The Darkness – ‘Dreams On Toast’ (Cooking Vinyl Records)

The Darkness – ‘Dreams On Toast’ (Cooking Vinyl Records)

I must admit to having a bit of a love/hate relationship with The Darkness. Seen as the metal band it’s ok to like by the Radio 1 listeners 20 years ago, but ostracised by the rock community for being the band it’s uncool to like. 

As with many bands of their ilk, The Darkness have done the sex, drugs and rock n’ roll to the max, and are still here to tell the tale. 20 years down the road, they remain top songwriters, a fully entertaining live band and they’ve gone a long way to prove they are more than just a novelty act. 

The power pop induced goodness of recent singles ‘The Longest Kiss’ and ‘I Hate Myself’ prove Justin Hawkins is doing something right and certainly piqued my interest in the run up to the release of their 8th album  ‘Dreams On Toast’. The former sounds like Jellyfish jamming with ELO, the latter a 70’s styled glam stomper, they are both excellent earworms up there with the best singles released so far this year.

But what about the rest of the album, pray tell? Well, Justin Hawkins is a man who is always ready to embrace the theatrical side of rock n’ roll; he gets the humour and the utterly ridiculous nature of the more flamboyant avenues of rock’s past. It wouldn’t be The Darkness any other way, right kids? I mean, who would open their album with a dumb-ass pastiche to 80’s metal, filled with cliched lyrics and second-hand Ratt riffs? ‘Rock And Roll Party Cowboy’ is exactly that. A bit of a weird album opener if you ask me, but it is a grower. 

But The Darkness ain’t a one-trick pony. The band are mixing it up, and the surprising strengths of ‘Dreams On Toast’ lie in its diversity.

Yes, there’s the generic balls to the wall rock of ‘Mortal Dread’ and ‘Walking On Fire’, both punchy as fuck and full of heavy, AC/DC riffage. Yet, at the other end of the spectrum we have a countrified ode to male bottom burps whilst shagging, cunningly titled ‘Hot On My Tail’, and the folk inspired ‘Cold Hearted Woman’. Both emit feelings of sentiment, but Justin’s clever tongue-in-cheek lyricism remind you not to get too sentimental.

Elsewhere, the piano-led ‘Don’t Need Sunshine’ closes side 1 and channels those classic Queen meets ELO vibes with a soulful melody and sweet, multilayered vocals. It’s 70s rock balladry at its finest. 

Side 2 sees another curveball in the shape of ‘The Battle For Gadget Land’. Here, the band deliver indie style stabbing guitars and urgent beats before a breakdown with a camp, spoken word section that takes us into Tim Curry/Danny Elfman territory. 

Things get even weirder on closer ‘Weekend In Rome’, a song that aims to conjure cinematic soundscapes but falls short of the mark.

If you dig falsetto vocals, twin guitar harmonies, tongue in cheek lyricism and general bad-assery, go buy a Steel Panther album! Failing that, give the new Darkness long player a go, it has all that and more. A diverse album that is all over the place, but it sort of works. At just over 30 minutes long, it never outstays its welcome and begs to be played again and again. 

Is it the best album of the year? No. Is it the funniest album of the year? Possibly. Is it the funniest and best Darkness album for years? Definitely. 

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Author: Ben Hughes

Ricky Warwick – ‘Blood Ties’ (Earache Records)

Ricky Warwick – ‘Blood Ties’ (Earache Records)

Not content with resurrecting his old band The Almighty and continuing to fly the Thin Lizzy flag with Black Star Riders in recent years, singer/songwriter Ricky Warwick returns with a brand-new solo album entitled ‘Blood Ties’, the follow up to 2021’s ‘When Life Was Hard and Fast’

Produced by friend, collaborator and former Buckcherry guitar slinger Keith Nelson, ‘Blood Ties’ is a personal and life affirming album that sees the Northern Irish troubadour amp up the guitars and deliver the goods, with the help of a few famous friends along the way.

‘Angels Of Desolation’ is a strong album opener for sure and sets the scene for this 10 track affair of the rock n’ roll heart (11 including the CD only bonus cut ‘Not My Circus’). Upbeat and euphoric in equal measures, it’s up there commercially with his best work. A punchy rocker of a tune with a killer chorus. The crisp production job highlight’s the crunching guitars and the powerhouse drums to the max. It’s a life affirming ride down a path of self-destruction and out the other side intact. “So, you think I’ve had enough?” Ricky begs the question as the instruments fade.

Next up, ‘Rise & Grind’ is a more poignant look at the homeless situation in L.A. and features the ripping, wah-wah infused guitar work of Blackberry Smoke main man Charlie Starr, sounding like he’s having the time of his life here, free from the constraints of his Southern Rock day job.

Enlisting Lita Ford to duet on ‘Don’t Leave Me In The Dark’ is a bit of a dream come true for Runaways fan boy Ricky. The jangly, 60’s guitar intro leads into a smouldering vocal before Lita’s unmistakable velvety tones take over. The male/female juxtaposition works like a dream on the killer hook, and with its instant commercial feel and poppy vibe, it’s no surprise it was chosen as the lead single.

The Thin Lizzy influence raises their head on ‘The Crickets Stayed In Clover’. Bittersweet, yet as catchy as the common cold, it’s a trademark Ricky Warwick style single and an instantly satisfying song that remains an album highlight after multiple plays.

Side one ends strong with ‘Don’t Sell Your Soul To Fall In Love’, a slow burner that builds to a chorus with the angst, the blood, fire and love of a classic Almighty tune.

So, turning the virtual needle and we are met with a more, dare I say, ‘contemporary modern rock’ feel with the likes of ‘Dead & Gone’ and ‘The Town That Didn’t Stare’. And while it doesn’t really hit the euphoric heights of side one, it certainly has its moments. The Cult legend Billy Duffy leads the way with his unmistakable guitar licks on ‘The Hell Of Me And You’. Here, Ricky delivers an effortlessly cool vocal while Mr. Duffy solos like its 1989! Top stuff indeed. Elsewhere, ‘Crocodile Tears’ has a killer chorus, with some sublime backing vocals that seal the deal. The kingpin of side two for sure, is it me or is there Bryan Adams vibes going on here? And bonus closing track ‘Not My Circus’ continues to embrace the ghost of Thin Lizzy to the max, a worthy addition to the album.

‘Blood Ties’ is a surprisingly upbeat and strong album from one of the UK’s original rock survivors. Whether you know him from Black Star Riders, The Almighty or from touring with his heroes Stiff Little Fingers, there is plenty to enjoy here. With not an acoustic guitar in sight, ‘Blood Ties’ is a full-blown rock album that sees the songwriter dig deep and bare his soul more than he ever has before. An outstanding record that is up there with the best of ‘em so far this year, get it while it’s hot.  

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Author: Ben Hughes

Black Spiders – ‘Cvrses’ (Dark Riders)

Black Spiders – ‘Cvrses’ (Dark Riders)

Those true Sons of the North, The Black Spiders continue their assault on the rock n’ roll world with their 5th opus ‘Cvrses’, the 3rd album they have released since reforming back in the Covid years. It follows hotly on the heels of the 2023 release ‘Can’t Die, Won’t Die’. And if you thought the first single ‘Out Of Order’ was a bit of a banger, then prepare yourself, as that song doesn’t even make the cut on this album. That’s how confident singer Pete Spiby and his band are of these new tunes.

Recorded in the not-so-glamorous rock n’ roll metropolis otherwise known as Doncaster, the five piece Sheffield band consisting of Pete Spiby (guitar & vocals), Adam Irwin (bass), Nate Digby & James Evans (guitars) and Wyatt Wendels on drums have crafted yet another baker’s dozen (there’s a hidden track on here apparently called ‘Lil Death’, but I cant find the fucker anywhere!) of high octane bangers laced with humungous riffs and more hooks than Adrian Smith’s tackle box.

‘Never Enough’ kicks it all off in raucous style with the sort of garage rock, punked-up energy The Hellacopters were shoving in our faces 20 years ago. The shouty, gang vocals seal the deal. Next up ‘Cool Reaper’ goes back another decade or two and mixes up 80’s sleaze metal with a punky attitude to create high octane rock n’ roll. Amps are set to 11 and guitars set to punch you in the gut. Are you paying attention yet? ‘Sorry Not Sorry’ recalls those highly underrated Aussie rockers The Screaming Jets, with its glorious, overly familiar riff, effortlessly cool vocal hook and a guitar solo to melt faces at forty paces.

3 songs in and seriously, I forgot how good Black Spiders are. Fat riffs, tongue-in-cheek lyricism and stadium-sized choruses are the order of the day. The Black Spiders are back, they mean business, and business is good. I mean, songs like ‘Tom Petty’s Lips’ and ‘Up All Night’ are up there with the best you’re gonna hear this year. Five hairy dudes from Sheffield have no right to have such killer tunes in their possession, but here we are. I’ll wager you’ll be singing those refrains long into the night after just one listen like I was.

Elsewhere, Grunge-inspired desert rock riffage is certainly prevalent. Feel the sun beating down on your face and the sweat on your brow as ‘Dia De Muertos’ straddles the plane of Alice In Chains meets Kyuss, which is a good place to be in anyone’s book, surely?

And then there’s the hilarious ‘Mofo Sauce’, a song that screams out for a high budget promo video featuring chicks in bikinis, dwarfs and swimming pools. It’s full of over the top 80’s rock references, bombastic beats, big guitars and a killer hook. What’s not to like here? Tongue-in-cheek? Tongue-in-ass-cheek more like! If Black Spiders ever needed a trademark anthem to be remembered for, they got it now.

‘Obey’ lulls the listener into a false sense of security with a Tarantino-esque guitar intro before breaking into a wall of noise. The album closer ‘Rotten To The Core’ with its acoustic guitars, harmony vocals and 60’s west coast California Dreamin’ vibes, is a bit of an epilogue, a fitting end to the album and a standout track that leaves you wishing and wanting more.

There’s an old cliched statement that most bands give out in the run-up to an album release, and it goes something like; “This is our bestest, strongest and most focused album ever”. And guess what? In this case there is some truth to that statement, as the Black Spiders have released a monster in ‘Cvrses’.

Its a righteous ride through the annals of rock n’ roll and a statement of intent that thrills and excites in all the right places. The perfect combination of hard rock and metal with power pop hooks aplenty and guitar solos everywhere. And with not a duff track in sight, it’s a thumbs up from me. Long may the Black Spiders weave their web.

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Author: Ben Hughes

The Hellacopters – ‘Overdriver’ (Nuclear Blast)

The Hellacopters – ‘Overdriver’ (Nuclear Blast)

Sweden’s finest exponents of action rock The Imperial State Electrocopters are back and they are firing on all cylinders. Nicke Andersson’s 70’s drenched tribute to The Stooges/Kiss/Thin Lizzy/Motorhead (delete as applicable) follows up their 2022 comeback album ‘Eyes Of Oblivion’ with a new 11-track banger of an album in ‘Overdriver’, and there is not a Dregen to be seen or heard on this, the 9th long player from The Hellacopters. Which sort of makes it an Imperial State Electric sort of thing, doesn’t it?

Confused? Well don’t be. The livewire Backyard Babies guitarist may well have been instrumental in the sound of The Hellacopters classic ‘Supershitty To The Max!’ garage rock era, but that was a different band in a different century ladies and gents. Nicke and his gang progressed over the years, and while the gang members have come and gone, the song remains the same in 2025.

Seems as they are a four piece in the videos, we are to assume out illustrious leader handles guitar duties as well as vocals here. All is well and good and opener ‘Token Apologies’ delivers the Kiss/UFO influences to the max, and if you have, like me been rediscovering the ‘Head Off’ covers re-issue recently, then that is a good reference for where we are heading sound-wise.

‘Don’t Let Me Bring You Down’ is classic Nicke, and could’ve been a single from any of the early Imperial State Electric long players, or any 70’s Quo album come to think of it. A great memorable hook, and an early highlight for sure.

But then things get really tasty with the magnificent power pop single ‘I Don’t Wanna Be Just A Memory’. Methinks Ginger Wildheart would give his left bollock to have a hook that good for The Wildhearts in 2025. With its urgent beats and rousing chorus, it sounds like Benny & Bjorn penned it back in ‘78, Iggy stole the beat from the Lord and traded it to Nicke’s old man for a bag of blow and a bottle of Jack. Yes, it’s that good!

3 songs in and were flying in the right direction. The groovy punk n’ roll of ‘Wrong Face’ follows, the rousing and uplifting ‘Soldier On’, and the overly familiar ‘Doomsday Daydreams’ wrap up a very strong side 1.

Flipping the virtual disc and the high energy ‘Faraway Looks’ has riffs and a chorus to die for, latest single ‘Do You Feel Normal’ is classic 70’s rock at its finest and closer ‘Leave A Mark’, does exactly that with its throbbing bass line, driving rhythms and Starchild vocal delivery. It rocks you like a hurricane until the final note rings out.

For me, ‘Overdriver’ is a stronger album than its predecessor. It’s an album of two halves, side 1 pisses all over side 2, but it’s worth flipping the disc for the opener and closer alone. There’s a lot of familiarity of ‘Overdriver’, riffs you will have heard before…somewhere, and you’ll be wracking your brain to recall where the hell you have heard certain melodies before, but that’s half the fun of the listening experience. Who was it that said, “There’s nothing original in rock n’ roll these days”? That may well be true, but if it’s good and it makes you feel something, then who the fuck gives a fuck?!

The Hellacopters may not sounds as raw and exciting as they did in 1996, but they’ve mellowed like a fine red wine over the years and ‘Overdriver’ is a great return to form and one of the essential listens for 2025.

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Author: Ben Hughes

Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Hands up who’s ever seen Terrorvision do a bad show? Didn’t think so, but can anyone tell me the last time they gave less than 100% live? I’m waiting….

Bradford’s finest export are the only band I’ve seen share a stage with The Wildhearts and come off the better band on the night, and I’m a big Wildhearts fan. Well, the Brit Rock survivors are back with their first album in a decade, it’s called ‘We Are Not Robots’, and it’s a bit of a banger. The band are rolling into Leeds for a (sort of) hometown show in celebration. Did I fancy it? Well, it’s certainly worth braving the shitty Leeds traffic on a damp and dreary Tuesday evening that’s for sure.

I’ve never been to Project House before. Run by the guys of The Brudenell apparently, it’s a bigger venue to cater for bigger bands, I guess. A 1000-capacity venue that has the feel of a warehouse gig. It’s spacious and has a cool vibe, perfect for RPM faves The Bar Stool Preachers to warm things up. Opening with a killer one-two of ‘Call Me On The Way Home’ and ‘All Turned Blue’ from last year’s ‘Above The Static’ album is a masterstroke, and frontman Tom McFaul has the Terrorvision crowd eating out of the palm of his hand from the off. The whole band are energetic from the first note until the last chord rings out. Tim especially, makes full use of the stage space and gets the crowd involved as much as possible. The room is pretty full by the time they hit ‘Flatlined’, and getting the crowd to chant the “woah woah” refrain is the perfect way to win over those who are not yet converted.

An exceptional live band flying the flag high and defiantly for British live rock music, proving that there is more to live music in the UK than Oasis and Coldplay stadium shows.

The last time I saw these two bands together was at Bradford St George’s Hall last year. That night I was in the rafters, tonight I’m four rows deep from the front of the stage. For me it makes such a difference to the feel of a gig. To be ‘in it’, to see the smiles on the band’s faces as they play, to see the sweat drip from their skin and just witness how they interact with each other on stage, this is my happy place.

Terrorvision have a strong greatest hits set that flows into double figures and they play them all and more tonight. As guitarist Mark Yates plays that opening riff to ‘Discotheque Wreck’ the place prepares to erupt, and erupt we do. Frontman Tony Wright, is all over the stage like a ball of energy, to his left bassist Leigh Marklew sports sportwear & shades and gurns like a loon for the entire set, to his right the effortlessly cool Mark flexes his tattooed and toned frame as he pulls all the cool guitar hero poses. With the addition of Milly Evans on keys, Chris Bussey on drums and a 2-piece horn section, the band are now bolstered to a 7-piece. Last time out they were all dressed in pink and black, tonight the theme is powder blue and white to match the album art.

Talking of the new album, there are new songs to be played, and punked-up single ‘The Night That Lemmy Died’ is next up, while a bit of a departure for the band it fits nicely and goes down well, not as well as the following ‘Alice. What’s The Matter?’ though, which sounds phenomenal. They then take us right back in time with ‘My House’, to great cheers. I remember first hearing this song in a club in Swansea when it was released, not knowing who the band was, and it always takes me back to that night when I hear it, that’s the power of music folks! Four high energy songs in, and Tony is sweating like a smackhead with a giro, you wonder whether he’ll make it through the set, but the boys only getting started.

You would be forgiven if you forgot how good ‘Still The Rhythm’ and ‘New Policy One’ are, or how ‘Josephine’, with its killer spaghetti western riff shoulda been the big hit off of ‘Shaving Peaches’, but the Terrorvision massive haven’t and show their appreciation in spades.

Newbies ‘Baby Blue’ and ‘You Gotta Want To Be Happy’ prove the band still have a knack for penning a catchy tune or two and they stand up well against the likes of ‘Middleman’, ‘Perserverance’ and ‘Celebrity Hit List’ tonight.

Set closer ‘Pretend Best Friend’ has the trumpets to the fore, the guitars to 11 and the energy levels off the scale, the band then return for a one song encore. It’s here where I’m thinking wtf haven’t they played? They’ve surely played all their aces, but then that iconic “doo-wop” refrain leads us into rock n’ roll ‘Oblivion ‘one more time, and those who feel they haven’t quite sweated enough get to do it one more time before the band bid farewell to Carly Simon’s ‘Nobody Does It Better’. And that is quite a fitting exit.

Author: Ben Hughes

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

I think it was a certain Ginger Wildheart who first bought The Lemon Twigs to my attention, and it was not long before their 3rd studio album ‘Songs For The General Public’ was in my hands and on my turntable. There’s been two more studio albums since then and the Long Island power pop band, led by brothers Michael and Brian D’Addario have been top of my “bands I wanna see live” list for quite some time.

On the road promoting their latest long player ‘A Dream Is All We Know’, tickets were purchased the minute I spied a Leeds date at my favourite venue.

The Brudenell date has been long sold out, and it is already busy as the unpronounceable Tchotchke take to the stage. A 3 piece, all girl band with a drummer who happens to be the lead singer. With their 3-part harmonies, pop sensibilities and cool song dynamics they fit the bill like a glove. I’m sold after just a couple of tunes to be honest.

Thye have one album out, it happens to be produced by the D’Addario brothers and their melancholy and dreamy pop music comes across like a mix of The Shangri-Las meets Sleeper. Yep, 60’s girl group meets Brit Pop, its all jangly guitars, lush vocals and laid-back melodies that stick in your brain.

I don’t know any of their songs but I’ll tell you one thing, I don’t think a support band has ever left such an impression on me before. Their album has got to be my next purchase.

I’ve been looking forward to seeing The Lemon Twigs for what seems like an age. They open with ‘Golden Years’ and it’s all jangly guitars, lush vocals and smiles from the off. With skinny t shirts, perfect hair and even more perfect harmonies, the D’Addario brothers are on it from the word go. Leaning heavily on the latest album and its predecessor ‘Everything Harmony’, it’s pretty much a dream set with a few obscure covers thrown in for good measure. The first highlight follows a version of ‘Transparent Day’ by The West Coast Pop Art Experimental Band. My two favourite tunes from the new album are played together: ‘Church Bells’ is a glorious power pop ode that could’ve been penned by McCartney in the early 70’s, and the following ‘If You And I Are Not Wise’ sounds more like the Byrds than anything in recent history. Emotive, transcendent and fulfilling, I could go home happy right now, but there’s more to come.

The boys switch instruments throughout the set and take lead vocals on the songs they have written. ‘I Wanna Prove To You’ is another highlight, with Brian playing bass and Michael bashing the kit like Keith Moon, drummer Reza Matin takes on guitar duties and bassist Danny Ayala plays keyboards. It just goes a long way to show what accomplished musicians this whole band are.

The atmosphere is electric in the room tonight as we witness magic on the stage. ‘They  Don’t Know How To Fall In Place’ is killer and ‘Peppermint Roses’ is a new album favourite that is just as good live. The main set ends with the Beach Boys-esque ‘How Can I Love Her More’ before Brian returns with just an acoustic guitar to play 3 songs solo. His beautiful rendition of ‘Corner Of My Eye’ captivates the whole room, did I actually hear a pin drop? New song ‘Joy’ gets an airing, and ‘When Winter Comes Around’ is as emotive and possibly even more beautiful than the album version.

The full band return for a run through of The Beach Boys ‘You’re So Good To Me’ before ending on a high with a rocker. ‘Rock On Over and Over’ is as 70’s glam rock as you can get, T Rex meets Elton John for the win! What a finale.

I knew The Lemon Twigs were going to be good, but I wasn’t expecting them to be this good. The combination of perfectly executed pop songs delivered with an energetic performance, mixed with great sound and lights, by a band who are tight and look like they are really enjoying themselves. The benchmark gig of the year by far.

Author: Ben Hughes

Alabama 3 – Brudenell Social Club, Leeds – 19th November 2023

<strong>Alabama 3 – Brudenell Social Club, Leeds – 19th November 2023</strong>

For many years I would tell anyone with ears that Brixton based collective Alabama 3 were one of the best live bands on the planet. Their unique brand of “sweet pretty muthafuckin’ country acid house music” and incendiary, unforgettable live shows were legendary in my circles. But I must admit a run of less than spectacular albums and a few less than professional live shows saw (me at least) lose interest a few years back. The tragic death of co-founder Jake Black (aka The Very Reverend Dr.D Wayne Love) in 2019 seemed to seal the deal that it was all over for the Alabama 3.

But then something strange happened…Alabama 3 got their mojo back! Call it triumph over adversity, a rejuvenation even, but Larry Love and the boys unified, licked their wounds and released their 13th album ‘Step 13’ in 2021. A tribute to a fallen friend, the title referred to the next phase after death as quoted by A. Ron Hubbard, and was a return to past glories.

Now in 2013, with a new album (Cold War Classics Vol 2) on the shelves and the return of vocalist Devlin Love to the live outfit, it’s time to see if Alabama 3 can still deliver the goods live.

9 o’clock sharp and Alabama 3 hit the stage at the sold out Brudenell in style to newbie ‘North Korea’. Dressed in military jacket and shades, the ever cool Larry Love commands his audience from the off. Stage right is Devlin Love, the diminutive lady with a larger than life voice. She looks even cooler in a black fur coat, figure hugging dress and stack heels. Her vocals and her stage presence gives a different dynamic to the band now that Jake is gone. 

But the ghost of the Very Reverend D Wayne is all over this show and he even makes an appearance, albeit a taped one on the overly cool set highlight ‘Hypo Full Of Love (12 Step Plan)’, which is a nice touch.

The set is a great mix of old and new, enough to satiate old fans and new recruits alike. It’s a very dance orientated show, the dub heavy bass throbs from the speakers and you can’t help but move to the groove. New tunes like ‘Petronella Says’ and ‘Whacked’ sound good, I mean really good, like they are A3 classics already after just a couple of years, maybe it’s just a testament as to how strong an album ‘Step 13’ is.

The pair of singers work the crowd like pros, inciting the crowd to get on their dancing feet and sing along to the choruses. 

Long time core members keyboard player The Spirit looks suitably miserable all night and Nick Reynolds is always cool, switching between harmonica, backing vocals and sax all night. Larry informs us it’s his birthday and he takes lead vocals on the song the band wrote about his great train robbing old man ‘Have You Seen Bruce Richard Reynolds’. The harmonica induced countrified blues is a killer set highlight for me from one of my favourite A3 albums.

I must admit I’ve not seen them this good in many, many years. Other highlights like the awesome ‘Up Above My Head’, the countrified ‘Hello, I’m Johnny Cash’ and the obligatory ’Woke Up This Morning’ prove that Alabama 3 have the tunes and are an underground alternative institution we should be proud of.

The welcome return of singer Devlin Love seems to be what the band needed at the right time. While no one could ever fill Jake’s cowboy boots, her bluesy, soulful vocals and presence adds sex appeal and spice to the countrified, dance tunes tonight.

Her lead vocals on ‘U Don’t Dans 2 Tekno Anymore’  are frankly stunning, she rules that stage. Encore time sees her return with an acapella ‘Mercedes Benz’ before the full band return dedicating Aslan’s ‘How Can I Protect You’ to the ailing Shane McGowan. 

I’ve seen Alabama 3 a bunch of times over the past 20 years, but this show was one of the best. Larry Love and his band have redeemed themselves in my eyes and take their rightful place as one of UK’s most exciting live bands currently doing the rounds. Long may they  rule. 

Author: Ben Hughes

Philip Seth Campbell – Brudenell Social Club, Leeds – 12th October 2023

Philip Seth Campbell – Brudenell Social Club, Leeds – 12<sup>th</sup> October 2023

Phil Campbell has seemingly come full circle since leaving both The Temperance Movement and The Byson Family, by continuing on the singer/songwriter solo journey he started before joining one of the UK’s new breed of bluesy classic rock artists back in 2011.

While it’s a shame The Temperance Movement never reached the dizzy heights their early material and magical live gigs promised, the singer seems comfortable and content with his current status, and the release of his first solo album under the name Philip Seth Campbell.

Playing more intimate venues than he has been used to for many years, Philip is promoting ‘City Lights’ with a series of low-key dates, just the man and his guitar, with just a bassist and a keyboard player backing him.

Taking to the stage of the smaller community room at The Brudenell Social club, on this the second date of a UK tour, you would be forgiven for thinking the Glaswegian singer had come straight from a do. Wearing an open dress shirt, trousers and trainers Philip Seth Campbell looks like the dishevelled, cool uncle at a family wedding. He and his band then proceed to run through a selection of choice cuts from the new album, older solo material and a couple of tracks each from his former bands.

Opener ‘Magical West’ was the euphoric first single released, and it loses none of its power in this stripped back format. The ever-animated Campbell may be restricted in his movements with a guitar strapped on, but his voice is on point, full of vigour and soul as he rasps his way through each high energy chorus. By the time the trio hit the gospel-tinged third track ‘Revelation’ his voice and the sound mix has certainly hit the sweet spot.

Yet there’s a sense that the singer must work for it tonight, he is certainly not going through the motions. Starting fresh, playing new songs to an audience who may be unfamiliar with the material can be a trial by fire, and while the meagre and polite audience need some well-spirited goading from the singer into breaking the unnerving silence between songs, the whole thing seems to go swimmingly well. He certainly has the stagecraft, the songs and the voice to carry them. But it is nice to see a performer who is nervous and doesn’t know what to expect, deliver in spades.

The anthemic Springsteen vibes of ‘Hasta Luego’ shine strong in a live environment, and the slower soulful moments such as the autobiographical ‘Sober Boy’ sound great. The new songs all fit well with the older material whether that be The Temperance Movement, The Byson Family or older solo stuff such as the sweet ‘Wrecking Ball Nights’, a song he introduces while strumming the opening chords

“Sometimes there’s nothing else for it but to get fucked up!” he declares. He may be a sober and happier boy these days, but he reminds us that things can easily change.

It was a bit of a surprise to hear him break into ‘Chinese Lanterns’. To be fair, I wasn’t really expecting that. It’s always been a favourite TM track since those early shows where Philip would sing it acapella, off-mic to a stunned crowd. Tonight, with an acoustic guitar as accompaniment it is just as special. Another TM classic ‘Lovers & Fighters’ closes a sweet set that satisfies fans both old and new.

I saw The Temperance Movement in this very same venue 10 years ago on their way up, and now it seems quite fitting to see their ex-singer continue his musical journey in fine form. A mesmerising and rewarding set from one of the best singer/songwriters we have to offer and one of the best gigs of the year for me. This could be the start of something special.

Author: Ben Hughes

Philip Seth Campbell – ‘City Lights’ (Assai Records)

Philip Seth Campbell – ‘City Lights’ (Assai Records)

The former frontman of The Temperance Movement returns after a tumultuous period in his life with a solo album that has been decades in the making. Musical differences and personal issues saw the gravelly-throated singer leave not only The Temperance Movement in 2020, but also last year he parted ways with The Byson Family, the band he left to form and concentrate on.

But following a series of acoustic shows and a recent EP release, Philip has exorcised whatever demons he was carrying and is back stronger than ever with his debut long player.

Seeking redemption and filled with retrospection ‘City Lights’ is a journey of a storyteller who explores new territories while tipping his worn and tattered hat towards his past glories throughout its 12-track length. There’s a self-assured confidence and a sense of rejuvenation to leading track and first single ‘Magical West’ that sees Philip shed the heavy rock and americana leanings of his previous bands and embrace a more commercial and eclectic direction. Upbeat and euphoric in equal measures, it has a Springsteen style power and delivery with a rousing chorus that will excite the listener and induce goosebumps as well as repeated plays.

‘City Lights’ is an album filled with unexpected directions that take you on a definite journey. The liberating ‘Hasta Luego’ is a tale of eloping to Mexico, and you are with him on the road as he invites you to “get away through LA and San Diego”. Sound wise, with urgent beats and stabs of keys it builds like Hothouse Flowers to a rousing chorus worthy of Butch Walker.

The mellower, more soulful moments such as ‘Revelation’ and ‘Break The Curse’ nod their heads to Van Morrison with gospel-tinged backing vocals, brass and stabs of piano to accompany the stunning vocal delivery.

The needle drops on side two for the funky title track with a blast of horns, crisp drum beats and gospel harmonies, coming on like an outtake from The Black Crowes sophomore long player meets Paolo Nutini, and that ain’t a bad place to be. But if there is any one song that would be a showcase for Phil’s vocal prowess on this album, I would probably go for the celebration that is ‘Soul Fire’. The performance here exudes confidence, power and depth and just seems to flow perfectly. A killer guitar solo adds some fire. It’s worth noting that considering he plays most of the instruments and self-produced this album, it has a very ‘live in the studio’, full band sound.

Elsewhere, ‘Silent Symphony’ mixes up americana and soul with sweeping strings and gospel backing to create a heart-wrenching, cinematic soundscape. And that is something that continues on the honest and confessional ‘Sober Boy’.

He may have left TTM to get away from the screamers, but closer ‘Gut City Blues’ leaves us with a reminder of his past. Killer riffs and even more killer vocals give us a whiff of AC/DC meets Ike & Tina goodness, plus the addition of founding TTM guitarist Luke Potashnick, who turns of to lay down a tasty solo. A glorious rocker that is sure to be a live favourite when he hits the road later this year.

While I was saddened when he left TTM and The Byson Family, Philip Seth Campbell has risen like a phoenix from the flames and delivered an album that exceeds all expectations. ‘City Lights’ is an instantly familiar album that is hard to not fall in love with from the very first listen. With enough rockers, ballads and ravers to satiate his fanbase, it exudes the confidence and charisma of a songwriter who has been around the block and has lived to tell the tale.

Buy Here

Author: Ben Hughes

Diamond Dogs – ‘About The Hardest Nut To Crack’ (Wild Kingdom)

Diamond Dogs – ‘About The Hardest Nut To Crack’ (Wild Kingdom)

Sweden’s finest purveyors of honky tonk flavoured rock n’ roll return with a new long player, just over 18 months after the luscious double album offering ‘Slap Bang Blue Rendezvous’ hit the shelves.

It seems nothing can keep Sulo and the boys from delivering good time rock n’ roll like the last 6 decades of musical innovation never happened. The Faces meets The Stones is a good rut to be stuck in and we wouldn’t want it any other way, not when the songs are this good.

Written and recorded over an 8-day period and recorded in old school analogue, ‘About The Hardest Nut To Crack’ sees the Swedish band in fine form from the word go.

12 bar boogie blues is the name of the game with opener ‘Get A Rock n Roll Record’ and the message is as simple as the three-chord progression it rides on.

Next up ‘Blight The Life’ is one of those life affirming, instantly familiar Sulo melodies. You’ve know you’ve heard it before, but you’re not quite sure where. Was it Rod, Jagger or Monroe? Who knows, or even cares as a mournful fiddle leads us down an emotive road, one we love to frequent again and again.

The low-slung rock n’ roll of ‘Wring It Out’ has plenty of Faces swagger and it’s a raucous party that Sulo and the boys are jamming, with gospel-tinged backing vocals, stabs of keys and a certain boogie-woogie swagger.

There are earworms aplenty on offer. The likes of ‘Gurus and Gangsters’ and ‘Desiree, Yet Another Lonely Mile’ are pure euphoric nostalgia, and about as 70’s as listening to the top 40 run down whilst scoffing a Sunday roast. Songs that groove in a certain way and insist you turn up that dial and dance like no one is watching. 

Sulo’s reflective lyricism recalls the good times and the tight musicianship but loose delivery backs it all up in just the right way. The banjo action on ‘Old Timer’ gives a rustic, partisan feel that sits well with the low-slung guitars and gravelly vocals. The sloppy, but perfectly delivered solo as worn and weathered as the vintage gear it is played on.

The glam slam, foot-stomping closer ‘Rising From The Ruins Of Rock n Roll’ sees the band sign off by telling us to spin them records one more time and not to forget the reason they (and we) do this thing they call rock n’ roll anyway.

A new Diamond Dogs record is always cause for a celebration, and ‘The Hardest Nut To Crack’ does exactly what you would expect. Naysayers may argue that Sulo and the boys are doing nothing new and shock horror, may even be classed as ‘generic’, but you know what? Sometimes I want something familiar, something that doesn’t stray from the path and delivers exactly what I expect it to, and the Diamond Dogs do it every time. Get this rock n’ roll record, play it loud and spread the word. 

PRE-ORDER: https://orcd.co/hardest-nut-to-crack

Author: Ben Hughes

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