Faster Pussycat – ‘Babylon’ The Elektra Years 87-92 (Cherry Red Records)

Faster Pussycat – ‘Babylon’ The Elektra Years 87-92 (Cherry Red Records)

From the end of the ‘80s and early ‘90s Faster Pussycat were the premier league title holders of sleazy Hollywood Rock and Roll bands. As far as debut albums go, their self titled was released the same day as Appetite from Guns N Roses and this one has stood the test of time far better In my humble opinion. They managed to follow it up with the most excellent ‘Wake Me When It’s Over’ two years later and then after Grunge tried to kill off anything even resembling a hair metal band these cats knocked out the much underrated ‘Whipped’ in ’92.

There is also the Japan-only Live and rare EP and the ‘Nonstop EP’ wrapping up what is a complete set of previously released tracks.

Forming in Hollywood, California in 1985, and taking their name from Russ Meyer’s 1965 exploitation trash classic, Faster! Pussycat! Kill! Kill!, Taime Downe (lead vocals), Greg Steele (guitar), Brent Muscat (guitar), Eric Stacy (bass) and Mark Michals (drums) were the darlings of the Hollywood scene on sunset strip along with GnR they were putting in the hard yards on the live scene.

The debut album was all killer and no filler as they released singles ‘Bathroom Wall’ and tracks like ‘Don’t Change That Song’ the rap inspired ‘Babylon’ opening the band up to a global audience they were so much more than being an Aerosmith inspired band. Their infamous appearance in the Penelope Spheeris film The Decline of Western Civilization part 2 – The Metal Years, with the band interviewed as well as performing ‘Cathouse’ and ‘Bathroom Wall’ on stage did no harm propelling them into front rooms everywhere.

The commercial peak came in 1989 with second album, ‘Wake Me When It’s Over’, which reached gold sales status. Featured the singles ‘House Of Pain’ and ‘Poison Ivy’ with The black and white video becoming a classic. ‘Wake Me When It’s Over’ was a slight step to the left of field from the debut opening with the awesome ‘Where There’s a Whip There’s A Way’ as frontman and mainstay Taime Downe Led the band with his cheeky lyrics. They also recorded a cover of Carly Simon’s ‘You’re So Vain’ for the compilation album ‘Rubáiyát’, an album celebrating Elektra Records’s 40th Anniversary that is also included in this box set.

By the time they came to record ‘Whipped!’ the musical landscape had shifted dramatically but this gang of reprobates had gathered to record album number three Led by the single ‘Nonstop to Nowhere’, the band became more experimental pushing the boundaries of their style and spreading their wings ‘Jack the Bastard’ contained a fantastic riff. Despite sold-out tours and grunge, Faster Pussycat called it a day in 1993.

If you haven’t paid them much attention or were unaware they were still out there playing live and making records then this is the perfect one-stop-shop for all your first-wave Faster Pussycat music capturing their heyday in one box. What’s not to like? Besides the music contained is still immaculate all these years later and has certainly stood the test of time.

You know what to do. Hit that link and get involved – four CD’s of the best music from the second half of the eighties and beyond from the kings of sleazy Rock n Roll F-f-f-f-f-faster P-p-p-p-p-p-pussycat!

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City Kids & The Suicide Notes – ‘Rats !’ (Self Release)

City Kids & The Suicide Notes – ‘Rats !’ (Self Release)
I’ll let JJ introduce what you’re reading, ” In short, the reason we did this was, we were going to record a video for Rats from the album with the guys from the notes, but, well, covid! So I also had a hard drive fail and lost some of the original files, so, we decided to rerecord it, and, also round and a round, as Billy sang on the original demo (on Best Of You) before Kory Clarke sang the album version, so, we redid that
We have a few songs already for the next album, and some weren’t going to fit, so we added a couple here. And, struck on the idea to get The Suicide notes on all the songs. Always loved Smoke It Like A Cigarette by them, so, we did our version, but, Billy sang it, Alex took the lead, and, his better half Kate had a vocal that was meant to be on the original but they didn’t get it down, so, she is on here.
Covers wise, Billy, Alex and Dame are helping with my Anti-Fashion project, so, we pinched Bad Luck from that. Drunk Like Me, I love, we love, and, knew Billy would kill the vocals. Bathroom Wall was a last minute addition/suggestion from Alex, so, we threw that down as well. On these 3, we have the wonderful Bret Barnes adding some sax
The last track we started a while back, the Alice cooper cover, and, it turned out amazing!
We also have the very talented Frank Meyer (Streetwalkin Cheetahs) adding additional vocals, keys, etc all over too.”
Ok, that makes perfect sense.  But what the fuck does it sound like I hear you shout and where can I give them my money?
 Here goes, ‘Rats!’ opens up with the title track and on a thunderously sleazy hotrod of Glam Slammin’ rock and roll it is.  It’s got a heart as big as a beachball and it’s pumping ten to the dozen and a real whiplash rocket ride it is too. but don’t think for one minute that’s where it ends.  No sirs it goes on with the party anthems of ‘Round And (A) Round’ followed by the brawling ‘The Right Way’ which is barking and snapping at the heels of the previous song.
There’s a bit of respite as ‘Inside Of You’ might be slower and more melodic but it’s not losing any of the attitude that’s pouring outta this record.  You might be familiar with ‘Smoke It Like A Cigarette’ if you were paying attention to the acoustic Suicide Notes release. Sped up and rocked out it’s a top tune no question.  I guess it makes sense to follow that with their take of the Dogs classic ‘Drunk Like Me’.
If you ever had a passing admiration for Mike Ness you might want to check out their take on ‘Bad Luck’ and of course, they slaughter the Faster Pussycat classic that is ‘Bathroom Wall’ in a suitably sleazy demolition job and the Sax is a welcome addition on the song. But the take on ‘Department Of Youth’ is impressive and the bar is raised with a great job completed on a great tune.
Closing off proceedings is a super sleazy take on Love Hates Classic Rocker ‘Blackout In The Red Room’ who said sleazy Hard Rock was done?  you might want to check this out. It sounds like an arctic truckload of pinched harmonics and distorted scales.
Get the beers in boys and girls and wrap up all breakables, move the furniture back and turn the stereo up City Kids and The Suicide Notes are taking over the decks, and it’s a nonstop Rock and Fuckin Roll Partee, motherfuckers! and none of em give a single Rats! Get on it right now!

Mötochrist ‎– ‘Greatest Hits Volume 1’ (Dr Wu Records)

Mötochrist ‎– ‘Greatest Hits Volume 1’ (Dr Wu Records)

Well here it is kiddie winkies the ‘Best Of’ album of the year and probably any other year if it were a competition, which it isn’t. But if it were Mötochrist has won.  From the artwork to the content and the cliche crammed melodies its an absolute steal at any price.  If you haven’t already ordered your own copy why not?

Originally released as one of those Kickstarter campaigns many many moons ago (at least 18 months if I’m honest) and for it being a Greatest Hits compilation fuck knows why it’s taken so long but it doesn’t even matter because it’s Mötochrist and they Rock and that can do what they want simple as that!

 

I know there’s a certain irony of it being a Greatest Hits seeing as they’ve only ever released one single on vinyl proper oh ok So ‘I Don’t Ride Bitch’ was a single-sided No Balls creation and they did release a three-track CD Ep. and that was on No Balls and not many will have ordered it anyway but truth being known everything Mötochrist has released is the Greatest anyway even when they’re not on top form its still the Greatest and way better than 99.9% of other bands records. Oh, and the artwork is a stroke of genius front and centre – absolute stone-cold classic. I’m lucky being a fanboy I got mine signed even during COVID because if it wasn’t already obvious there’s no way any Virus is taking Mötochrist down not now not ever- they are indestructible

So Whats on this Greatest Hits then I hear you say through salivating chops. Well, the only downside is its just the one record and not a double album or better still boxed set with everything they’ve recorded on vinyl – Fingers crossed eh?

It starts as it does at the start of the ‘Greetings’ album with the glorious ‘Hang Em High’ and the total heaviness of those Guitars man it’s fucking awesome and the tone of Diamond and Vodka is immense. Catchy tune after catchy tune with cheeky lyrics and big riffs this compilation is a must-have don’t take yourself too seriously and let your hair down ‘The Fist’ is a beauty and from the bands decade-old ‘Corvette Summer’ album (man it seems like yesterday)

Then it’s back to those ‘Salt Flats’ for ‘Super Sonic Speed Machine’ but its not all full throttle as the laid back ‘Holiday’ steps up with its ‘Strip club’ staple groove and killer chorus. Of course, the tribute to ‘Evel’ is present as is Marc Diamond penned ‘Pretty Girls’. Then to close off the first half, side one is drinking anthem ‘We Came We Saw We Drank’ and its TV Eye tip of the hat to Iggy and boozing and a fine way to take us to half time.

Side two opens with a pair from ‘Corvette Summer’ before their last album ‘Chrome’ rears its devil horned head.  I’m going through side two and by the time I hit ‘Hellbound’ and its wonderful lyrics of Shakespearian quality.  I guess having self-awareness is a good thing and guys I think Hellbound is the only option so well done for embracing your final destination but as the final thirteenth track ‘I Don’t Ride Bitch’ plays out I realise there’s no room for the epic ‘Marc Diamond’  or ‘El Diablo’ uh what? oh, I see Pfew Volume One. It just wouldn’t be fair to overload this one so you’re forgiven.

In short, just buy this album if you don’t have a record player, well, this is your excuse to get one.  A stone-cold winner of Greatest Hits album of the year and its only August for fucks sake!

 

Oh and to make this bad boy even more desirable (if that’s possible) my record came with a CD that features a whole heap of bands covering Mötochrist which is as we all know futile but worth a go and most definitely worth a listen from some pretty straight takes on classics and some that are well and truly fucked with oh and they have ‘Marc Diamond’ and ‘El Diablo’ so all not lost. Danny Christ!? Jesus wept I can’t stop looking at it and laughing.

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Author: Dom Daley

Happy Birthday Taime Downe

Happy Birthday Taime Downe

Gustave Molvik better known to you and me as Taime Downe lead singer of Faster Pussycat was born on this day in 1964.

Taime first formed a band named The Bondage Boys, and going under the stage name “Vaun Hammer”, he released a song with this band called “The Loser” on ‘Northwest Metalfest’, a compilation featuring ten Seattle-area bands. he left Seattle for San Diego before moving on to Los Angeles.

When Taime Got to LA he worked for ‘Retail Slut’ in Hollywood and ran the stage lights at the Troubadour. Magnus Walker of Serious Clothing accidentally got his start when walking into Retail Slut, Taime wanted to buy the pants off him, so he ordered pairs for the store. In 1985 he formed the band Faster Pussycat. The band released their self-titled debut album in 1987 on the same day Guns N Roses released ‘Appetite For Destruction’ and the rest, as they say, is history. The bands toured the UK together ending with an epic night at the world-famous Hammersmith Odeon along with The Quireboys.  whilst Guns were being touted as the most dangerous band in the world and Appetite was hailed as the greatest Rock album for decades – As good as Appetite was those clued in would agree that it was that self-titled Faster Pussycat record that really stood the test of time and is head and shoulders the better of the two.  I know its not a competition but whilst Guns n Roses played stadiums Faster Pussycat never achieved such riches.

Faster Pussycat were signed to Elektra Records and sold over 500,000 copies of 1989’s follow up ‘Wake Me When It’s Over’ and had hit singles like ‘.House Of Pain’ and ‘Poison Ivy’. MTV was good to Faster Pussycat who waited three years to follow up with a third the much-maligned ‘Whipped’ which was a lot better than the band got credit for with the single ‘Nonstop To Nowhere’  it also had some great tracks although quite diverse in style ‘Friends’ and the excellent ‘Jack The Bastard’. The band then dropped off a cliff and weren’t heard of for what seemed like an age.

In the interim Downe went on to form The Newlydeads for which he wrote and produced. Around 1998, he opened his own club, called The Pretty Ugly Club, with co-owner JD Terziu, and the club achieved the same level of success as The Cathouse, the club Taime had formerly run with Riki Rachtman at the height of Faster Pussycat and Guns upward trajectory. Taime has also been the promoter of other clubs in L.A. such as Thunder Pussy and Pretty Pussy. He also was the DJ at Metal Skool with Josh Richman as the MC.

The Newlydeads were a different beast and the music landscape had changed since Downe burst on the scene with his sleazy band of brothers.  it was now 1997 and with a more industrial edge and not afraid to push the boundaries Downe hooked up with Kyle K formerly of Bang Tango the band was probably best known for their exceptional cover of ‘Cities In Dust’.  A year later they revisited the album with ‘Re-bound’ made up of remixes before recording ‘Dead End’ in 2001.

Downe Resurrected Faster Pussycat with a fucked-up industrial mash-up of classic Faster Pussycat tracks that left the songs almost unrecognisable along with a really messed up cover of ‘I Was Made For Loving You’ and one new track entitled ‘Blood’. to be fair to Downe he kept the name alive touring every shit hole in Europe and the USA with a new line up of the band they went on to record ‘The Power And The Glory Hole’ which had the tribute to Bianca from Betty Blowtorch who lost her life under tragic circumstances  they also included a great version of ‘shut Up And Fuck’.

there were wars of words with members of the original line up and patched up friendships along the road. Downe has had some health issues in recent years but looks healthy and has quit the cigarettes and looks and sounds like he’s wound the clock back.  Happy Birthday Taime Downe you still rock and RPM love Ya man! So don’t change that song!

Babylon shakes – Exile To The Velveteen Lounge (High Vol Records)

Babylon shakes – Exile To The Velveteen Lounge (High Vol Records)

We all remember a time when hard rockin’ guys walked the earth and MTV was happy to have programmes dedicated to genres of rock outside of Led Zep or AC/DC and then Grunge was alleged to have almost made a whole scene extinct apart from a few outposts that kept the faith well, 2019 and some of those people who remained true to their roots have come crawling out of the ashes of the past and are once again proud to drape a scarf over their mic stand and wear their attire like they were born to rock rather than some work clothes and sneakers like they’ve just walked in from working on their car.  Babylon Shakes are one of those bands – no not work clothes and oily clothes but a band who remember when Tyler and Perry rocked or when Faster Pussycat had the strut on Sunset Blvd.

 

Without a hint of irony, ‘Exile To The Velveteen Lounge’ can and will be compared to that Debut Faster Pussycat album or pre MTV Aerosmith because that’s where they are coming from or strutting from.  Take the second song ‘Sunset Striptease’ its certainly got that sleazy Joe Perry riff happening and the song is a rollicking good time and the fact they are happy to hit that cowbell like its going out of fashion is marvellous. It’s sleazy, loud and a bloody good time and it keeps it rock n rolling and not falling into that cheesy metal field.  I think the fact they are wearing their influences on their sleeves and its stretching back into the ’70s for inspiration rather than the 80’s makes this record authentic and above all the songs whilst often have cliched lyrics are pretty decent.

 

The production is big but it’s not Bon Jovi big and they keep it real without the temptation to add studio trickery or lush keyboards ‘No Pictures Please’ could be The Sweet and it’s impossible not to reference classic Faster Pussycat on songs like ‘Velveteen Liberteen’ and possibly add to that a hint of the Dogs D’Amour swagger.

Similar themes crop up throughout the rest of this album and they don’t stray from their tried and tested comfort zone and there’s nothing wrong with that being a loud sleazy Rock ‘n’ Roll band is alright with us and I thought I’d got away without there being the big soft ballad but then ‘Star In Your Eye’ crawled out of the speakers like it’s 7 am and they’ve just got in. It’s a decent arrangement but I’m not convinced it was needed but hey that’s one opinion.

Leaving just ‘Motel Lights’ to rock this bad boy home and with a great rumbling bass line, it certainly does that. I like Babylon Shakes and this album is a very decent affair now if they along with label mates the Prophets Of Addiction can kickstart more bands to follow suit then we might be in for a resurgence of a genre people said was gone forever but we know better folks and on this evidence so do Babylon Kicks.  Good Work fellas good work!

Buy Exile To The Velveteen Lounge Here

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Author: Dom Daley

Junkyard/The Jokers – York, Fibbers – 6th November 2018

Junkyard/The Jokers – York, Fibbers – 6th November 2018

Ben Hughes

 

I wear my Junkyard t-shirt with pride. I saw them back in the day and I saw them last year at Hull Hair Metal Heaven, albeit with a 26-year gap. Now I get to see them do an actual headline set at my local venue, just a short walk from my house, 27 years since first seeing them open for The Almighty.

Over here as support to Blackberry Smoke by personal request of singer Charlie Starr shows the respect these Hollywood veterans have in certain circles and rightly so. Lumped in with the late 80’s glam scene, they were always more Steve Earl than Motley Crue. Times may have changed, styles may have changed but Junkyard will always be Junkyard. Bowing to no trends or fads, they play rock ‘n’ roll like they always have, honest songs with dirty riffs and sleazy vocals that get under the fingernails and refuse to budge.

 

First up we have The Jokers. I’ve not seen or heard The Jokers before tonight and to be fair the Northern band were highly impressive. I guess you could put them right in the Classic Rock category, think Bad Company meets Shortino-era Quiet Riot. You can’t knock their energy and enthusiasm for starters and I think they turned it up to 11, maybe a bit too loud for the sparse turnout at Fibbers tonight.

Singer Wane Parry looks like a young Dave King in his Fastway days with Bolans’ corkscrew hair and what a damn fine set of pipes he has. Diminutive guitarist Paul Hurst is a poundshop Warner E Hodges and an excellent player who gives his all, pulling off massive riffs and licks aplenty. Several times he downs his Les Paul and comes out into the audience to beckon people to come to the front. He partly succeeded by pulling forward some birds who were probably wives and girlfriends of the band to be honest.

They played like the room was packed and they deserve bigger audiences. If they play in your town I strongly urge you to go see them.

 

Vintage Trouble’s ‘Run Like The River’ blats from the PA as an introduction for Junkyard’s set tonight. With the cover of last year’s excellent ‘High Water’ album emblazoned on the screens behind them, they launch straight into ‘Life Sentence’. It’s been the opener every time I have seen them, no wonder, it’s a killer introduction. “That’s my life, that’s my way…that’s my life sentence”  shouts Roach as he swings his mic stand around the stage, no truer words have been sung with such conviction.

Dressed in their obligatory matching denim cut-offs, Junkyard are a gang who wear their colours proudly on their backs and their brand of biker blues is for real. The raw, punk rock delivery of David Roach is the perfect match for the bluesy twin guitars of Jimmy James and Tim Mosher. Uber cool Quireboys bassist Gary Ivin, standing in for the absent Todd Muscat, is a fine replacement and keeps a perfect rhythm with original drummer Pat Muzingo.

New songs such as ‘Faded’ and the punky ‘W.F.L.W.F.’ fit perfectly with the old standards and it’s as great to hear these new songs live as it is the classics. The ever cool ‘Back On The Streets’ and the bluesy ‘Long Way Home’ are played early and sound sublime.  

Jimmy James breaks a string midway through ‘Blooze’, so as the pair of guitarists dart off stage together to re-string (they didn’t even bring a spare?), the rhythm section keeps the song going, bassist Gaz keeps the rumbling bassline jamming stage front as David returns with an extended vocal rap. A fine rock ‘n’ roll moment to savor.

‘Hands Off’ remains one of my favourite Junkyard songs and tonight, as Tim picks those classic chords and Jimmy rips out that bluesy lead, it sends shivers up the back of my spine.

Of course, they close with the obligatory ‘Hollywood’ their biggest hit, but not their greatest song by far.

 

No encore’s, no surprises and a no-frills approach that delivered just what you expect from a Junkyard show. There is talk of them returning to these shores in the not so distant future, and while I’m sure the packed out shows with Blackberry Smoke have been rewarding for the band, I do hope the not so packed club shows don’t put them off coming back for more. Until they return, I still wear my Junkyard t-shirt with pride.

Buy Junkyard Here

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