do ‘Back In Mono 2’,” stresses drummer Martin Couri.
“We always try to put ourselves into a zone of discomfort, which I think is where exciting things happen rather than just doing the same thing over again,” agrees singer, guitarist and multi-instrumentalist Flavia Couri. “I mean, I know some bands can do that but we don’t see ourselves making the same album for the next 20 years. We thought ‘Back In Mono’ was our best album until this one!”
She’s not wrong. Having evolved with each album release, ‘The Soul Of The Fabulous Courettes’ draws inspiration from many of the duo’s numerous idols that have only previously been hinted at.
“We wanted to show our love of the Spector Wall Of Sound and Motown,” reveals Flavia. “It was a clear mission and we’ve absolutely nailed it.”
From the glorious opening beats and stabbing fuzz honks of ‘You Woo Me’ to the closing emotional tugs of ‘For Your Love’ via ‘Shake!’’s fuzzed-up urgency and ‘California’’s celebratory warmth, The Courettes have broadened their sound with an increased musical instrumentation and overall sophistication that’s evident in both their sound and songwriting. And crucially, they’ve achieved this without sacrificing any of the rock’n’roll grit that’s been scraped from Flavia’s guitar strings and Martin’s battered and pummeled drums. And aiding them in their quest for sonic perfection are a few guest musicians and back room wizards playing some very specific roles.
“We had La La Brooks of The Crystals singing on ‘California’ and ‘Run Run Runaway’, which for us was totally a dream come true!” enthuses Flavia. “I mean, the voice of ‘Da Doo Ron Ron’, which is for us is one of the best produced songs in the entire universe and this is something that we’re really proud of.”
Further magic was applied by direct connections to the source of all that The Courettes hold dear.
“We asked Darian Sahanaja, who worked on the production of Brian Wilson’s ‘Smile’, to mix the vocals on ‘California’ and ‘Run Run Runaway’, which he did in a Beach Boys style and we really dig it. And we also worked with Richard Gottehrer, who for us is like a songwriter god! He worked at the Brill Building and co-wrote ‘I Want Candy’. A mutual friend played him ‘Keep Dancing’ and he left a message on my phone saying, ‘I love your track and I really dig the lyrics’ and he mixed ‘Keep Dancing’ and ‘Boom Boom Boom´.”
“We also had Peter Kehl and Kasper Wagner from Danish band Black Tornado playing horns on ’Shake!’, ‘Better Without You’ and ‘Stop! Doing That’,” says Martin. “We had a session with them where they played trumpets and a lot of overdubs with tenor and baritone saxophones. That was really cool.”
And joining The Courettes at their own StarrSound Studios in Denmark once again is multi-instrumentalist Søren Christensen who contributes Mellotron, organ, piano and backing vocals while producing the album together with C.T. Levine.
While the music has opened up to include acoustic and 12-string guitars, bass, E-bows, castanets and timpani, so have the kind of emotions that might not ordinarily be associated with The Courettes.
“Because I’m the one most responsible for the lyrics, I actually allowed myself to open up to some personal things,” admits Flavia. “And so that means that our souls are in the album both musically and also lyrically.”
She continues: “We lost both of our fathers. My father died of COVID. But my relationship with my father was non-existent. He abandoned me and my sister. It was a very difficult relationship and it’s not so easy for me to talk about it. ‘I Don’t Want You Back’ and ‘Keep Dancing’ are about his death and how he still has a power over me and bringing me down and what it’s like to break free from that. You know, some parents are cruel.”
“It’s a special subject to sing about and to make pop music out of,” says Martin. “It’s actually celebrating moving on and I think that’s really fantastic. ‘Keep Dancing’ is absolutely smashing.”
“’The Soul Of The Fabulous Courettes’ blends two things,” explains Flavia. “First, of course, are the nods to the soul music and especially Motown, which is pop music the way we like it. But I think for the first time, lyrically, we actually open up to some deeper topics. It’s not disguised as teenage heartache songs anymore.”
Reflecting ‘The Soul Of The Fabulous Courettes’, the album’s monochrome album cover was shot by celebrated photographer Søren Solkær, who’s previously immortalised Amy Winehouse, The White Stripes and Paul McCartney among many others.
“It’s such a cool contrast to the pop songs,” says Martin of the cover art, “but it’s also hand-in-hand with the album’s dark themes. He really goes into your soul. I think it’s amazing.”
For all that, ‘The Soul Of The Fabulous Courettes’ is an album aimed as much for what’s below the neck as above it, for this is an album that dances through the darkness to celebrate the joy that is living.
“Life is so fragile,” smiles Flavia. “But what are you supposed to do? I’d rather dance.”
2024 has certainly been full of surprises so far. What with One The Juggler releasing a fabulous new album in ‘Memoir Days’, now it’s the turn of their bassist, Jerry T Jones, to spoil us with twelve new songs. And it’s no surprise that they are of equal quality, given that he wrote ‘Talking To Ourselves’ and ‘Andy’s Bar’ on ‘Memoir Days’.
The opening song, ‘Only Time Will Tell’ crafts a beautiful tune that tries to remain optimistic in the face of climate disaster. While reminiscing about Bowie’s ‘Five Years’, the sound is more in line with The Kinks, perhaps not surprising given Jerry’s Kinks tribute band, The Konks. But, this is far from being a rip off; his canny use of influences is tempered by his own talent as a songwriter.
‘Demons Fly Away’ has echoes of classic Mott, and Colin Minchin’s solo has touches of Ronno, which is no mean feat. ’20 Years’ describes how songs can touch us and form part of our lives, with a keyboard sound that evokes John Grant. ‘Diamonds In The Rain’ namechecks Major Tom, and again there is a Ronno moment, this time on acoustic guitar, fleeting but classy.
‘Mood Swing/Time Bomb’ is in quirky, Cockney Rebel territory, while ‘Back From Tomorrow’ with its slick pop stylings and barbed lyrics reminds me of The Dowling Poole. ‘Communal Sun’ starts off like Al Stewart’s ‘Year Of The Cat’, but with a more melancholy storyline. ‘She’s On A Trip’ is a slice of mature, summer pop, so dig out your espadrilles and enjoy. ‘Toy Town’ is a reworking of the One The Juggler song, with added sax, and ‘Sleep Over’ is a nicely woozy slice of gentle psychedelia, from sleep to new beginnings.
‘Second Skin’ almost sounds like it was written for Bowie, the vocal phrasing is such that you can imagine Dame David singing it. It’s a lovely tune. And, suddenly, ‘Just One More Song (Until We Meet Again)’ brings our journey to an end. Much more than the sum of it’s influences, ‘Back From Tomorrow’ is the culmination of a life devoted to music and songwriting that deserves your attention.
Millie Manders & The Shut Up have been around for a while in one guise or another and my first encounter of her was when she jumped on stage with The Barstool Preachers to sing a duet with Tom as a stand-in for Amiee Interupter and I admired the young ladies powerful performance and equally powerful vocal. Well as the months and years unfold Millie Manders & The Shut Up are on album number two and have truly found their niche and position that they are comfortable in. They deliver a life-affirming alternative mash-up of Ska, punk, rock and a pop sensibility that bands often miss when pressing their message by trying to be something their not but no sir Millie Manders do things on their own terms and do it very fucking well.
From the opening salvo of ‘Angry Side’ the horns toot and the feet can’t stand still. That momentum continues with ‘Shut Your Mouth’ as the weeks and fills tick away over a funky bass line whilst Millie does her thing with ao confidence through a strong melody. The song meanders and twists n contours to its conclusion and already I’m sold. This promises to be a real contender come the end of the year with strong song after strong song. ‘Me Too’ opens with a crisp riff before it bubbles under the vocals and lyrics before breaking out on the chorus. Stirring stuff. The band cuts lose those punk n ska chains on ‘Fun Sponge’ Millie Manders & The Shut Up on the surface are having it large but there is a serious side but they deliver it without coming across as sanctimonious or preachy, these are subjects they hold close to their identity and I guess so will the listener or anyone with a moral fibre running through their soul. Me Too” tackles sexism and body autonomy, while “Threadbare” tackles poverty. “Can I Get Off?” has a conversation on the dividing topics of the minute such as the war in Palestine and the rise of the far-right, MM&TSU confront these difficult subjects and I admire them for that.
‘R.I.P.’ is an excellent vocal from Millie. The other thing I take from this album is that it is not all smash, crash and burn or fist-pounding there are as many quieter moments where the band’s musicianship comes into play such as ‘Halloween’ The run-in is as strong as the opening introduction and a triumph it is closing with the punchy ‘Pressure’.
Pressure?, What pressure Millie Manders & The Shutup have delivered a proper album that ebbs and flows and is bursting with tunes of substance and humility. Buy It – you won’t regret it.
Two years after the classic ‘Ride The Wild Night’, John Reis is back with nine, spanking new tunes. The man we used to call Speedo in the mighty RFTC changes his moniker with every release, but the quality of the songs never drops. His pedigree is beyond question, and lead single ‘Ketchup, Mustard And Relish’ is an instant ear worm which would be right at home next to ‘When In Rome’.
Album opener ‘How Are You Peeling?’ owes more to early RFTC, with its off-kilter rhythm, and it has that magic that draws you in. ‘Harbor Freight’ is a straight ahead rocker that you will want to play on repeat, while ‘Teen Hate’ is like the very best Ramones songs, with a bittersweet edge and a Fab Four ending. ‘Privacy’ rattles along before ‘Lost In Bermondsey’ claims its place as one of John’s best tunes.
‘Shock And Awe’ is a groover that Jim Jones would surely approve of, that begs to be played live. Righteous stuff, indeed. ‘Don’t Wait’ is a lesson in how to craft a canny pop song, complete with “woah, woah” refrain, and ‘Beware The Halo’ brings the album to an end in style, if all too soon.
Short and sweet, with no filler. The only downside being that, with no CD available, it’s an expensive purchase from the USA, what with postage fees being increasingly hefty now. That said, this is a fitting follow up to ‘Ride The Wild Night’ that you can listen to online now before deciding whether to increase your vinyl collection.
Another band that are new to me, Love Fiend’s previous singles compilation is good, but this new, studio album takes things up a couple of notches. Hailing from California, ‘Just For Eddie’ reminds me of the late, great Roy Loney, which is a fine way to start. ‘Hard Feelings’, with keyboards upfront, is reminiscent of both Devo and The Cars, which is the overall sound across ten songs, but with much more as well.
‘Secret Cabals’ is the kind of song that Gary Numan used to excel at, addictive, pumping synths. You’ll be breaking out your Numanoid moves in no time. ‘Jimmy (Is An Agent)’ is equally catchy, more upbeat, while ‘Got Bad’ breaks out the sax and a riff that gives a nod to Slade. Which is a great idea, as it goes. Every song here works, they’ve obviously spent some time honing their sound, and it’s paying off. It sounds fresh, yet classic, like a lost album from your big brother’s record collection.
It has pretty much every great hook from the best American pop rock of the late 70s/early 80s, all the above plus Cheap Trick and The Knack. You can hear all this in ‘Neu Testament’, and yet they pull off synth pop with ‘One Forever’ that would please Soft Cell. It shouldn’t work, but it does.
‘C.K.I.L’ throws in a Ramones riff, and ‘Tied Up’ is just the right side of ripping off ‘Footloose’. These all sound like singles, which is a rarity these days. ‘Vacant Love’ evokes the melodies of The Paul Collins Beat. If, like me, you’re a fan of these influences, head straight over to Bandcamp and treat yourself to, potentially, one of the best albums of the year.
The band Dangereens came to my attention back in 2021 with their mighty fine debut long player ‘Tough Luck’. “Hanoi Rocks meets The Georgia Satellites jamming in a smoky bar with The Rolling Stones” is how I described the debut long player from this Montreal based 5 piece. And I’m happy to report that with the surprise release of their sophomore album ‘Chic’, not much has changed in the Dangereens camp.
With the cool swagger of the Stones, the trashiness of The Dolls and the countrified twang of Tom Petty, Hugo Chartrand and his band return with a 13-track sophomore album that warms to the soul from the first digital drop of the needle.
It all kicks off with ‘Fly By Nighter’, a 70’s glam rock stomp of an opener, with sleazy Faster Pussycat style low slung riffs, sneering vocalisin’ courtesy of main man Hugo Chartrand, and there’s even some cowbell thrown in for good measure.
The country twang of ‘Death On Two Wheels’ is a welcome addition and builds nicely, Tom Petty meets The Stones for the win. Three tracks in and ‘Kingdom Of White Lies’ shows singer and main songwriter Hugo’s knack for a catchy tune. A 50’s rock n’ roll feel to this with boogie-woogie piano stabs.
I mean, I’m pretty much sold already, The Dangereens didn’t have much to prove in my eyes (or ears) and they are holding up to the word ‘sophomore’ so far. The band take a deep breath and take things down with ‘Walk On Water, a laid-back tune that evokes ‘Black and Blue’ era Stones, as twin guitars fight for low down licks over a lazy but tight-ass rhythm section. In a similar vein, ‘Any Day Now’ sounds like it coulda come from the Ju Ju Hounds album sessions, did they give Izzy or Rick Richard’s a call for this one, I wonder?
The band records in analogue with minimal takes and there’s a lot to be said for that approach to recording a rock n’ roll record. ‘Chic’ just sounds like a classic 70’s record before you’ve even hit side 2.
Talking of side 2, we’ll let the music do the talking, but a special mention goes out to the fantastic ‘Chlorine’ in all its boogie-woogie, glam glory and what a killer bass line! They don’t make ’em like anymore. That my friends is a strong tune with an overly catchy chorus.
Elsewhere, with handclaps, twin guitars and a definite glam stomp, ‘Friday Night’ outdoes Tuk Smith in the T Rex meets Thin Lizzy meets Bryan Adams groover stakes. The title ‘Hallelujah’ suggests a rousing chorus to sing from the rooftops and Hugo and the boys deliver in spades.
13 tracks in 40 minutes leaves enough space on one side of a C90 to squeeze on a couple of tracks from their debut EP for good measure if anyone still does that sorta thing.
Good times don’t go out of style and Dangereens have plenty to go around. I’ll give you one piece of advice, if you have even a smattering of interest in this band, head over to Alien Snatch Records Bandcamp page and order this bad boy on old school vinyl before it sells out, tell them RPM sent ya and we demand a UK Tour quick sharpish. ‘Chic’ could be my favourite album of the year and is certainly essential listening.
Bowie’s debut album gets a vibrant revival on Deram with a reissue on both CD and coloured vinyl, boasting exclusive tracklists and keeping with the reissued Bowie records as of late this comes with a wonderful tri gatefold CD and equally nice gatefold LP. This version is Presented with the single B-sides for the very first time on vinyl, including a rare version of ‘Space Oddity’.
Originally released on 1st June 1966 Bowie was an artist bursting with ideas that would later prove to be the work of something of a genius, very much the epicentre of uber cool and Swinging London. sure Critics of the time commented; with the NME praising Bowie’s fresh sound as “all very refreshing” and hailing him as “a very promising talent.” Melody Maker lauds the album as “a singularly rewarding collection” with “excellent” production while expressing surprise that Bowie hadn’t yet made a bigger impact on the pop scene. Meanwhile, Disc & Music Echo raves about the album, describing it as “a remarkable, creative debut album by a 19-year-old Londoner” and declaring Bowie as “a new talent that deserves attention.”
This re-issue features the original stereo album, produced by Mike Vernon, with a further fourteen tracks, including the first fruits of Bowie’s long relationship with producer Tony Visconti; ‘Let Me Sleep Beside You’, ‘Karma Man’ ‘In The Heat Of The Morning’ and ‘London Bye Ta-Ta’, the last making its vinyl debut in this collection.
Looking back on his debut album many years later with characteristic self-deprecation, Bowie mused: “Lyrically I guess it was striving to be something – the short story teller. Musically it’s quite bizarre. I don’t know where I was at. It seemed to have its roots all over the place, in rock and vaudeville and music hall and I don’t know what. I didn’t know if I was Max Miller or Elvis Presley.”
These early recordings reveal an earnest young artist at the dawn of his career, working hard on material in which he passionately believed. David Bowie poured his young heart into this music – and it shows. Looking back it often sounds foppish like the opening track and Bowies own comments about Max Miller or Elvis showed the sound wasn’t lost on him either and he never lost sight of who he was and never took himself too seriously (ok Glass Spider apart) It’s great to have this album in pristine condition and its integral part in Bowies story that an essential part of how he evolved and where he came from. My collection is now complete and so should yours. This might not be as accomplished as his recent record store day release but the Bowie archive has to be almost drained. Buy it if only for ‘Space Oddity’ that closes off this window in time. Awesome.
Episode 35 sees banger after banger from all corners of the Rock n ROll world ripping out of the speakers – so turn it up peeps and get down to the likes of openers Thr Drips who kick things off with the opening track of their album ‘Broken’.
After playing the A side last week it seems only fair to play the catchy ‘You Got Me Hummin’ from the wonderful Head Hunters. you need to get over to Bandcamp and pick this up before they’re all gone.
Quickly followed by a track off Californian punks Bloodstains who are singing about ‘Public Hangings’. This four-piece include Brothers David and Nick Espinoza. you should check em out.
Coming thick and fast we bring you a song off the brand new His Lordship live album ‘Live At The Lexington’ and it’s the opening track ‘I Live In The City’ turn it up and play it loud and look forward to their next jaunt around the country but until then this will do very nicely thank you very much. They very much take a traditional approach to Loud 50 and 60s rock n roll and turn it up and kick out the jams I’m sure JErry Lee and Little Richard would be down with these cats.
One of the best exports over the last 30 years from the UK has to be the mighty Dogs D’Amour and this new box set that’s on the horizon from Cherry Red Records that pulls together the bands entire China catalogue including B-sides and live tracks its eight discs of ragged Rock n Roll. I love this version of ‘I Don’t Want You To Go’ the band were peerless and have a catalogue of albums and singles that were a head and shoulders from Tylas unmistakable husky poetic lyrics and vocals to Jo Dogs distinct style and licks that elevated each and every track perfectly and when Jo left Darrell did a sterling job right through to Steves punchy Bass lines and excellent backing vocals to Bams flamboyant style that pulled it all together. It’s a magnificent song from a magnificent band that should have been absolutely huge.
Next on the playlist is a project from Chain Whip frontman Pack Rat who release the album on Drunken Sailor Records in a couple of weeks this is another fantastic slice of Power Poppin Punk rock. ‘Sleepless’ is the song played and I’m excited to hear the rest of the album. The artwork is magnificent and at Drunken Sailor Prices you’d be mad to pass this by.
Following that new song is a classic live cut from the Bob Mould compendium of solo or post Husker Du work that came out over several awesome box sets and this is a live cut from Distortion Live ‘New Day Rising’.
UK Subs have a new EP out with Dead Boys the EP is called ‘Carnaby Street’ and the track played is a cover of the Stones classic ‘Paint It Black’. Another new album on the way in August and some UK tour action is none other than Swami John Reis and his latest project Swami & The Bed Of Nails so its a no brainer we were going to play one of the new songs entitled ‘Privacy’.
Its no coincidence that Chain Whip feature this week as well seeing as Pack Rat is on the way and Chain Whip just put out their new album and to be fair Patrick McEachnie is on fire as ‘Call Of The Knife’ smashes out of your speakers. I delved back a decade next and played a track from the eclectic Brandy Row & The Troubadours who play the fantastic Thunders esk ‘Dirty Street’ Not enough music came from the former Gaggers guitar slinger but we live in hope.
Sonny Vincent has been around the block and back again with a wonderful catalogue from his Testors days through his solo releases and the collaboration called The Limit released also on Svart Records. The track is lifted from his last studio album ‘Snake Pit Therapy‘ and this is ‘Messed Up In Blue’. It seems right to play a track from someone who came out of the same scene as Sonny – none other than the legend Stiv Bator with ‘Circumstantial Evidence’ taken from his LA sessions.
As we head into the home straight how about some classic London power pop punk rock from Los Pepes who never ever let you down with their bright and breezy take of melodic buzzsaw punk rock. They’ve released an impressive catalogue and here’s ‘Still Belong To Me’.
As we head into the past three songs its our first band from Austria in the shape of Tours with their new single ‘Language School’ injecting yet more power pop goodness into proceedings.
Smokers is another new band with a new track called ‘Irish Tenor’ These Oakland punks released their debut LP, The Rat That Gnawed the Ropeand is a really excellent album that we’ll review over the next week. Finally, we reach the end with a cut from the brand new Torme box set released by Cherry Red Records it features predominantly the Phil Lewis era of his work with Back To Babylon and Die Pretty and the live Bootleg album which we’ve got the track ‘Star’ to play out Episode 35 and I hope another show where we’ve brought you a whole bunch of top tunes. Let us know what else we should be playing or what you want to hear. Like – Share and Follow
Recent Comments