After the last studio album from The Fuzztones paid homage to the scene in NYC that they crawled out of it seems right that Rudi and the gang tie up all the loose ends with this rather fine collection of odds and sods fittingly entitled ‘Encore’ The Fuzztones offer up no faux retirements or fake goodbyes much like the Ramones did their adios amigos and they were gone. Let’s just take a short pause from 2020’s ‘NYC’ and then get the fuck out of dodge leaving a whiff of dry ice and an ear full of top tunes. A little something extra for those who stuck by the band for the long haul so to speak. Rudi Protrudi has gathered the gang for one last wheeze of that organ and damn the fuzzed-up tones have only brought the cowbell for added groove and included Iggy for good measure. What’s not to love here folks? Exactly.

Cover versions of obscure gems such as ‘Land Of Nod’ by Rare Earth, ‘Plastic People’ by late ’60s psych-rockers The Wildwood. The shimmering cymbal clash of ‘Marble Hall’ with its cathedral-like backing vocals. But don’t think that The Fuzztones can’t still rock out when they need to as ‘Eyes In The Back Of My Head’ testifies. It also features special guest appearances by Steve Mackay of The Stooges and Wally Waller of The Pretty Things for weight and added authenticity.

The closing track is a natty ‘Santa Clause’ before the Fuzz pedal is put away and the record groove loops out. I hope Gene and Paul have a word with Rudi and the gang and can find it in themselves to not stop and retire because it’ll be a sad day when I don’t get to spin a new Fuzztones record a band I’ve listened to and loved since I saw them support the Damned in the mid-80s. If it is that last refrain from these NYC legends then take a bow and lap up the applause which is thoroughly deserved. ‘Encore’ a fitting a worthy bow right there. Great stuff!

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Released a few months ago it took a crazy amount of time for my copy to get over the ocean from the USA to the UK but after a few weeks of playing it I’ve decided Anti Flag should record all their records in this fashion and fuck polishing them just hit record and lay the damn things down – it sounds fabulous.

Anti-Flag formed in Pittsburgh in the late 1980s, as a reaction to the turgid Reagan years that melted into the Bush reign. America was a right wing powerhouse the only good thing to come out of those administrations was a wealth of punk rock kids who were motivated to kick against the pricks and in the early 1990s, Anti-Flag released a cassette titled ‘17 Song Demo’, full of raw fury and Clash inspired energy, and they weren’t afraid to say what was bothering them.

To be fair to bands like Anti Flag it’s like Groundhog day with Trump leading America for four years that same anti-Regan and Bush movement had someone else to rage against the machine which kept them relevant musically and lyrically. 17 Song Demo, has been released on CD and vinyl, with an eighteenth track, a cover of “That’s When I Reach For My Revolver.” Some of these songs would be re-recorded for their 1996 release ‘Die For The Government’.

The LP kicks off with ‘They Don’t Protect You’, a song about how the police don’t protect the poor. You’d never think it was written several decades ago! This song has great, harnessed energy about it, and whilst being a demo it sounds tight. It’s followed by “Red, White, And Brainwashed,” which comes at us at a furious pace, and touches upon the systemic racism of this nation. “They call that being a patriot/Well, I just call it ignorant/If you don’t fight to make thing better/Then you’re the one betraying this country.” Oh yes! “Your Daddy Was A Rich Man (Your Daddy’s Fucking Dead)” is a middle finger to people who come from privilege and do nothing good with it, the exact people who think their riches are some kind of superior status and put them at odds with the real world. This spirit and energy is something they manage to keep harnessed throughout the record, it should be given away in schools to disenfranchised kids to show them that music can set you free and be worthwhile. Get away from the phones, computers, social media there’s a great big world out there.

Anti Flag were ahead of the curve when these songs hit as they were a tight unit who had principles and a punk rock ethos that is admirable and more than anything, needed in a world that seems to not give a shit day after day after day.

“Kill The Rich” is like the bastard child of ‘Sonic Reducer’. ‘Betty Sue Is Dead’ is another great song that shows how the band could groove and it wasn’t all crash bang wallop. They could do covers as well and make them their own like the extra track, a cover of “That’s When I Reach For My Revolver,” originally done by Mission Of Burma. All in all a very respectable collection of songs that are well worth investigating, It’s great to see how the band evolved and how they broke out from the first official album that set out their road map for success on their own terms and they’re still going strong.

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Author: Dom Daley

Open your mind and just let the music do the talking.  That’s how I approached this album of covers from the Skids but it had to meet certain criteria before being considered for inclusion on this album and to be fair, they only bloody well pulled it off!

Veteran punk rock outfit Skids have returned with a powerful new studio album that pays tribute to the band’s hometown venue, the historic Kinema Ballroom in Dunfermline, Scotland. Both a live venue as well as a traditional dance club, the Kinema became a musical and cultural epicenter for the youth in Scotland’s Fife province, especially during the late ‘70s, early ‘80s punk rock movement. It would also become the home venue for Skids who played numerous shows at the Kinema as both a support act for such legendary bands as The Clash as well as the headliners for multiple sold-out events.

Now, Skids take a walk down memory lane, performing songs by the bands who influenced them in those early years. ‘Songs From A Haunted Ballroom’ includes versions of tracks by The Clash, The Adverts, Ultravox, Sex Pistols, and Magazine PLUS new versions of their own early hits “Into The Valley” and “The Saints Are Coming!” so laying themselves open by covering some iconic punk tunes.  Let battle commence.

The first single from the album, a supercharged version of Ultravox’s ‘Young Savage’ is an eyebrow-raising moment because it’s both vibrant and has boundless energy. Then it’s one of those peek through your fingers moments as they take on ‘Complete Control’ and again I breathe a sigh of relief because they manage to stay on the right side of the cover version style and don’t do it cabaret style.  Capturing a good sound on those guitar crunches that was Jones and Strummers style and Jobson does a convincing job on the vocals.  Purists will no doubt be all over this complaining about one thing or another but I think they do a sterling job and pay tribute rather well.

 

As I relax a bit more it makes sense they do ‘Gary Gilmore’s Eyes’ it’s more Skids style and again it’s really well done. They even manage an energetic take on Rockpiles ‘Heart Of The City’  so its not quite there but to even take on such a top tune deserves some kudos.

 

What this record does do is send your mind back to what seems like better times when music was pouring out of every nook and cranny of the UK and everyone seemed to be indulging in pop culture in one way or another.  I guess they were simpler times with fewer distractions for young people’s time and energy.  I just hope Jobson will wear the Glove when they play ‘Rock On’ Live.  Cool song and a cool respectful take. One of the best versions here is ‘violence’ (never have too much cowbell), not enough bands sound like Mott The Hoople anymore.

 

Some of the best tunes here are indeed the lesser-known covers or ones you weren’t expecting  ’35mm Dreams’ springs to mind and to be fair the guitar sound captured on ‘Submission’ is most worthy then laying it side by side with ‘New York Groove’ is a great idea and two very different genres collide.

 

It’s hard to fuck up a cover of Iggys ‘I Wanna Be Your Dog’ such is the majesty of the track and Skids manage to avoid any embarrassment but making it a CD-only track is a little puzzling considering the vinyl revival going on.I guess it seems only fair that the band includes two of their most famous tunes as part of this look back at what made the band sound like they did and ‘Saints Are Coming’ is still a fantastic song as is ‘Into The Valley’ and fond memories of school discos come flooding back.  This only leaves the final track which again is a CD-only affair with Vinyl lovers.  ‘Christmas In Fyfe’ is their very Scottish affair and maybe one vinyl lovers won’t mind being omitted but don’t let that distract you from what is a really good album.  On the back of the acoustic record which again I really enjoyed this will also nestle in nicely in my collection – Check it out and remember your own memories of when new bands and sounds were hitting your ears on a daily basis.  Ah, the memories thanks skids this was a real tonic!

 

Pre-order the CD & vinyl: Here

Pre-order/pre-save the digital: https://orcd.co/skids_songs_from_a_haunted_ballroom

Author: Dom Daley

The Fuzztones Celebrate Their 40 Year Anniversary With A Heartfelt Love Letter To Their Home City of yup, you guessed it Noo Yawk City.

When I checked the track list I did a double take as I thumbed down the tracks wondering how these purveyors of wee small hors garage rockers were going to take on the tunes or had I just imagined that Rudi had finally lost his shit and gone for songs I’ve never heard but on the first play, I was on my feet shaking my head grooving like a good un because God damn it Them Fuzztones had only gone and knocked this one out of the park and just when you thought they’d bitten off more than they could chew they would only go and raise the bar a little higher. I mean c’mon, sure going for The Fugs is something I could see, or even the fine rendition of ‘Dancing Barefoot’ closing off the record is done with the utmost respect and perfectly in keeping with the idea that The Fuzztones were going to own this record take these songs and lovingly recreate them into their own unique fuzzed up slice of the big apple.

Opening with a Sinatra classic and making it jive and groove will raise an eyebrow and get people talking but hitting Wayne County ‘Flip Your Wig’ was perhaps more predictable and with the familiar Fuzztones organ honking away towards the chorus its a decent stab but its quite safe. Again The fuzztones tackling the Cramps is a no-brainer and ‘New Kind Of Kick’ is respectfully carved up.

Hold onto your hats kids because their reconstruction of The Ramones ’53rd & 3rd’ is spectacular and I love it.  they’ve nailed the chorus and the vocal delivery from Protrudi is brilliant. ‘Psilocybe’ is spooktacular and then the band let their collective hair down and crack open the harmonica on ‘Skin Flowers’.

I guess the songs I gravitated to the most were The Dead Boys and Dolls tracks so when I heard ‘High Tension Wire’ begin I sat back and appreciated that Rudi and the gang had really excelled on this one with a particularly good vocal. Sure ‘Babylon’ had the organs turned up to eleven and a suitably trashy take on a classic is duly delivered.

Its fair to say I was a bit surprised to see a Blue Oyster Cult track nestled in between some classics and its dwarfed by the version of Mink De Villes ‘Let Me Dream’ which I think pips the original for the groovy guitar work and the harmonica is excellent and whisper it but Rudi Petrudi is having a ball with the vocals.

‘Microdot’ is a take on ‘Chinese Rocks’ and given a royal garage psychedelic wipe down. but the one track I wanted to be done well more than any on offer here was the Dead Boys ‘ Not Anymore’ and its twisted a little by being sped up but the haunting feel is still intact and the lyrics still sound amazing. Could The Fuzztones all take a bow here because they’ve really stepped up here and the reconstructing of some seriously classic songs has really worked well. Leaving only the Johnny Thunders and The Heartbreakers rare track ‘You Gotta Lose’ being worked over out the back yard with only a switchblade knife between the original and this take and then ‘Dancing Barefoot’ wafts in on a cloud of mysterious substances like some ’60s black and white B movie.

Protrudi & Co have sealed this l-u-v letter with a kiss and swanned off having taken their curtain call and been called back for an encore that they throughly deserve.  To be fair they’ve owned each and every song here and have goven every one the Fuzztones make over and come up trumps because to cover a song and do it justice is a tricky thing but to do it for a whole album is really taking a risk and for and The Fuzztones deserve to own these classics – #Never forget your roots kids and never forget to tip your hat to those who paved the way and gave you the lifeblood coursing through your veins.  The Fuzztones – ‘NYC’ was never in doubt, was it.  Rudi, the Big Apple loves ya man it’s at the core of what you do and you’ve paid your respect in the best most fuzzed-up way. – Buy It!

Buy ‘NYC’ Here

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Author: Dom Daley

I’d heard recently that a certain Mr. Scabies was providing the drums for ex-Ant/Wolfmen bassist and singer Chris Constantinou’s new project. Having played The Wolfmen’s albums to death previously, this was bound to be interesting.

 

It is a side-step in retro sounds, to these ears. Most musicians ape the 60s, but this is firmly in the “90s take on psychedelia” territory. Hang on! That’s not as bad as it sounds. While Chris didn’t play on Adam Ant’s ‘Wonderful’ album from 1995, tracks like ‘Beautiful Losers’ and ‘Definition’ wouldn’t sound out of place there. He’s learnt something from the backing vocals, for sure. ‘Rain’ is woozy, psyche-pop, with the effortless basslines we’d expect.

 

‘Kings X Guru’ has Rat providing the groovy, Beatles rhythms. ‘Andy’s Wonder World’, musically at least, reminds me of The Dowling Poole’s more laid back moments. ‘Kill Me If You Love Me’ is more chorus friendly, while ‘2% Out’ could see you frugging round the sofa with your maracas, man.

 

It certainly has a character, as an album, and Chris obviously knows what he wants. I’d have liked a few more uptempo songs, but that isn’t really what this is about. ‘I Like Sex In The Suburbs’ is what Liam G should be singing, and ‘Gerry’s Ashes’ is reminiscent of ‘Floodland’ era Sisters. So, an interesting set of songs, if you’re in a mellower mood.

Buy 2% Out Of Sync’ Here

Author: Martin Chamarette

When two legends join forces it should be something to get excited about.  Hype it up baby I say.  If you were to mention Radio Birdman or ‘Raw Power’ by the stooges people who know a thing or two about Rock and Roll would pin their ears back and rub their hands at the prospect of the two guitar player making a record together.  Following in the footsteps of previous pioneers such as Wayne Kramer and Brian James or the ill-fated union of Johnny Thunders and Wayne Kramer the prospect of James Williamson and Deniz Tek joining forces is a mouth-watering prospect.

Wait no more pop pickers for ‘Two To One’ is here the two legendry six-string players and let me tell you it doesn’t disappoint in any way shape or form.

Sure the opener ‘Jet Pack Nightmare’ is a wall of hard-rockin’ guitars sounding like prime time Thin Lizzy rocking on a garage rock backbeat and no sooner has it hit the speakers are you immediately taken to that place where music fans grin from ear to ear and know that these two are about and they compliment one and other perfectly. Scandinavia has spent decades trading off the work of these two and bands like the Hellacopters owe a huge debt to their skills and now the old dogs are about to teach a few new tricks.

Reading the pair’s mutual admiration for each others work both historically and current is heartwarming and the fact that they both found the time to do this is a real triumph.  Williamson’s last foray into the recording world was the most excellent ‘Relicked’ album but that was a whole six years ago! so having Deniz on board was an exciting proposition.  The lead track ‘Stable’ sure has that guttural ‘Raw Power’ ‘Kill City’ sludge to it and its begging to be played at volume –  where it really excels and sounds best and the inclusion of the one-note piano is a classic touch.

To be fair I was wondering how the vocals would be split and if they had the chops to pull it off. To be fair I don’t know why I doubted either because they stay in their comfort zone and the low almost spoken tones really work to temper the rough edges of some of those raw guitar licks and has an air of reassurance about the vocals throughout the record.

 

The pair take on subjects like ‘Climate Change’ and are a match for any band making garage rock and roll records in 2020. The enjoyment shines through as does the effortless quality riffs as they fly out of the speakers.  Its not all raw power mind, they crack open the melodic, restrained laid back tones for the likes of ‘Take A Look Around’ with some impressive harmonies and the excellent acoustic-driven ‘Small Change’ which add depth to the record not that it would have been boring had it just been eleven driving proto-punk anthems but by the sounds of it this was a well-thought piece of work and not thrown together.

As the album wears on, its the changing of gears that make this record one of the best I’ve heard all year.  The restrained build of ‘No Dreams’ and the widescreen lyrics that draw you in are excellent. The closing track ‘Mellisa Blue’ is more Lou Reid than Iggy Pop and by the sounds of it, the pair have taken the time to write a great record and not just live out what people would expect them to be for one last hurrah! The reason these two can still make records like this is that they are great songwriters and their catalogue of music will tell anyone that. It’s not luck, its skill and talent and it’s one of those ideas that came together and just feels right. By the sounds of it ‘Two To One’ is all killer and no filler, maybe the next one can be called ‘One Becomes Two’  what d’ya think? take my advice and just Buy It!

 

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Author: Dom Daley

 

A couple of years ago I just happened to bump into Rose Tattoo’s Angry Anderson at Hellfest for the briefest of chats following the band’s blistering set on the festival’s main stage. He let it slip to me that the line up (albeit minus the stand-in drummer at the time) would soon be hitting the studio to record the first Tatts album since 2007’s ‘Blood Brothers’ and I must admit that at that point my inner Rose Tattoo fan did do a little fist pump.

As 2019 drew to a close I then happened upon the fact that said album was finally due to be released in early March 2020 and it would be entitled ‘Outlaws’, BUT as a rockin’ amigo of mine was quick to point out…whilst it may be a new album it wasn’t really new material being recorded. That’s because ‘Outlaws’ is the band’s SEMINAL ten track debut record re-recorded complete with three bonus tracks; songs originally written during that era but not originally on the debut.

On learning this my initial gut reaction I must admit was to holler ”WWWWHHHHHYYYYY?” I mean how can you improve something that is already perfect?

Winding my neck in for a minute and recalling having once seen a Rose Tattoo show at Dudley JBs where Angry (suitably refreshed, due to it being his birthday) totally reworked the vocals on most of the band’s back catalogue, I was now more than just a little bit intrigued to see what this would sound like. Plus, when you also factor in this line up now also boasts the talents of Mark Evans (ex-AC/DC) on bass, (ex-Skyhooks and The Angels) guitarist Bob Spencer, slide guitar player Dai Pritchard (who had been hand-picked by the legendary Pete Wells to replace him not long before he passed away from cancer) along with (Jimmy Barnes’ son) Jackie Barnes now behind the kit, it must at least be a half-decent record right?

Well, yes of course it is, not least because it’s well recorded, the performances are tight (albeit Angry does a bit AWOL on a couple of tracks, not least the “ahem” bluesy love song ‘Rosetta’ where he kind of vocally jams around the tune – let’s not forget he is 72 though), and as I mentioned above a few of the classic tracks do get some fresh air in their lungs (especially a bruising ‘Remedy’ and an almost Faces-like take of ‘Snow Queen’ which are both excellent) thanks to this great line up of the band.

HOWEVER, then when it suddenly sinks in that (if you live in the UK) it’s going to cost you £30 plus just to own ‘Outlaws’ on limited edition coloured vinyl or £15 on CD I come to the collusion that I’ll probably just stick with the much cheaper option of simply streaming it (and that’s the platform I’m reviewing this from here), as its most certainly not as one Amazon reviewer insanely claimed “better than the original”.

‘Outlaws’ is still very much a decent Rose Tattoo album though; it’s just that it feels more like one of those bonus discs reformed stadium rock bands recorded when they released new material. You know that limited bonus “hits” disc to try and attract older lapsed fans back into buying new music once again. So, as such ‘Outlaws’ is something of a disappointment, especially after the quality ‘Pain’ and ‘Blood Brothers’ records that preceded it.

Who was it again that said “always trust your gut reaction?”

Buy ‘Outlaws’ Here

Author: Johnny Hayward

This fully restored and expanded set from Woolwich Coronet This 2020 version has been newly remastered and includes several tracks that were left off the original release! Includes all-new artwork with full liner notes and a personal message from drummer Rat Scabies !

Available on both digipak CD and a 2LP vinyl set in your choice of either RED or BLUE vinyl! I had this when it first came out many moons ago and loved it.  It captured the band at the time perfectly.  whilst they might have been at a commercial career-high the studio albums were a bit beige around the time of MCA but live they still had it and that tour was a blaze of fun.

Expanded to nineteen tracks this is well worth tracking down and getting hold of from the opening keyboards of ‘Curtain Call’ they were on fire. The quality of the recording is good as well not overdubbed nor flat this is a picture of a band living it large and doing it well. As you would expect there is a decent smattering of tracks from ‘Phantasmagoria’ and ‘Shadow Of Love’ particularly sound great. As does the much-maligned ‘Grimly Fiendish’ that I quite enjoy hearing live these days and back in the day or the mid-’80s to be precise it was quite a departure. It seems odd to hear tracks like ‘There’ll Come A Day’ played so fast and full of energy. that tour with The Fuzztones was exceptional and I have such fond memories of Cardiff New Ocean Club.

‘Gun Fury’ makes me smile as does the version of ‘Lust For Life’ 1985 seems like yesterday but its also so long ago.  when the Damned could have been and should have been we are left nuggets of pure Gold like this recording to remind us that it doesn’t matter what happened commercially because they were always the best and still are capable of amazing shows and the odd record that ignites a fire inside my heart and it seems odd to hear them end the set with a one two of ‘Disco Man’ Val Doonigan style followed by a rip-roaring slash of ‘Born To Kill’  If only all bands were this good.  Don’t think twice just buy it and revel in it. Fiendishly good!

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Author: Dom Daley

It only seemed like yesterday that The Brutalists breezed through the door with an album that made many people sit up and pay attention as these seasoned pros (I’m sure they won’t mind that) used every sinew of nous between them to craft one of last years best debut albums. I’m pleased to announce that 2019 they’ve seen fit to put on their dapper zoot suits and loafers and jump on their Lambretta’s to deliver their sophomore album ‘We Are Not Here To Help You’.

Let’s get straight down to business with ‘Leave IT Out’ (try not to put on your best arfu Daley when saying that. It’s bright and breezy as it ducks and dives around in its pork pie hat and finest Mod fretwork.  With a nod and a wink to the ’60s rhythm and blues we’re right on it. What you might call a right solid opener.  Not spectacular and certainly not disappointing. The guitar playing is tasty and the solo is retro tastic.

It’s not about the singer its not about the image it’s about the song and These Brutalists have got a duffle bag full of ’em. Nigel Mogg guitarist/vocalist Kent Holmes, bassist Robert Cripps and vocalist/drummer Charlie Nice are knocking out a really good legacy of tunes as The Brutalists ‘If I Just Do Nothing Now’ is complimented by a really sweet rolling organ underneath the melody as that Cockney charm is given a workout.

‘Take It All Away’ gets a bit Bowie funky on us and shows that this isn’t just a one-trick pony although it fits in with the bigger picture it’s more akin to the Stones around their ‘Emotional Rescue’ phase perhaps even on the middle eight it has shades of Japan or a more pop sensible Hanoi Rocks I kid you not. ‘Something To Say’ falls outta Notting Hill in the late ’70s and no doubt Mogg gets his best Strummer happening as the band chill out and kick back. Getting a little deeper in their Ska ‘Price On Your Head’ is an excellent bit of skank as the musicians really cut loose.

If you never heard the debut and thought you might be picking up a Rock album considering the LA Guns and Quireboys connections then I suggest you take a deep breath and open your mind to new sounds because this isn’t like either this is something else entirely with elements of the Small Faces and the Clash mixed with some Rock and Roll and Ska this is a mixed bag for sure but its the sound of a band really working on their songs and delivering another impressive record ‘You Got Nothing On Me’ rocks it up to compliment the laid back vibe of the previous few tracks but essentially this is a band comfortable making music they want to hear and writing the second album of really strong material it might be lacking the instant appeal of the first one based on the fact that I expected to hear something along the lines of what they deliver and I’m glad to report that it doesn’t disappoint.

Fear not rockers because ‘Useless Information’ is a sweet little rock and roller.  If only Keith and Mick could put an album together as good as this these days fans would be drooling. The last part of the album is definitely in Stones territory and the sum up this album on the final track ‘It Was Never Meant To Be  So Easy’ well, that’s certainly what they make this Rock and Roll business sound like, It’s not a piece of piss is it? but the Brutalists make it sound like that.  I strongly suggest you at least check this out but I’d go further and say just Buy it you won’t be disappointed.

Buy We Are Not Here To Help You Here

Author: Dom Daley

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This has been a really strange review for me, it’s, in fact, the second review I’ve written for it, I scrapped the first thinking it just didn’t fit. Not easy this reviewing lark!!! I mean come on I loved the Beat, love Ska, have very definite reggae roots but something wasn’t fitting with this LP. Maybe before I heard it I had too fixed a perception of what it was going to sound like, maybe it ticked too many of my boxes and I just ran out of things to say? Who knows, but here we go the second stab.

 

Opener ‘Rebel Down’ skanks out of the speakers, Ska with a great punk edge, I can imagine the band opening with this baby and sending a venue mad. Next up “Tattoo King “slows things down with a more traditional Ska beat, grounded in the dancehall as does next up “When I call Your Name”. There’s almost a Lovers Rock lilt to “Girl and Boy”, yeah it holds on to that Ska underpinning but drifts across the reggae genres. I suppose I was expected more of the excitement generated by the beat, but let’s be honest musicians tend to gravitate towards their roots or influences.

 

Next up “Be As One” picks up the pace, but feels restrained, almost held back, but again definitely a track I can see in the live arena really exploding getting the place moving. Next up “Wrong Shoes” again skanks nicely but has that feeling of restraint, something being held back. There’s a pattern developing here!!  “Original Rudegirl Sound” again Skanks out of the speakers but doesn’t explode in the way it could. live I think this would be stunning, I just wish it didn’t feel so held back. “Why Oh Why” again hits almost a Lovers Rock vibe, only the horns hinting at its underpinning, I sound like a broken record this would sound great exploding off the stage, the dual vocals countering each other could give it a real edge. “Ska to the Beat” strays into Madness territory, but with a more traditional feel, this could almost have come out of the sixties dancehall sound in Jamaica.

 

Next up “Dirty little Liar” again hits that traditional Ska sound and in all honesty prior to next up “Way of Life” the LP had begun to lose me, this to me is probably the stand out track on the LP, it kicks some serious ass, skankin’ as it should but then we drift with “Way I love you” and “Woulda Coulda Shoulda”.

 

Now if you’ve read this far you’d probably think, well is it a good LP or not? Truth is I’m really not sure what I think. As a traditional Ska LP, it ticks every box, live I can really see it sending a venue into a frenzy, as the band did at this year’s Rebellion Festival. But for me something’s not quite right it feels restrained, almost lacking in confidence, not quite sure of its place or time, almost held back, let the fucker explode!!!! This could be immense.  I suppose that’s why I’ve written this twice, live it would be absolutely immense but on LP it hasn’t quite done it for me.

Buy Rude Rebels Here 

Author: Neville Brooks