UK Subs – ”Work In Progress’/ ‘XXIV’ / ‘Yellow Leader’ (Cherry Red Records -Captain Oi!)

UK Subs – ”Work In Progress’/ ‘XXIV’ / ‘Yellow Leader’ (Cherry Red Records -Captain Oi!)

‘Work In Progress’

Whilst they might not be clocking up the 25th Anniversary editions these three more recent Subs platters are still almost a decade old and went out of print on vinyl as soon as they were released such was the collectability of Subs albums amidst the return of vinyl buying people, In fact, it’s been eleven years since ‘Work In Progress’ was issued amidst richly deserved critical acclaim (I know I was very complimentary at the time of its quality).

This new double vinyl edition comes with one gold-coloured disc and one silver coloured disc in a very nice repro of the original artwork but in a gatefold sleeve again pressed on 10″. It’s still got the fourteen Tracks. Kicking off a new era of Subs where Jet was on six strings and the rhythm section of Alvin and Jamie really hit their stride with some of the band’s finest songs coming into existence like opener ‘Creation’ which really set the tone.

I remember interviewing Charlie around the time and his enthusiasm for the album was infectious and on hearing the songs it’s easy to see why he’d be proud of this record. ‘Tokyo Rose’ was something a bit different from the band and the Alvin Gibbs sung tracks are some of his finest writings even to this point today ‘Hell Is Other People’ is such a banger of a tune. Their cover of The Sonics ‘Strychnine’ was also a glimpse of what was to come with their covers album (post-a-z). It was a real call to arms and this reissue of sorts is a most welcome addition to any Subs collection.

Buy ‘Work In Progress Here

‘XXIV‘

As the band headed towards the end of their epic 40-plus year project who ever thought they’d even make it to X let alone surpass the lot and head into new territory. ‘xxiv’ was a stunning follow-up to ‘Work In Progress’ and showed that the band were really locking into gear as a unit with all the incredible shows they were putting in around the time covering every inch they possibly could of this planet ‘XXiv’ is a limited edition double 10” that comes in a gatefold sleeve on green vinyl (disc one) and clear vinyl (disc two). It finds itself expanded to 15-tracks over two LPs with the addition of the previously unreleased album out-take ‘Workers Beer Company’.

Originally coming out in 2013 again, it sold out on its initial release on vinyl so this will please many fans and with the bonus of the extra track it isn’t just a cash cow or pension plan. (maybe they missed a trick, not including the bonus acoustic songs or reworkings on the original double CD that came out at the time now that would have been something special) this one took what the band did on the previous release and took it up a notch or two with the barnstorming opener ‘Implosion 77’ and then led us into the harmonica honking stomper that is ‘Coalition Government Blues’. I must admit I’d not played this album in a while and have played it over several times for review purposes I have a newly found affection for it. Maybe, with the passing of time I’d rate this one right up there with the best UK Subs album through any line ups and any album. ‘Speed is punk as fuck only to be outdone by ‘Rabid’ absolute blitzing it! The thrust of ‘Monkeys’ and its backing vocals giving it a softer edge is excellent. Again the Gibbs sung songs are top quality and there is no weak spot on any side of these new 10″ records and worth every penny.

Buy XXIV Here

‘Yellow Leader’

Tying up the trio of 10″ records is the penultimate A-Z ‘Yellow Leader’. This one originally came out in 2015 and the album track listing has been restored to its full running order of 18 tracks as previous vinyl editions had to cut four tracks due to running times. So again, it’s not just a reissue cashing in as anyone who picks up a copy will realise that the heavyweight records in their gatefold sleeves and pressed on colored vinyl are well worth having a lot of care and attention to detail has been put into these and it shows. ‘Sick Velveteen’ follows a long line of super-strong opening tracks on albums and it showed that there was no sign of fatigue in the Subs camp nor writer’s block. The songs were coming thick and fast and if anything better and better.

The variety on the eighteen-track album is fantastic from the punk bangers to the reflective acoustic ‘Rebellion Song’ to the riffy ‘Slave’ and the Stooges-inspired ‘Suicidal Girl’ ‘Yellow Leader’ is the third in this trilogy release and one that to my shame I’ve not played in a while but that has been rectified and one I will play more often.

The artwork reproduction is most welcome as is everything about the feel of these reissues. Lyrics, Bonus tracks, coloured vinyl – Man, I love the UK Subs, and with a new album imminent this is a great time for us fans. Sadly, I’m informed there are no plans to reissue ‘Ziezo’ but maybe that will change when these sell out. Trust me when I say these 10″ double albums are the dog’s bollocks and well worth getting your hands on.

Buy Yellow Leader Here

Author: Dom Daley

Lux And Ivy Say Flip Your Top – ‘Sinners And Penguins Doing The San Francisco Twist’ (Cherry Red Records/Righteous Records)

Lux And Ivy Say Flip Your Top – ‘Sinners And Penguins Doing The San Francisco Twist’ (Cherry Red Records/Righteous Records)

Records from the beginning of popular music or modern popular music way back in time called the 1950s.  Pre Beatles and Stones, pre-Britpop, pre-grunge.  There was always a subculture going on and music was no different and it wouldn’t surprise me for one second that Lux and Ivy would have owned a fabulous and largely unknown record collection.  They were hardly easy listening themselves and they drew their songs out of the fringes of music be it Jazz, Blues or pop.  You just know it’ll be an interesting and informative ride.

This double CD also comes with a lavish booklet full of poptastic nuggets courtesy of MOJO magazines Davie Henderson.

There are fifty tracks on offer and everyone has the potential to blow minds it’s that far out and lyrically messed up for these modern times(I can picture Lux smirking down on us all).  The fact there are two tracks with Tarzan in the title tells you something but as we swing from Jazzy RnR to big ensembles of bloated balladeering to weird Rock n Roll this is something to get the party started for sure.

A lot of music for your hard earned and a CD that will certainly have the guests impressed at your vast taste either that or they’ll be running to the hills and worrying about your eclectic collection.

The early years rama lama Rock n Roll is heavily represented here like the Charms.  If you’re familiar with the bop n roll of Chris Cerf then I bow down to your knowledge. Imagine a song called ‘Too Big For Her Bikini’ coming out today.  The insta tictokkers would have a lynching squad firing up the torches. To be fair Slim Marbles isn’t just a great name and how didn’t ‘The Switch’ catch on?

Anyway, fill yer boots and your speakers with a hefty slab of good time Rock n Roll. It’ll make you smile and fill your ears with top tunes in a world that gets madder by the day this will cleanse your soul.

Buy Here

Author: Dom Daley

Singles Club – April – Easter Eggs

Singles Club – April – Easter Eggs

Black Bombers – ‘Last Bite’ (Easy Action) there is an air of confidence and an overwhelming sense of quality when the guitar chimes in on this new single from Birmingham’s finest. Channeling the spirit of Stivs Lords and the cool of Killing Joke with its howling guitars and haunting rhythm it’s a smoldering smokestack of a tune and as it reaches the guitar solo, it gives you goosebumps as the band reaches the climax before dropping back into the groove on what is a most excellent single. It’s taken a while to reach your turntables due to covid but this one has had a couple of years to ferment into this beast of noise. Flip it over and you get treated to a rather splendid version of ‘Take My Money’ from the Damned criminally overlooked second album ‘Music For Pleasure’. What a killer tune ‘Last Bite’ is and thats why its the pick of the pops for the month no question about it! Cool tunes and cool artwork – if only all 7″ singles were this good. Buy Here

Buzzcocks – ‘Senses Out Of Control’ (Cherry Red Records) The songs to emerge from the post-Shelley Buzzcocks are creeping out after the covid hibernation and ‘Senses Out Of Control’ is a lovely slice of Diggle fire and brimstone. Uptempo and out of control as Diggle fires up the telecaster and smashes the chords out of the speakers for what is your typical Diggle Buzzers tune (effectively) I’m not going to debate the should it be released under the Buzzcocks banner or not but I will say it pretty bloody decent to be fair. Live it will sound punchy and brutal but there is a huge Shelley-shaped hole happening. The B sides to this lovely 10″ record also feature the tracks ‘Carnival Of Illusion’ that tackles cancel culture in a more measured track. But the diamond in the rough here is the excellent ‘Hope Heaven Loves You’ with a great meandering guitar line. Sure to become a collector’s piece these two tracks won’t be on the album when it’s released this summer so fill yer boots. Buy Here

Suzi Moon – ‘Animal’ (Pirates Press Records) Hot on the heels of her debut EP Suzi Moon unleashes ‘Animal’ her latest EP on Pirates PRess and this time it rips out of the blocks with the super turbocharged ‘Sonic Attraction’. Her debut album ‘Dumb & In Luv’ is due this summer and if this trio of tunes is anything to go by then it’s going to be an absolute blast. the title track is a brooding, twisting, rhythm meandering along before the guitars crash in on the chorus when Moon declares she’s a fucking animal you better believe it. To wrap up this EP Moon indulges some power pop tinged punk rock on ‘Gold Record Autograph’ its another string to her bow. With a vibrant melody, the chorus is fuckin’ excellent and like a bubble gummed chorus Moon knows shes is onto something, and surely it’s only a matter of time before she sells out venues globally and she’ll have her very own Gold Record. Get it here

Flickertail – ‘Don’t You Let Me (Let You Down)‘ (Golden Robot Records) Irish Aussie rockers FLICKERTAIL release new single ‘Don’t You Let Me (Let You Down’ on 29th March, out on Golden Robot Records. lifted from the upcoming live EP ‘Afterlife‘, which is slated for release mid-year. The track features sizzling guitars, high-paced lyrics about parties and poor decisions and a balls-to-the-wall drum solo that could make John Bonham blush.Pre-order/add/save ‘Don’t You Let Me (Let You Down)’ HERE

Chuck Norris Experiment – ‘Where Eagles Dare’ (Self Release) By no means a new tune but a new version from the mighty CNE as they lay into the Misfits classic. CNE gets the tempo and rawness of the song and capture it perfectly. Free Rock n Fucking Roll – yes please. Fill yer boots and if you already haven’t got yourself on board this is the perfect opportunity. Get it Here

WolfWolf & The Tuzemak Orchestra – ‘Monster’ (Lux Noise Records) For fans of the Bop n stroll Blues rock n roll of Urban Voodoo Machine, Wolf Wolf make an impressive mind-bending noise on this new single ‘Monster’ where they team up with The Tuzemak Orchestra: https://www.wolfwolfband.com

J Prozac – ‘Building Blocks’ (Rum Bar Records) Another band rolls off the Rum Bar conveyer belt and onto our stereos. This time its heart-worn sleeve heartland punk & garage rock from J Prozac. while still keeping the big hearted ‘whoa ohs’, snotty vocals and powerful punk rock guitar riffs of his former bands in check. It’s a memoir, diary, and photo book of lost but not forgotten moments, anthemic pop-punk lifted from the new album ‘Building Blocks’ is punk rock with a smile. Get the album Here

The Brokendolls – ‘The Only’ (Lux Noise Records) Lifted from the bands upcoming album ‘Snakecharmer’ Hard Rocking Punk N Roll sees the Brokendolls impress and march to the top of the pile giving the likes of Backyard Babies a run for their money with this new track. If the rest of the album can live up to these expectations then it promises to be a belter!

These Arms Are Snakes – ‘Camera Shy’ (Suicide Squeeze Records) US hardcore gents These Arms Are Snakes have announced a new rarities album called ‘Duct Tape & Shivering Crows’ which will be released April 15th so they have this video for the first single.

Ultrabomb – ‘Star’ (Ultrabomb Records) Greg Norton, once the driving force behind one of the most influential bands to emerge from the American punk scene, Hüsker Dü, alongside Finny McConnell, a name you’ll recognise from thirty years as the frontman of the Canadian Irish folk-punk sensation The Mahones. Completing the trio is the drumming powerhouse Jamie Oliver, having served well over fifteen years in the seminal British punk band UK Subs, as well as shorter stints with the likes of SNFU among others. Written for the singer’s daughter this is quality alternative punk rock. this second single has hints of Early Buffalo Tom and The Replacements which is always a good thing. With an album out soon the future looks written for Ultrabomb. Buy Here

Rough Gutts – ‘Control’ (Boss Tunage) From the ashes of Rotten Foxes Rough Gutts have only gone and made a record and if this video is anything to go by the Brighton rockers are gonna blow away everyone in 2022. Tour dates and a record out of control punk rock n fuckin roll is back in business and Rough Gutts are gonna rule – get on it kids before they’re all gone.

Buy Here

The Lickerish Quartet – ‘ Fortunately’ (Stranger Danger Records) The first song from Threesome Vol. 3, ‘Fortunately’ is Set for release May 20 on Stranger Danger Records and Tapes, distributed by Burnside and the Orchard in the U.S. and by Lojinx in the U.K. and Europe.  Sony Japan recently partnered with THE LICKERISH QUARTET to release all three EPs on June 29, as a collection entitled ‘FABLES FROM FEARLESS HEIGHTS’, which will include two previously unheard cover songs, as well as a special “best of” vinyl LP in that region. Pre-orders can be found Here

The SoapGirls – ‘Breathe’ The SoapGirls consist of French-born, South African-raised sisters Noemie Debray (Mie) (guitar, vocals) & Camille Debray (Mille) (bass guitar, vocals) The fearless siblings began their music career as child street performers at ages 8 and 9, roaming the streets of Cape Town singing whilst selling handmade soap for charity, earning the name ‘The SoapGirls’. ‘Breathe’ is the first single from soon to be released 4th album ‘In My Skin’. It’s a load of energy with the uncompromising style and attitude & all the excessive, debauched live shows have paid dividends. The pair have gained quite a reputation through their live shows such as Rebellion & Camden Rocks.

You can catch the pair as Their Don’t Give A Damn tour kicks off in the UK in April at Nambucca on the 15th before heading to Europe, followed by the US in July & Japan in August. 

The Rods – ‘Metal Will Never Die’ (Hear No Evil Recordings/Cherry Red)

The Rods – ‘Metal Will Never Die’ (Hear No Evil Recordings/Cherry Red)

Hot on the heels of High Roller Records’ sensational set of vinyl reissues covering The Rods back catalogue from their 1980 debut right up to their 2011 reunion, this 4CD set from Cherry Red provides a rather poignant addendum to the band’s back story covering as it does the same period in time, albeit from a “live in-concert” perspective.

Formed in 1980 in Cortland New York, The Rods came from an age when sub-genres of rock/metal didn’t really exist, or in fact matter, and if “you rocked” – “you rocked”. As such, mainstays, guitarist and lead vocalist David ‘Rock’ Feinstein (guitarist and lead vocals) and drummer Carl Canedy – who are both still in the band to this very day – along with then bassist Steven Starmer, set out their clear mission statement by naming their excellent debut release ‘Rock Hard’.

Swapping out Stamer, for one Garry Bordonaro, before then being snapped up by Arista Records, who revamped and rejigged their debut and re-released it as a self titled album (set to take the rock world by storm). CD one of ‘Metal Will Never Die’ perfectly captures this fledgling version of the band via a dozen tracks recorded during two shows from 1981 and 1982 in El Paso, Texas.

If you have sampled any of Hear No Evil’s previous “bootleg” box sets from the likes of Riot or Humble Pie, it’s worth noting that that these archive Rods recordings are not finished live albums – like say ‘Live And Dangerous’ or ‘Live After Death’ – nah these recordings are rough ‘n’ ready, warts ‘n’ all, and originate for a variety of different sources, although most importantly they are all fully approved by the band themselves. In fact, you only have to leaf through the excellent 16-page booklet that accompanies this set to find out exactly what they think of the shows in question as David and Carl take you on a whistle-stop tour through their band history.

It’s the second CD that will probably be of most interest to UK based Rods’ fans. Recorded at Portsmouth Guildhall on 8th March 1982, this ten tracker is the band’s setlist from when they were supporting Iron Maiden on the UK leg of their Beast On The Road tour, and I must admit it’s an absolute riot to listen to four decades on. Okay granted the bass drops out during the opening couple of tracks ‘Rockin’ N Rollin’ Again’ and oddly they choose to follow this with ‘Waiting for Tomorrow’, another tune the band had yet to release (they both came from the band’s third album ‘Wild Dogs’), but as soon as the boogie-tastic ‘Get Ready To Rock And Roll’ kicks in everything just seems to click and just as I recall (from seeing them three nights later in Bristol) they really were on fire back then. The quality of this recording sounds (to my ears at least) to be taken from the soundboard and is totally (ahem) ‘In The Raw’. Great stuff!

From this tour onwards there seemed to be missed opportunities alongside each new album and numerous record deals that seemed to promise so much yet ended up providing the band with diminishing returns with each subsequent release. I mean, does anyone remember the ‘Hell On Earth’ UK tour from 1984 that was due to see The Rods play 11 shows alongside Exciter and a then little-known band by the name of Metallica? Nope, well it was cancelled due to poor ticket sales.

In the late 80s, with the band slowly becoming disillusioned with their management and record labels they began to drift apart and move on to new musical projects before disappearing from the scene altogether. Feinstein, Bordonaro and Canedy finally being tempted out of their self-imposed hiatus in 2008 to play a few live shows in Europe, and with their success the gig list just grew and grew, CD three showcasing the band at Germany’s Headbangers Festival in July 2009 and CD four boasting a great sounding 2010 home town show.

The Rods quickly followed this 2010 gig with their 2011 album ‘Vengeance’ and ‘Brotherhood Of Metal’ in 2019, and as I mentioned at the top of this review, still continue to this day, albeit as a newly expanded (and Bordonaro-less) four piece with their next studio album ‘Shockwave’ planned for a 2022. In the meantime, you’ve got those aforementioned High Roller vinyl reissues to invest in and of course this box set to enjoy too, this proving that ‘Metal Will Never Die’.

Buy Here

Cherry Red Records

Author: Johnny Hayward

The Vibrators – ‘The Albums 85-90’ (Captain Oi!)

The Vibrators – ‘The Albums 85-90’ (Captain Oi!)

A follow up on two successful Captain Oi! box sets by the band, ‘THE EPIC YEARS’ and ‘THE ALBUMS 1979-85’

Disc One is the band’s first-ever live album that includes Punk classics like ‘Baby Baby’, ‘Automatic Lover’ and ‘Troops Of Tomorrow’. The recordings are vibrantly captured and the band’s boundless energy is well captured. When I’m listening it dawned on me how overlooked the band’s catalogue has been in general terms. Knox and the gang wrote some really great slabs of power pop punk rock and had it down to a tee and did it better than most of that time period. None more outstanding than ‘Amphetamine Blue’ which has stood the test of time and is still a stone-cold classic.

The second disc is 1988’s ‘Recharged’ album which features the single ‘String Him Along’ that opens the album in a more countrified power-pop but the band was able to go from that to the more aggressive and choppy ‘Hey Little Doll’. ‘Go Go Go’ is pure Rock n Roll’ and indicative of the time with regards to the production. One of my favourites off the album is the acoustic ‘Every Day I Die A Little’ maybe a predictable rise and fall middle section as the drums kick in but a top track all the same. Rounded off nicely with a crowd-edited rendition of ‘Disco In Moscow’.

Disc Three is the ‘Meltdown’ album which now adds the previously non LP ‘Wasted Life’ as a bonus track. ‘Office Girls’ kicked off the album and the band had lost none of their appetites to pen spikey punchy power pop, tight verses and uplifting chorus. Again I love the balladeering on ‘So Young’ with its great saxophone break from Waterboy Anthony Thislewaite that took the Green On Red sounding track into another direction making it one hell of a song. The band mixed the songs up quite a bit on ‘Meltdown’ running through their repertoire of influences from the balladeering to the tougher punkier songs and other genres getting some oxygen which helped make The Vibrators one of the best bands to emerge out of punk and beyond.

In under twelve months the band released the follow up to ‘Meltdown’ with the fourth disc in this set 1989’s ‘Vicious Circle’ album which features the Billy Fury cover of ‘Halfway To Paradise’ single and the rare bonus B-side ‘Drive’. With a better fuller more rounded production that really suited The Vibrators songs, ‘Vicious Circle’ kept the show on the road with topical ‘Polltax Blues’ adding some grunt to proceedings and that Stooges piano tonk underpinning the rolling riff.

Whilst ‘Fire’ was still snotty having it lean on the Billy Fury cover still sounds weird such is the contrast.

The final disc is the band’s tenth album, imaginatively called ‘Volume Ten’. Opening with ‘Losing It’ is something of a classic sounding Vibrators song with a strong pop melody and chorus glued together with a sharp guitar riff that leads to a palatable chorus. ‘Hot For You’ is more uptempo and yet another example as to how good the band was even when they did a cover of ‘Rave On’ which I’m still not sure about. It’s not like they were struggling with writer’s block and could have gone with just original tunes but hey ho what do I know.

The clamshell box also has a booklet containing detailed liner notes overseen by Jon ‘Eddie’ Edwards which are pretty cool.

For a relatively cheap amount of dosh, these Vibrators box sets are a fantastic purchase and people who possibly got blown off course and missed out on these recordings now have the chance to fill those gaps with some great records. Pick one up it’s a no-brainer!

Buy Here

Author: Dom Daley

Tokyo Blade – ‘Fury’ (Cherry Red Records)

Tokyo Blade – ‘Fury’ (Cherry Red Records)

There were many bands that got tagged with the New Wave of British Heavy Metal label back in the early eighties. Some of those bands embraced it, Saxon, Iron Maiden, Angel Witch, Samson etc, and some hated being lumped in with it, Def Leppard being the most obvious example. Even bands like Budgie, Judas Priest and Motorhead who had been around long before the NWOBHM moniker was thought up by Sounds magazine, were getting pulled into the whole NWOBHM movement. Of course, Budgie and Priest were nothing to do with it, but it was easy to see why they got caught up in it. Budgie’s Power Supply album was by far their most heavy metal sounding album and was released in 1980. Priest had released their breakthrough album British Steel in 1980 as well. It can be argued that Motorhead were indeed a NWOBHM band though because their seminal albums Overkill and Bomber were released in 1979 just as the NWOBHM got started, and their most successful period started in 1980 with the ‘Ace of Spades‘ album. Anyway, I digress!

Tokyo Blade were forged in the fires of the NWOBHM and released their first self-titled album in 1983. By this time the wind in the sails of the NWOBHM had started to die down. The album is a full-blown classic in my eyes with songs like ‘Powergame’ and ‘Break the Chains‘, it’s just heavy metal personified. The band suffered with many line up changes but continued to release material until the late nineties.

The current line-up of Andy Boulton (Lead guitar), John Wiggins (Rhythm guitar), Alan Marsh (Vocals), Andy Wrighton (Bass) and Steve Piece (Drums) have been together since 2016 and recorded the albums ‘Unbroken’ (2018) and ‘Dark Revolution’ (2020). Their latest release ‘Fury’ was written and recorded in lockdown with Andy Boulton utilising his home studio to record the album.

The end result sounds great with a powerful mix. There is some fantastic traditional heavy metal on offer here with solid performances and some well-written songs. The opening track ‘Man in a Box’ highlights the vocal abilities of Alan Marsh and is polished with some guitar wizardry from Boulton. ‘Blood Red Night’ has an epic feel to it, ‘I am Unbroken’ is a full-on chugger with some tasty drumming from Piece holding the track together. The album flows well but my only real criticism is that is overly long with fifteen tracks.

The album has both a foot in the past and one very much in the present. A solid metal album that deserves to be listened to. There’s plenty on offer here for old and new fans alike. The cover art is fantastic too, let’s not forget that Tokyo Blade had utilised the Samurai on their artwork long before Iron Maiden’s Senjutsu! The album is released via Cherry Red Records in Jan 22.

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Author: Kenny Kendrick

Evo’s Songbook of Filth (the songs that help inspire the Metal Anarchy of Warfare)

Evo’s Songbook of Filth (the songs that help inspire the Metal Anarchy of Warfare)

Having just released the excellent ‘Songbook of Filth’ retrospective via Cherry Red/Hear No Evil Recordings. RPM’s Johnny H caught up for a brief chat with Evo, drummer and singer with UK punk metallers Warfare to discuss the songs that helped inspire the total armageddon his band unleashed on the rock world, initially back in the early eighties.

 

Hi Evo thanks for chatting with me today so let’s start at the beginning. What initially gained your interest is listening to music?

 

“When I was only a kid, I dreamed about making records and being on stage and ‘Turn It Down’ by The Sweet (from 1974’s Desolation Boulevard album) sounds amazing if played very loud with the bass up.  I may one day even do a cover of it only noisier.”

 

 

You’ve always called Warfare “metal punk” but what bands from the halcyon days of both those genres initially inspired you?

 

“It has to be UFO and ‘Let it Roll’ but the version from the Paris Theatre BBC in Concert 11th December 1975 (available in the UFO – At The BBC box set) that track really was a forerunner along with the Ramones ‘Commando’ live at the Rainbow Theatre on New Year’s Eve 1977 (from the ‘It’s Alive’ album). The aggression in both tracks is superb.”

 

Was there a song from those early days that made you think “I can do that”?

 

“I was always very anti conformist and raised hell in school but when I first heard ‘Do Anything You Wanna Do’ by Eddie and the Hot Rods (from the 1977 album ‘Life On The Line) my destiny became clear and indeed the guy who played bass on it, Paul Gray, also plays on the new Warfare album.”

 

 

There is something about that era of music here in the UK that just oozes class and attitude and when you look back at the charts from late 1978 to around 1981 its like a mini masterclass in how to write great tunes, would you agree?

 

“I just love rock ‘n’ roll period and there are many songs to choose from but for charisma and attitude and good lyrics I like ‘No Time To Be 21’ by the Adverts (from their 1978 album ‘Crossing the Red Sea with The Adverts’), ‘Ugly’ by The Stranglers (from their 1977 album ‘Rattus Norvegicus’ and ‘Over the Top’ (originally the B-side from the Bomber 7” released in 1979) by my mate Lemmy and Motorhead.”

 

 

You got to work with Lemmy when he produced your Metal Anarchy album and more recently you also worked with Lem’s old pal Pete Way (who plays bass on ‘Misanthropy’ from Songbook Of Filth). What was it like working with him?

 

“His bass sound is unreal and for that reason I’ll add ‘Fortune Town’ by Mogg/Way (from their 1997 album ‘Edge Of The World) which has the same sound Pete got for the WARFARE stuff. The legendary Thunderbird bass through an Ampeg amp. This is another song if cranked right up is great stuff.”

 

Finally, as you’ve included tracks from your bands prior to Warfare (Major Accident, The Blood and Angelic Upstarts) on the new album what track has really stuck with you?

 

“An album that should have been much bigger, which I actually played on, was the Blood’s 1983 debut ‘False Gestures for a Devious Public’. the song ‘Degenerate’ is a belter and I would love to re-master the full album and get it released.”

 

Thank you, Evo, it’s been great chatting with you and discussing your influences. I wish you all the best with ‘Songbook Of Filth’, and here’s the video for Misanthropy for all our readers to get a taste of what Warfare sounds like in 2021.

 

“Cheers!”

 

 

You can read Johnny’s review of ‘Songbook Of Filth’ right here on RPM and you can pick up your own copy direct from Cherry Red Records via the following link.

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Author: Johnny Hayward

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Warfare – ‘Songbook of Filth’ (HNE Recordings/Cherry Red Records)

Warfare – ‘Songbook of Filth’ (HNE Recordings/Cherry Red Records)

Aah Warfare! The band that for the briefest of moments back in the mid-80s was out-thrashing even the mighty Venom, and doing it all with zero fucks given. They are to this very day the only band I’ve ever seen play a proper guerrilla gig, their legendary protest performance outside Metallica’s debut headline show at Hammersmith Odeon back in 1985 still ranks as one of the most “what the fuck” moments of total chaos I’ve ever had the “pleasure?” of experiencing in all of my 40 odd years of gig going.

 

Formed by drummer/singer Evo after he’d left Angelic Upstarts, his fine musical pedigree also included stints with Oi! stalwarts Major Accident and legendary shock rockers The Blood. Warfare might very well be considered the bastard sons of all those bands, albeit with a hint of metal shot through their sound due to the guitar histrionics of Gunner and thunderous bass rumble of Falken.

 

Warfare’s rather appropriately titled debut album, ‘Pure Filth’, was produced by one Algy Ward, and for me it’s still stands as one of the best albums Neat Records ever released, being right up there with ‘Black Metal’ in the noisy bastard stakes.

 

Subsequent Neat albums were produced by the likes of Lemmy (1985’s ‘Metal Anarchy’) and Cronos (1986’s ‘Mayhem Fuckin’ Mayhem’) but they never really topped the out and out musical carnage of their debut album and 1988’s ‘A Conflict Of Hatred’ aside by the time the ill-fated ‘Hammer Horror’ album finally crept out via FM Revolver in 1990 Warfare had somehow become a shadow of their former selves, sonically at least, with Evo retiring from the music business in 1992.

 

Returning some 20 odd years later for a trio of “demos” releases via German label High Roller Records. Albums that saw Evo reliving the magic of the band’s early days. The renewed interest in his band sparked Evo into re-joining the musical world once again, with him vowing to record the angriest Warfare record yet whilst drafting in the likes of Fast Eddie Clarke and Pete Way to help him make this dream come true. ‘Songbook of Filth’ then is the chance for us all to finally hear this material, something I couldn’t wait to get on the CD player.

 

Playing out in a non-chronological order, the 31 tracks spread out across three CDs (there’s also a twelve-track “highlights” vinyl LP available) and featuring some cracking demos, radio sessions, rare rehearsals/outtakes and live recordings, the set it meticulously curated by Evo via extensive track by track sleeve notes.

Highlights include new tracks ‘Black’ (featuring Fred Purser), ‘Cemetery Dirt’ (featuring Fast Eddie and Tom Angelripper) and ‘Misanthropy’ (featuring Fast Eddie and Pete Way). There’s also a brutal run through of ‘Burn Down The Kings Road’ recorded for Tommy Vance’s Radio 1 Rock Show, plus the ‘Metal City’ versions of ‘Metal Anarchy’ and ‘Rape’ which were previously only available on the dodgy as hell Neat Records compilation VHS of the same name. There’s a brutal version of GBH’s ‘Sick Boy’, a hilarious take on Robert Palmer’s Addicted To Love’ retitled as ‘Addicted To Drugs’, whilst the three-track tribute to Evo’s previous bands that bring the second disc to a close is topped off by an immensely trashy rehearsal version of ‘Degenerate’ by The Blood, a band who at the time of their legendary debut album (‘False Gestures For A Devious Public’) were writing better Damned songs than The Damned themselves.

 

So much more than just another compilation, or “best of” set, ‘Songbook of Filth’ offers even the most hardcore Warfare fan plenty of new listening material to get excited about. This most certainly is not just a re-hash of those old well-worn Warfare LPs from the ‘80s, and if you are quick enough you can even bag yourself a signed copy from the Cherry Red website (via the link below).

 

Get this bad boy on your “MUST BUY” list, because this is proper fucking Metal Anarchy.

 

Buy Here

Author: Johnny Hayward

 

 

 

L7 – ‘Wargasm – The Slash Years 1992-1997′ (Cherry Red Records)

L7 – ‘Wargasm – The Slash Years 1992-1997′ (Cherry Red Records)

Formed back in 1985 by Donita Sparks and Suzi Gardner, Californian rock hags L7 would release their debut album on Epitaph records in 1988. The band, now completed by bassist Jennifer Finch and drummer Dee Plakas would release the follow up album ‘Smell The Magic’ on the Sub Pop label and toured supporting Nirvana, sealing their Grunge status. But the band only gained widespread attention when their 3rd album ‘Bricks Are Heavy’ was released in 1992 on Slash Records.

 

Blasting on to our tv screens with the breakthrough single ‘Pretend We’re Dead’, L7 were the girl band we always wanted. Not only did they resemble 4 miscreants returning from a week at Glastonbury, live they were a ferocious, fully-charged rock n’ roll machine to be reckoned with. And they had the songs to back it up.

Produced by the legendary Butch Vig, ‘Bricks Are Heavy’ is choc-a-bloc with grunge anthems full of teenage angst and more hooks than you could pilfer from a salmon fisher’s bag. The aforementioned single was preceded by the anthemic ‘Everglade’ and the killer ‘Monster’ followed.

It’s an album you can truly call all killer, no filler. From album opener ‘Wargasm’ to closer ‘This Ain’t Pleasure’, L7 fire grunge-tinged, anthemic power punk on all cylinders. You can’t deny the pure rock power of a song like ‘Shitlist’ and it joins ‘Shove’ as possibly their finest and most memorable recordings.

Their spontaneous live performances gained as much press as the album (who can forget Donita pulling her pants down and exposing herself on The Word and throwing a used tampon into the audience at the Reading festival?) and these antics sealed the band’s legendary status. Included with this first disc are the b sides ‘Lopsided Head, ‘Freak Magnet’ and their gloriously ramshackle take on Guns n’ Roses ‘Used To Love Her’ (Re-titled here as ‘Used To Love Him’).

1994 follow-up album ‘Hungry For Stink’ saw the band riding a wave of commercial success, and while the album sold well, it didn’t really live up to expectations. But what it lacks in consistency it makes up for in sheer, punk rock rage.

Recorded in LA by Gggarth Richardson, ‘Hungry For Stink’ is a darker album lyrically and it lacks the tongue in cheek humour of its predecessor. Bask in the glory of lead track/single ‘Andre’, and ‘The Bomb’ is classic L7 for sure, but there’s nothing as immediate as ‘Shitlist’ or as powerful as ‘Shove’ going on here.

‘Baggage’ is all second-hand grunge riffs and shouting, with no discernable melody or actual chorus to write home about. But ‘Hungry For Stink’ has its moments for sure. ‘Stuck Here Again’ with its underwatery guitar riff and floaty, indified verse is a highlight that hints at the direction the next album would take and elsewhere ‘She Has Eyes’ sounds like Hole on a good day.

There was a lot of great albums released in 1994. Alternative music was edgy and dark. But ‘Hungry For Stink’ wasn’t quite the dangerous beast I wanted it to be.

Included with this 2nd disc we have a live version of ‘Baggage’, a great b side in ‘Punk Broke My Heart’ and an entertaining, if not weird 15 minute radio interview, which I can’t quite decide is real or a spoof. Either way, lets face it, you will only listen to it once.

 

1997 saw the band at a crossroads in their career. Bassist Jennifer Finch left the band during the recording of their 5th album ‘The Beauty Process: Triple Platinum’, so the album was recorded predominantly as a 3 piece and with 2 producers in Rob Cavallo and Joe Baressi. Friend and bassist Greta Brinkman was roped in to add bass parts in the studio and then Belly’s Gail Greenwood also joined them as a full time touring member.

The crisp, clean production and change in tone works well and the band sound fresh here. The grunge is toned down and the songwriting is amped up. There’s a new found confidence and a fresh approach.

First song proper ‘Drama’ is classic L7 with grungy riffs and sneering vocals. With a stripped back sound and cool gang vocals, ‘Off The Wagon’ is the obvious single. Indie vibes are prevalent throughout the album with the band coming on like contemporaries such as Belly and Veruca Salt on the likes of ‘Non-Existent Patricia’ and ‘Moonshine’ with its stripped back bass and drums verse, occasional surf guitar and a sweet chorus refrain.

While the band experimented and developed their sound, Donita had lost none of her knack for a screaming diatribe or two. Frustration and angst are continuing themes on the likes of ‘The Masses Are Asses’. Included on this 3rd disc are the b sides ‘Guera’ and ‘Worn Out’.

 

L7 would go on to release one more album before disbanding in 2001. Reuniting with bassist Jennifer Finch the band reformed in 2014 and following extensive touring released their 7th album ‘Scatter The Rats’ to critical acclaim.

This 3-album collection is lovingly presented with bonus tracks and extensive liner notes by Malcolm Dome and the band. It shows a band at the height of their career and remains a testament to what a tour de force L7 really were in the mid 90’s.

Buy ‘Wargazm’ Here

Author: Ben Hughes

The Almighty – ‘Powertrippin’ (Cherry Red Records)

The Almighty – ‘Powertrippin’ (Cherry Red Records)

With high profile tours and two well-received albums under their studded leather belts, Scottish rockers The Almighty found themselves at the pinnacle of the UK rock scene in the early ’90s. Not a week would go by without singer Ricky Warwick’s face peering moodily from the pages of Kerrang! or Metal Hammer. Leather jackets would be emblazoned with their skull & death wings logo at gigs, and hell, they even opened proceedings at Donington Monsters Of Rock ‘92. Their brand of dirty, biker rock n’ roll crossed rock genres and their shows would attract as many Poison t-shirts as it would Motorhead and Metallica.

But times they were a changin’ by the early ’90s, and the sound coming from Seattle was making waves across the world. An extensive tour with the up-and-coming Alice In Chains would inspire the band and take them in a heavier direction. Replacing original guitarist Tantrum with former Alice Cooper guitarist Pete Friesen would also mark a big change to the band’s sound and direction for album number 3.

 

With the onset of Grunge and having now found a new writing partner in Pete Friesen, Ricky Warwick and the boys relocated to a remote farm in Wales to write. Pete’s use of drop d tuning would inspire new ideas and a heavier sound that would take the band away from their punk roots.

 

‘The Almighty’s 3rd album ‘Powertrippin’ was released in April 1993 to rave reviews and would be their most successful release, reaching number 5 in the UK album charts. The first single ‘Addiction’ is the perfect example of where the band was heading. The one thing I remember from first hearing it is how heavy they sounded and how different the production values were compared to previous albums. Listening back now, to me those first two albums sound dated and ‘of their time’ (as many 80’s rock albums now do due to that drum sound). Whereas ‘Powertrippin’ sounds…. massive! This is due in part to producer Mark Dodson who obviously pushed the band hard in the studio and got the most out of them.

 

Don’t get me wrong, I love those first two albums, they had some great songs on there for sure, but to me, The Almighty had now come of age and morphed into the band I wanted them to be. ‘Powertrippin’ has a heavier, edgier sound that is more in tune with the times, yet still retains killer melodies and catchy anthemic choruses.

 

The following two singles continued the theme. ‘Over The Edge’ with its instantly familiar picked riff and gargantuan, anthemic chorus is pure The Almighty, a full-force, rock machine. Whereas ‘Out Of Season’ is a more subdued, moody affair that nods its head to what was coming out of Seattle, in particular Alice In Chains. ‘Sick and Wired’ could’ve been a single and the emotive ‘Jesus Loves You, But I Don’t’ surely should’ve been one. The title track is full of tribal beats and killer riffs, and that cool, effortless riff in ‘Instinct’ still gets me every time. Elsewhere, ‘Eye To Eye’ is a punchy closer, up there with the best. I can safely say there isn’t a bad track on ‘Powertrippin’ and it still sounds as fresh and vibrant today as it did in 1993.

Now of course, as this is a Cherry Red release, it’s been given the deluxe treatment. A bonus disc choc-a-bloc with rarities and curiosities from the era, makes this a worthwhile purchase for diehards and occasional fans alike. CD2 is a 16-track affair consisting of b sides, live tracks and demos. Most fans will probably have these tracks already, but it’s still great to have them collected in one pretty package.

 

Live tracks and covers versions from the ‘Liveblood’ EP are present and correct, including Neil Young’s ‘Fuckin Up’, The Sex Pistols ‘Bodies’ and their excellent version of ‘In A Rut’. Single b sides ‘Insomnia’ and ‘Blind’ are welcome additions and an acoustic version of ‘Hell To Pay’ sounds fantastic.

 

The demos are interesting as well, in that they show the progression of the songs from writing to finished product. ‘Out Of Season’ sounds like a completely different song in demo form, and is a great example of what a good producer can do for a band.

 

Also worth noting is the inclusion of ‘Soul Destruction’, the title track of the band’s second album, that was never actually recorded, so the inclusion of the previously unavailable demo is a nice throwback.

 

With extensive liner notes from the band and Malcome Dome, this 2-disc edition is a must have for fans of The Almighty and the perfect companion to the forthcoming ‘Welcome To Defiance (1994-2001)’ box set also available on Cherry Red records.

 

For me, ‘Powertrippin’ is the highlight of the band’s career, an album that came at a time when rock music was going through changes. Brit Rock was on the horizon, and with the likes of Terrorvision and The Wildhearts in the charts, the UK rock scene was very healthy and exciting. While The Almighty continued with a run of strong albums, I feel ‘Powertrippin’ remains a testament to how great and how powerful they were at the height of their career.

 

Buy Powertrippin’ Here

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Author: Ben Hughes