Various Artists – ‘Silver Patron Saint – The Songs Of Jesse Malin’ (Sweet Relief)

Various Artists – ‘Silver Patron Saint – The Songs Of Jesse Malin’ (Sweet Relief)

Wow, simply wow. Talk about PMA when I first got wind that a Various Artist record was coming out to help Jesse with his medical bills I thought that was so cool and being something he’d be fully behind if it was one of his peers but hell, I wasn’t expecting a triple album with quite so many platinum artists rallying around and all adding their own twist on Jesse’s songs in such a majestic way.

Often a contributor to other people’s causes, Malin being the humble human he is must be blown away by all the musicians who have rallied around him, from Springsteen, Billie Joe Armstrong, Lucinda Williams and Elvis Costello, The Hold Steady, Tommy Stinson, Alison Mosshart (with the late Wayne Kramer), Tom Morello, Counting Crows, Dinosaur Jr., The Wallflowers, Spoon, Susanna Hoffs, Frank Turner, Rancid and many more. The full album tracklisting is a proper trawl through his career from the glorious D Generation days right up to the very recent past.

Anyone whos seen Jesse live knows how funny and compelling his performances are be it so or with a band he is a commanding spirit who also knows how to introduce a song with a special story and a superstar clang here and there. Rolling Stone magazine editor David Fricke, said it best when he wrote that “Jesse Malin knows about scars, from his youth, observation and more. They all carry tales, and he’s not done telling them. ‘Silver Patron Saints’ is the gang back at the bar, coming to the stage to toast the composer and his story so far.”

I don’t want to overstate how good this is and to go through every song would be a war and peace review so I’ll focus on first impressions and the stand-out cuts. Sure Springsteen owning ‘She Don’t Know Me Now’ is a stunning Americana interpretation and showing how damn good a writer Jesse is both lyrically and musically. I also love ‘Oh Sheena’ covered by Counting Crows frontman Adam. Also, Green Day frontman Billie Joe really cranks it up on ‘Black Haired Girl’ and it sounds so good it could easily have been a stand-out track on ‘American Idiot’ or 21st Century albums.

Hearing a ragged ‘Brooklyn’ absolutely owned by Dinosaur Jr is stunning. Owning a song but retaining its beating heart is no easy task and changing it without going too far from its roots is a fine art but Mascis does it superbly. The supergroup that dusts the cobwebs off ‘Turn Up The Mains’ Wayne Kramer, Tom Morello, Steve Van Zant Mike Watt and Joey C join Alison Mosshart for a blistering rip through the song. Lucinda Williams has been a long-standing collaborator with Malin and here shes joined by Elvis Costello for ‘Room 13’. Frank Turner plucks out a tune before Spoons takes a stroll through ‘The Way We Used To Roll’.

As the first half of this release takes a breather with the beautiful Rocky O’Rourden interpretation of ‘Shane’ you take in the diversity and consistently strong songwriting Malin has dished up for decades. Sure he’s surrounded himself with some awesome musicians from the D Gen days right to the here and now but his lyrics are also noticeably excellent, I always hear a line and smile at just how good it was and there are plenty on offer here and some I’d probably forgotten but hearing these talented artists shine a new light is stunning.

Butch Fuckin Walker twists ‘Modern World’ and owns it before Susanna Hoffs freshens up ‘High Lonesome’ beautiful song. One of my favourite recent Malin songs is ‘Greener Pastures’ which is owned by Graham PArker who turns it into a simpler harmonica and acoustic folk song. Alejandro Escovedo takes ‘Meet Me At The End Of the World’ somewhere I wasn’t expecting. The Hold Steady followed by Tommy Stinson dish up their usual high-quality interpretations on ‘Death Star’ and ‘Riding On The Subway’ respectively and to hear Ian Hunter own ‘Dead On’ and take it on a late-night sleazy walk is fantastic. The fact is there isn’t one single letdown on the whole twenty-seven tracks on offer and that is nothing short of miraculous. There are so many more songs I’d have loved to hear versions of which leaves the question of when can we hear Volume Two and who will be on that? It has to happen, doesn’t it? Willie Nile rocks it up before Rancid digs deep into the archive for a thrilling ‘No Way Out’, Man D Gen were a band and a half and this version is a belter.

Before this record finishes the old guard of the Bowery turn it up and open up a circle pit with the mighty Agnostic Front knock-out ‘God Is Dead’ before the album is disintegrated by Murphy’s Law own ‘Frankie’ and a more diverse line up you won’t find anywhere do justice to the living legend that is Jesse Malin, I’m sure he will be humbled by this record (or three) and shows that good guys do get helped when they fall down and having so many icons of music rally round is a beautiful thing. Buy this record, and you will marvel at its content regardless of whether you are a Malin vet or new to his music Jesse Malins’s music is in safe hands and a full recovery is all we want and if buying a copy of this helps that reality then I’ve don’t my small bit now what about you? PMA

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Richard Davies & The Dissidents – ‘Human Traffic’ – (Bucketfull Of Brains Records)

Richard Davies & The Dissidents – ‘Human Traffic’ – (Bucketfull Of Brains Records)

Former Tiny Monroe and The Snakes guitar slinger Richard Davies takes centre stage for the first time as principal songwriter and singer with the Dissidents, a band who include Mega City Four/The Snakes drummer Chris Cannon and Last Great Dreamers bassist Tim Emery.

As well as playing guitar for indie band Tiny Monroe in the 90’s, and recording 3 albums with alt country collective The Snakes, Richard Davies has also worked with the likes of Glen Matlock and Peter Perritt as a hired gun, which sure ain’t a bad place to be.

An album that has been a long time coming, ‘Human Traffic’ was recorded last year and deals in retrospective songs of life, love and human nature.

 

If you like your rock ‘n’ roll from the shady side of town, where the nights are so long and starry-eyed girls have that certain shake appeal, then ‘Human Traffic’ will be right up your ally.

The title track gets things off to a power pop start. This is high energy rock ‘n’ roll, with guitars slung low and lyrics from the heart. A stripped-back, ramshackle sound can’t hide Davies’ knack for a catchy melody and ‘Human Traffic’ is first of several tunes to channel Ian Hunter in his prime.

The material is mostly originals from the heart and soul of the main man, with a few choice covers thrown in for good measure. ‘Lay Me Low’ is a traditional Shaker hymn re-worked with ‘Dissident’ style to sound like an outtake from Michael Monroe’s first solo offering. ‘Heartbeat Smile’ is a cover of an Alejandro Escovedo tune, and in the hands of The Dissidents, it’s a rollicking, Stonesy ride with solid beats, Keef style riffs and Mick-like hollerin’. Richard Davies also recalls his past with a new take on the Tiny Monroe song ‘Under The Skin’.

Of the originals on offer, it is hard to pick a favourite, as they are all pretty strong to be fair. Latest single ‘21st Century Man’ is power pop perfection to the max. With hooks you’ll swear you’ve heard before, the chorus is as catchy as the verses are cool. Think Elvis Costello meets The Replacements here, tinny guitars and cowbell give that added retro 80’s alternative feel. It’s a theme that reappears throughout the album. A tinkling of the ivories and spaghetti western guitar twang give ‘Way Of The Wild’ a certain anthemic feel, like The Alarm meets The Psychedelic Furs. A memorable, driving chorus only adds to the appeal for me. And is that Rick Richards jamming with Tom Petty on the ‘(Long Road) To Your Heart’? No, it’s only Richard Davies & The Dissidents jamming it out and putting their heart and soul into their rock ‘n’ roll music. What a tune! It has classic stamped all over it, as guitars riff loosely over a ramshackle beat that builds to a killer chorus.

 

In cool hat, dark shades and brandishing a guitar, Richard Davies emerges from the shadows with an accomplished debut album, choc-a-bloc with rootsy rock ‘n’ roll to soothe the soul.

Why it’s taken him so long to get an album out is anyone’s guess. But hopefully, this is the start of something long and productive, as Richard Davies & The Dissidents have released an album that harks back to simpler times, but still has the tunes and the staying power to match any of the other great rock records released so far this year.

 

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Author: Ben Hughes

 

 

 

 

 

 

 

 

 

 

 

The Dowling Poole – ‘See You See Me’ (369 Music)

The Dowling Poole – ‘See You See Me’ (369 Music)

There were a couple of recent(ish) episodes of the superb YouTube series ‘Produce Like A Pro’ that featured Roger Joseph Manning Jnr talking with the host Warren Huart about how Jellyfish recorded their wonderful ‘Bellybutton’ and ‘Spilt Milk’ albums. Within each of the enthralling episodes (a must-watch for music nerds everywhere, trust me) Roger revealed how the band would always go back to one other band’s music to sense check if what they were doing was right – and if it’s good enough for them it’s good enough for us kind of thing -and (spoiler alert) that band was the greatest band to ever come out of Swindon, XTC.

 

So, what the hell has this got to do with the third studio album from Willie Dowling and Jon Poole I hear you ask? Well, Jellyfish and their influences are exactly the right place from which to start this review, not least because ‘See You See Me’ opens with a title track that welcomes the listener in like some long lost friend of the masters of 90s bubblegum pop, a band who introduced a whole new generation of us to the delights of Supertramp, The Beach Boys and the Raspberries amongst many others.

 

Where The Dowling Poole perhaps now have the slight edge on Jellyfish is that they have almost three decades of new influences that they can channel into their songwriting and that’s why whilst ‘The Product’ might sound at times like an in his prime Elvis Costello its comes complete with a haunting Rialto (remember them?) like harmony vocal refrain and sounds just like the guys had Missy Elliott helping out behind the desk. It really shouldn’t work, but by God it does.

 

Likewise, ‘Keeping The Stupid Stupid’ has that Marilyn Manson patented march as a backbeat but over it, Dowling and Poole sounds more like the modern-day Squeeze, and without a doubt things are certainly very cool for these cats.

 

Then there’s the white soul of recent video/single ‘Hope’ a song so fantastic you could just imagine Robert Palmer or Prince having it on one of their mega Platinum selling records. In fact, it’s a song I’d love to hear Jarle Bernhoft get to grips with one day. Now that really would be one hell of a collaboration.

 

Elsewhere ‘Made In Heaven’ suddenly has me looking for the Andy Partridge co-write credit on the press sheet, and ‘Human Soup’ has me thinking that The Dowling Poole might just be the ideal support act for Crowded House’s UK return this summer, and at the same time ‘Alison’s Going Home’ suddenly makes me want to go dig out those classic Head Automatica albums all over again.

 

Lyrically on point throughout the album, there are those who will argue that politics (however subliminal they might be) should be kept out of music, but when the songs are as joyous as those contained here on ‘See You See Me’ you’d have to be a total moron not to appreciate the social context in which these tracks are being written. Oh, and for those of you thinking “all he’s done here is reference other bands in his review”, just look at those bands, XTC, Jellyfish, Elvis Costello and Squeeze. I’m sure that’s a quartet of artists Willie Dowling and Jon Poole won’t mind sharing some review space with.

 

So, with their former Wildhearts bandmates justifiably receiving plaudits galore for their ‘Renaissance Men’ album, ‘See You See Me’ whilst an altogether different beast, is every bit as great as that record. The million-dollar question I suppose though is will you be brave enough to make the purchase leap when it’s released at the end of February? Go on I dare you – and who knows – perhaps in just a few years’ time we may be watching Willie and Jon doing their very own ‘Produce Like A Pro’ webisode, because to my ears ‘See You See Me’ is absolute powerpop genius.

Buy ‘See You See Me’: Here

Author: Johnny Hayward

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POP CULTURE SCHLOCK at RPM: Exhibit B – Rock On! Annual 1980

POP CULTURE SCHLOCK at RPM: Exhibit B – Rock On! Annual 1980

What’s that musty smell? Ah yes, it’s emanating from the veritable feast of vintage collectables housed in the Pop Culture Schlock archive. For your delectation today I take you back to the Christmas of 1979; a seminal decade of music about to come to an end and give way to the dawn of a more brash, more brazen ten year period…

 

If you were a good, music-loving boy or girl in 1979 and had a.) done well in school, and; b.) not scratched your big brother’s vinyl, then there was a good chance that you’d find the Rock On! Annual 1980 nestled under the Christmas tree in your modest living room.

 

“The Rock What Annual?” I hear you exclaim, and you shouldn’t be embarrassed at your lack of knowledge on this subject because, truth be told, Rock On! magazine was a short-lived, oft-forgotten publication… if you’d ever heard of it at all.

 

Rock On! magazine debuted with an issue cover-dated May 1978. Debbie Harry featured on its cover and the mag – costing a whole 25p – promised a healthy mix of punk, new wave, heavy metal, and prog rock. It kept its promise too as, over the course of seven eclectic issues, Rock On! dished out features and photo spreads on a dizzying cadre of top musical combos; from Status Quo to Sham 69, The Clash to KISS, Rush to The Rezillos. Meat Loaf graced a cover, Ozzy, too, until Issue 7, with Jimmy Pursey as its cover star, and cover-dated November 1978, when Rock On! disappeared from newsagent shelves. The editorial in that final issue wrote of the outrage of cutting off such a desirable publication in its prime but, if anything, Rock On! was a victim of its own blurring of genre lines: readers seemingly wanting specialist publications dedicated to singular strands of the rock ‘n’ roll world rather than this ambitious crossover style.

 

That final editorial, though, did offer some hope for the future; stating that it was the last Rock On! “in its present form”. Fast forward to around a year later and, in the Autumn of 1979, the true final piece of the Rock On! jigsaw arrived in shops and catalogues to complete the punk ‘n’ prog rocking picture.

With a scorching hot live photo of Thin Lizzy’s Phil Lynott on the cover, Rock On! Annual 1980 (price – £2.00) may well have been jostling for attention on the shelves alongside big-hitting television and film spin-off annuals, but it certainly looked the most badass. It was, the cover screamed, packed with pictures, facts, and quizzes on your favourite rock bands. It did not disappoint.

 

The heady mix of photo spreads and more in-depth features on select bands really did make Rock On! stand out from its competitors, and this annual amps that angle right up to eleven. The first photo spread was a “Tribute to Vocal Power!!!” (yes, with three exclamation marks) and featured cool live action shots of Joe Strummer, Johnny Rotten, Cherie Currie, Pete Townsend, Willy DeVille, Graham Parker, Joan Jett, and Mick Jagger. A good start, I’m sure you’ll agree.

Next up, a photo diary detailing a “hard band” going “soft” as The Stranglers met their devoted fans, followed by a quartet of stinging live shots of “the band the critics love to hate”, Status Quo. Rock On!’s attitude to those Quo critics could be “summed up in two fingers” readers were informed.

 

With barely a pause for breath, a six-page A-Z of Heavy Metal feature detailed the prime acts in the genre, from AC/DC to, erm, Wishbone Ash. A-W, then. A few curious names in this run-down, too: Prism, Quartz, and Mahogany Rush rubbing shoulders with the expected likes of Whitesnake, Black Sabbath, Judas Priest, and, a firm favourite on the turntable at RPM HQ, Uriah Heep. A “Heads Down Heavy Metal Quiz” followed: a select question being “On Your Feet Or On Your Knees was a double live album for which heavy metal superstars?”

 

A Ten Years of Genesis feature followed, the first in a series of in-depth essays by John Tobler. His similar two-page spread on the history of Queen followed, as did those dedicated to Thin Lizzy, Blue Öyster Cult, Rush, and KISS. The latter, subtitled “Kings of Shock Rock”, wrote of “the forty foot columns of fire that emit from Gene Simmons’ mouth” and, c’mon, if you were eight years old at Xmas 1979 you had every excuse for then falling head over platform heels in love with the idea of the hottest band in the world.

There was a Rock On! reggae report, a fashion guide of sorts where the Quo’s Rick Parfitt spoke of his love of jeans and Hugh Cornwell of The Stranglers of his love of raincoats (!), a Hi-Fi buying guide, a feature on sound engineers, a top DJ article covering John Peel and Anne Nightingale, plus one-page specials on Peter Gabriel and Ken Hensley of the Heep.

 

A photo spread of Ian Dury swimming (just your seven shots) padded out the pages, but not before an impressive photo set of live Black Sabbath shots appeared, a Star Cars article featuring Steve Jones, Meat Loaf, Midge Ure, and, ominously, Cozy Powell, a “Cult Heroes” feature detailing the likes of Iggy Pop, Nils Lofgren, Todd Rundgren, Tom Petty, and Bruce Spingsteen, and a “Sex ‘n’ Girls ‘n’ Rock ‘n’ Roll” spread featuring Debbie Harry, Joan Jett, Siouxsie Sioux, Linda Ronstadt, Annie Golden, Poly Styrene, Stevie Nicks, and Rachel Sweet.

 

A “That Was The Year That Was” feature dedicated to 1978 was an obvious leftover from the previous year’s magazine and makes for entertaining if a little sombre reading amongst the other genuinely funny articles. Rock On! was a cool magazine, with its tongue firmly in its cheek and its love of a broad range of music at the forefront of any thinking. Your Uber Rocks, your RPMs are all subconscious descendants of Rock On! magazine.

No annual is complete, however, without a pull-out poster section (even if no kid ever dared pull a poster out of an annual!), and Rock On! Annual 1980 does not disappoint in that department. There are pin-ups of the aforementioned Pursey, Rezillos, Dury, Harry, Clash, and Lynott, plus Bob Geldof, Paul Weller, Freddie Mercury, David Lee Roth, Jon Anderson, Elvis Costello, Paul Stanley, and the Buzzcocks. Great photos too.

 

The Rock On! Annual 1980 may well be an uncommon piece in the average music memorabilia collection, but it is certainly a worthy one. Copies turn up on the secondary market relatively cheaply and, yeah, you should pick one up if you get the chance. The Rock On! staff were most certainly music journalist mavericks, and we’ve all tried to go there, right? Search for this precious, rockin’ tome… or you might never know how Rick Parfitt’s aunt ironed his double denim.

 

Thanks for reading, and for the feedback on my first column on the debut Alice Cooper comic. I’ll be back next month with something suitably archaic that the rock ‘n’ roll world tried to forget. Search for Pop Culture Schlock 365 on Instagram, Twitter & Facebook