With some bands, you always know that a new album is worth the wait. It’s been five years since ‘The Sparky Sessions’, around the same time that I finally got to see them live. My final gig prior to the pandemic, and thankfully it was every bit as great as anticipated.

‘Back In Time’ sees the variety and class that we’ve come to expect from the band. ‘Sometimes Late At Night’ swaggers from the speakers, style and substance personified. Emanuela smolders as only she can on ‘Summerlove’, like the blackest velvet. As with many of their songs, it could easily be the soundtrack to a film noir classic.

‘Knocked Down’ you may already be familiar with, as the first video from the album. Oliver’s lead vocal is as smooth as ever, next to his slap bass and Emanuela’s ethereal backing vocals, while Duncan pulls all the right sounds from his Gretsch. ‘1979’ veers towards classic Blondie, clearly a good thing when you can pull it off with panache. Ideally, this would be playing on your radio on a regular basis.

‘I Live In My Head’ was made for dancing too, hopefully, we’ll get the chance again soon at a club near you. Short and sweet. ‘Sudden Ring’ is another fine, slow song from Emanuela, she makes it all sound effortless. In a word, seductive. ‘Jet Fuel Rock N Roll’ brings back the boogie to get your boots moving, and ‘Let’s Go (Back In Time)’ has a hypnotic, Cramps-style rhythm that you rarely hear anymore.

‘Nothing Takes The Place Of You’ appears to be the only cover version, proving that the band can take a reggae song and put their own stamp on it. ‘Always Just You’ sounds like an Elvis ballad, with Duncan’s guitar picking following Emanuela’s vocal melody, and ‘Death By My Side’ introduces some gothic country to the mix. Reminiscent of The Phantom Chords at their best.

‘Reno’ by Emanuela ends the album on a classy note, the tune seemingly already familiar, yet it sounds fresh and new. Class never dates, and The Hillbilly Moon Explosion never let you down. Long may they continue.

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Author: Martin Chamarette

With the mighty Flamin’ Groovies being the sound of summer chez moi, it seems appropriate to review this double CD live release from Cleopatra Records. With the lion’s share of tracks being from the Roundhouse gig of 1978, and the rest from the Imperial College in 1976, this is the classic line up of Jordan, Wilson and Alexander. On the one hand, this was the band at the height of their live power, tight and focussed. On the other, I’d really like to hear the Roy Loney era gigs, to absorb his more unhinged approach.

1978 kicks off with ‘Between The Lines’, and it’s a reminder that we’re lucky to have The Speedways nowadays. It’s a similar knack with a tune, simple but somehow clever at the same time. ‘Lady Friend’ shows their talent for melding Beatles and Byrds melodies without sounding too earnest, which makes the inclusion of two Beatles songs all the more puzzling. ‘Please, Please Me’ and ‘From Me To You’ are decent enough homages, the drummer nailing Ringo’s hi-hat shenanigans, and the crowd sound happy. Maybe the band wanted to move away from the Loney material, but didn’t have too many songs to choose from?

However, we do get to hear the classic ‘Don’t Put Me On’, which is essentially ‘Shake Some Action’ Part 2 (this isn’t a criticism!). It remains one of my favourite songs, and currently, in France, the fabulous François Premiers do a cracking version. Along with ‘House Of Blue Light’ and ‘Reminiscing’, there’s Cliff’s legendary ‘Move It’, which feels like a better choice of cover version.

1976 has to include ‘Shake Some Action’, obviously, still one of the best songs ever. Sound quality is a little shaky (sorry), but worth hearing nonetheless. You don’t want a slick sound, do you? It’s beautiful as it is. ‘I’ll Cry Alone’ is gloriously melancholy, while the run through of ‘Miss Amanda Jones’ might remind Mick and Keith to dust it off whilst they still can. And they rattle through ‘Hey, Hey, Hey!’ in a manner to get Jim Jones’ foot tapping.

Also included is an alternative take of ‘Slow Death’ and the Courettes’ mix of ‘Shake Some Action’, which is pleasant enough with its Spector Sound and added drums, but you can’t improve on the original. So, if you want to experience the 60s by way of visiting the 70s, this is a fine destination, daddio.

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Author: Martin Chamarette

If you’re going to bow out after almost half a century then you might as well go out windmilling slinging out banger after banger and no sign of going out with a whimper at all. It might have gone under the radar a little or rather slipping out of the party without fanfare which is unfair really because Knox and the band have endured and managed to leave behind them a fantastic catalogue of albums and singles and recent output has also been worthy of carrying the name and produced some of the bands best offerings. Every time I think this is it and maybe the latest album will be the death knell and they go and dish up an album full of excellent tunes. over twenty full-length albums, a heap of live recordings, eps, singles, compilations, and a whole lot more besides. You can add ‘Fall into the sky’ to the illustrious list and the band can bow out with their heads held high and bursting with pride.

What you have here is quintessentially a Vibrators album – it’s classic – it’s a fuckin’ Rock and Roll record – no reinventing the wheel, no drop in standards, no bullshit just fourteen tunes with melody, distorted guitars and a band who bloody-well know what to do with it. From the opening hard rocker ‘The Owl And The Kangaroo’ you know all the vital components are present and raring to go. ‘He’s A Psycho’ continues with an agressive punch then ‘Burning Me Up’ wraps up an impressive triple threat to open up the album. They might not have been ‘Whips And Fur’ or ‘Baby Baby’ but they have the upper eshelons of Vibrators tunes happening.

The pace drops but the quality reains for ‘Battlefield’ and ‘Rock My World’. But then we have ‘Dry Down Under’ which is amazing with its Bowie-like melody and vocal delivery and the Rono guitar break is exquisite. To be fair I thought ‘Mars Casino’ was excellent and had they bowed out there and then – then so be it. This however is next level. The title track closes out side one of the album and with Knox’s vocal sounding warm and engaging the ebow howling on the solo is a great arrangement and send the song soaring with a really warm yet raw guitar chord sequence chopping out the rhythm.

Side two begins with the measured ‘Tomorrow’ before getting in a more rapid frame of mind with the groovy ‘Devils Playground’ where they certainly show “the Kids” a thing or two in delivery of a great Rocker. ‘Love Changes’ is one of those Knox melodies that enters your head on a subtle melody then the riff twists and turns towards the chorus before laying back down. Theres a familiarity with some of the riffs but theres no denying they have energy and with the usual great production sound fresh and vibrant especially on ‘Part Of Your World’ before we reach the end of The Vibrators road and ‘So Long’ is a teary acoustic number which might have been predictable and a check of the rear view mirror of a career that had its ups and downs but is going out in style. You can’t stop time we know that but bowing out with your head held high isn’t something a lot of bands do and havign the grace to know when to go shows their class. Thanks for the music guys its been a blast and this set of songs will be as cherrished as ‘Pure Mania’ is. My advice is buy it, its a time capsule of class songs by a class band. Goodnight Vibrators its been a pleasure and never a chore.

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Author: Dom Daley

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


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