Last year, I stumbled across House of Protection on YouTube and immediately became a fan, with their debut EP ‘Galore’ getting featured on repeat on a constant basis. They have been releasing new songs from this follow-up for several months now, with the full release of ‘Outrun You All’ dropping on May 23rd. The band is made up of the duo Stephen Harrison and Aric Improta, who had previously been in Fever 333 together. The two of them have created a band where I don’t think they would rule out any musical idea.
After a mellow 30-second intro, the band launches into the electronic-infused ‘Afterlife’ that at times reminds me of ‘Pretty Hate Machine’ era NIN crossed with an infusion of extra heaviness on the methodical beat. The blend of their vocals across their songs works to perfection, and each of them has their own style when singing lead. The band transitions into ‘Godspeed’ where the tempo gets an infusion of adrenaline. The vocals sit in the middle of the mix of the chorus and remain incredibly catchy. The guitars squeal and rip through the mix. Headbanging or fist in the air is required throughout the song. There are just a few seconds at the very end of the song where the drums and guitar get to highlight how close they are to going into chaos. Last single ‘I Need More Than This’ slows things down to a cool groove with a very melodic verse featuring Harrison’s vocals. The song adds more elements as it reaches the chorus and creates a very cool hook. I think one of the factors that has drawn me to the band is that their music sometimes feels like a more listener-friendly ‘Endless Nameless’ album by the Wildhearts crossed with NIN, punk, and other electronic elements.
Starting the second half of the album is the frantic and surging ‘Fire’, which the listener will be singing by the end of the song. There is an energy that flows through the soul of this band that just immediately grabs hold of me. The band go straight for the jugular with the chorus hook here and destroys everything in their path. Lyrically, the band create an anthem for self-growth and determination. There is not a wasted moment anywhere with the cacophony of sounds coming together perfectly. The cheerleader section has not worked this well in a song for me since Faith No More did it many years ago on the ‘Angel Dust’ album. Changing gears completely with the mellow ‘Phasing Out’ provides a great contrast with a lot of digital elements bouncing around in the mix. The drums work great here with a killer beat raising the song to another level. ‘Slide Away’ closes the album out with the opening vocal providing a feeling of coming out of a dream that leads into the chaos of waking up in the middle of chaos. The chorus provides another strong hook with the verses pounding inside the listener’s skull trying to escape.
As much as I enjoyed their first EP, the band have exceeded it on their second release. I have not cited the band’s hardcore influences, but they are also baked into the band’s music and approach. There is a great chance this will end up my EP of the year, although I will likely spend a lot of time listening to both of their EP’s back-to-back to simulate an album. Turn the music up loud and dive into the experience. House of Protection or House of Perfection?
‘Outrun You All’ is available now on digital and vinyl. Here
Take a second and think about a few bands that you started listening to before their first album dropped. I am sure many of you thought of bands you immediately loved and others who faded away after a great first single, EP, or album. I first checked out James and the Cold Gun (self-described as Wales’ loudest) after the release of their brilliant EP ‘False Start.’ It immediately connected with me and set up huge expectations for their debut full-length (also reviewed by me for RPM), which became my co-album of the year in 2023. Here we are two years later, after some non-album singles have been released as well as the release of some demos from the first album to tide us over while they finished this new album in hopes of avoiding the sophomore slump. For me, I think about the Wildhearts where they transitioned from the two early EPs to the brilliant debut of ‘Earth vs’ and then continued to excel with ‘Fishing for Luckies’ and ‘Phuq.’ The early singles from this new album all hit the spot, but had a slightly different feel to them. If we think about a band, the two Jameses (Joseph and Biss) in this band, enjoy- Soundgarden, they successfully adjusted their sound from album to album while maintaining their identity, also true of the aforementioned Wildhearts. James and the Cold Gun have been able to achieve a similar result here and continue to meet my high expectations of the band.
‘Face in the Mirror’ is one song and a few minutes shorter than the debut and leans back into the albums of the late 70s and 80s, where the focus was on great songs and not using every minute available on a given medium. In this case, we have 10 songs spread across 33 minutes, and the band is careful not to waste a minute of that running time. The title track gets things started with a great beat and plenty of space in the verses for Joseph’s vocals. Every instrument is crisp in the mix. The guitars have bite, and the rhythm section pops out of the speakers. A word I used to describe the EP and debut album was cathartic, and this album is no exception. I am not sure how the band channels into my soul, but they are uncanny at it. The chorus here is not over the top but extremely infectious. ‘Riding the Tiger’ increases the tempo a bit and feels like an old friend. The vocals are excellent, and there is excellent bass work by newcomer Gaby Elise. The guitar riffs have plenty of space to shine here too. The experienced production work of Brendan O’Brien creates an album with a live feel, but also has subtle touches to the songs. The breakdown in ‘Riding the Tiger’ near the end provides a great twist to set up the final chorus.
The lead single, ‘Guessing Games,’ has seemingly allowed the band to get in front of a lot more people, based on the number of YouTube views it has received. I know a lot of those views were mine, but not all of them. The band has taken a great riff and mashed with a cool groove to create a great song. When it was first released, I loved the song but thought it was a little odd as a single based on their earlier material. I think it works as a cool bridge now between the albums. The hook here is huge, and this one has a bit of the major label era Screaming Trees feel, and it also showcases the band taking an idea they had back around the demos of the first album and morphing it into something completely different. The subtle backing vocals by Elise near the end of the song are a sublime touch. The guitar work by Biss and Joseph are excellent. ‘Above the Lake’ follows with excellent lead vocals by Biss on top of just guitar before the rest of the band joins. This one is a bit more restrained (think maybe ‘Yield’ era Pearl Jam) and provides another texture to the album. The chorus is a little more subtle, but the building of the guitar in the song musically provides a strong hook. Wrapping up side one is ‘Twist the Knife’ where the band take a cool riff and again wrap it with a cool rhythm and chorus to deliver another excellent song. Elise’s backing vocals are subtle in the mix but again provide an awesome new element to the band. If you’re listening on vinyl, there is absolutely no reason to get up when you drop the needle down until all five songs have finished.
Flipping the record over to side two, the band continue to deliver the goods. The grinding start to ‘Cut the Brakes’ highlights the band’s ability to take inspiration from 90’s rock and infuse it with modern and original touches to create something fresh and awesome. The chorus here reminds me a bit more of the debut EP, and the changes in tempo provide a dose of adrenaline. As the drums slow to a close, you expect the guitar riff to start over again. The hard-rocking feel continues with ‘DNA’, where every musician gets a chance to shine. One of the other great elements about this album is that the band doesn’t rehash the same song over and over again. Each one has its own identity, with this one being a more straight-ahead rocker where the chorus jumps out a bit more, and the bridge slides perfectly into the song. Angst-fueled rocker ‘Blood Red Sky’ shoots out of the speakers with an awesome vocal in the chorus. I can hear a bit of a Soundgarden influence here, but the band ultimately makes this song all their own. While not what many would consider a typical single, I would love to see them release this one with its additional heaviness and earthquake-inducing chorus becoming one of the songs of 2025.
As we near the end of the album, the band changes gears completely with the mellow beginning of ‘A Way Out.’ The vocals here shine over the repeating melody. The band manage to transform this song several times within three minutes, with the ending providing a vital and insurgent chorus at the end. We then arrive at the closer, ‘Meet My Maker’, where the band provides a heavy dose of rock and powerful vocals in a midtempo beat. The bends in the guitar notes provide excellent nuances in the mix. The band go off on a bit of a jam that I can imagine can take on a life of its own in the live setting before giving us a final chorus on the way out the door. Like the end of side one, when you drop the needle to start side two, you do not have to get up until the whole side of the album has played.
I think the band has done an outstanding job taking the critical elements of who they are and creating something new that remains exhilarating and enticing to the listener. They have avoided the dreaded sophomore slump and moved the goalposts out, allowing them to continue to expand their sound in the future. If you enjoyed their earlier material, I imagine you are already jonesing for this one. If you are new to James and the Cold Gun, you have a wealth of amazing songs to hear, and this is a great place to start your journey. Your soul will thank you.
YouTube rabbit holes pay dividends again. One night I received a notification that Camila Fernandez had released a new song and decided to see what else I might find. One of the discoveries was the song ‘Hey Marina’ (more on it later) by Flaco Rodriguez and Querida Margot (another highly recommended band) which I listened to probably ten times that night. I then wanted to see what else each of these bands had out there on YouTube. This self-released album by Flaco Rodriguez would appear after maybe a month with a collection of previously released and new songs. While it is not our usual music here (if we have a usual type of music here), I think there are lots of elements here that can appeal to fans of Jesse Malin’s solo work, Johnny Thunder’s acoustic albums, and just high-quality music in general. I don’t have a lot of details about the band I can share other than they are from Spain, but let’s dig into this recommended album.
The lead track ‘Todos Nos Rodea’ is an acoustic soft rocker that includes both sung and spoken word vocals. The song provides a nice opening to an album filled with some diverse sounds. The bluesy groove of ‘Soy un Rodriguez’ increases the tempo a little bit and features some tasteful guitar work, female backing vocals, and a nice catchy hook. Up next is one of my favourites from the album, ‘Ciudades, Garitos, Altares’ is a dynamite acoustic number with co-lead vocals by the delightful Monica Morado. The harmony and melody in the vocals work perfectly together. Again, I think the song could have snuck onto a Thunders album as an all-acoustic number. It provides a great build in the album as it probably ranks in my top three songs on the album.
Coming back to ‘Hey Marina’ now, the song takes on more of a rock ‘n’ roll feel that brings to mind the likes of the Rolling Stones, a catchy midtempo Tyla song, or again a Thunders song. It has a build in the music and turns into a glass in the air, put your arm around a person beside you, and all sing along quality. Querida Margot brings their rock influences to the forefront. The horns add an even more festive feel to the song. Wrapping up the first half of the album, ‘El Parque’ returns the album to an acoustic feel that features some nice subtle percussion. It’s easy to see someone sitting on a porch or out by a campfire singing this one.
The second half of the album begins with ‘Perdon por Anticipado’ where the band spends the first half of its under three-minute length as another acoustic number before it gets a shot of rock and swagger and then mellows back out for the close. ‘Que No Hay Que Trabajar’ could slip into a spaghetti western where we see the horses racing across a tumbleweed filled mesa with the slowed down spoken word parts being flashback scenes. ‘Mientra Tu Estes Aqui’ is a slow acoustic Spanish ballad that fits nicely within the album. The trumpet works perfectly in the mix.
‘Donde Esta el Teatro?’ gets us close to the finale with a great shuffle and catchy chorus. Diego Rodriguez’ vocals across the album work great with the different songs across the album with this one’s genuineness and sincerity being no exception. Closing the album is my 2nd favourite on the album. ‘Adios, Tomas’ would not be out of place on a Roger Clyne and the Peacemakers or Refreshments album. The harmonica adds a great element to a song packed with a chorus crafted from catchy goodness. As in a few of the other songs, there are some spoken words in the song as well. These are really utilized in a similar manner to what Hanoi Rocks did on the ‘Two Steps from the Move’ album where the songs would feel incomplete without them. At well over five minutes, it also provides an epic finish to an album that only reaches just over 35 minutes.
For those looking to break up their normal listening, I recommend giving this one a chance. My Spanish is not great, so I continue to dig deeper into the lyrics and try to remember all of the Spanish I have learned over the years. ‘Hey Marina’ served as the perfect first song for me to hear because of its rock feel and singalong chorus. I hope there is eventually a video for ‘Adios, Tomas’ as it deserves a chance in the spotlight. This album keeps staying in my listening rotation. While you are checking this one out, I recommend giving the new single and debut album by Querida Margot a spin as well.
The Huntingtons, from Maryland, have been around for over three decades now but perhaps a little bit of history is needed as they have never really broken through to the mainstream. My first listen to them would have come back around 1997 with their ‘Fun and Games’ album. At that point, the main influence would have been the likes of the Queers or Screeching Weasel. One of the songs that grabbed me was a cover of the Ritchie Valens hit ‘Come On, Let’s Go’ which kept me coming back to the album and songs like ‘Alison’s the Bomb’ and ‘Losing Penny’ became band staples. The band would then quickly morph into a heavily influenced Ramones style band that has stayed with them over the years. In that time, they have released Ramones cover albums and numerous studio albums that have ranged from good to excellent. The band signed with Tooth and Nail Records early in their career, which unfortunately isolated them a bit from the mainstream, because the label was associated mostly with Christian bands. There has never been any gospel flavor to the band though, and they will say they are not a Christian band. Tooth and Nail did have a sizable reach for an independent label and worked with the band for many years.
About 25 years ago, the band released two full-length albums close together with the ’Plastic Surgery’ album including one of my favourite songs by them ‘Heartbreak at the Hardy Holly.’ The other ‘Get Lost’ contained another long-time favourite in ‘I’m Not Going Downtown.’ These excellent albums could have been future Ramones albums after ‘Adios Amigos’ and received a ton of play in my CD player. The band has continued to release albums over the years, but the reality of day jobs and responsibilities has reduced their output and the number of shows they play. Some things have not changed though including songs set in the world of the ‘Back to the Future’ movies that are extremely catchy. Back in 2020, the band released ‘Muerto, Carcel, O Rocanrol!’ for the first time. The band had written a bunch of excellent songs and nailed them in the studio. Unfortunately, the mix on the album just didn’t work well. It was an album that I liked, but it just felt off sonically. The band played fewer and fewer songs from it and realized it needed a remix after releasing an EP that sounded significantly better. Flash forward to today, the band has released the ‘reborn’ version which has greatly benefitted the album and finds me now playing it on repeat.
The band holds tight to its Ramones stylings with Mikey still channeling Joey’s spirit. The first song ‘Too Old to Care’ kicks the album into gear with a sticky chorus that like many of their songs over the years includes some ‘woo ooh yeahs’ in the chorus. The band provide a nice nod to Iron Maiden in the CJ styled ‘The Slammer.’ The album really shines in this new lease on life. ‘Say Hi to Your Mom for Me’ provides another song for ‘Back to the Future’ in a stomper that lasts just over a minute and reminds me of their old song ‘Dies Saugt.’ ‘Be With You’ delivers a killer chorus using very few words but delivers them cleverly and catchily. The guitar work by Cliffy and Jonny hits the spot here and across the whole record.
The band has stretched out a bit as well with ‘Innocent’ stretching out to almost 4 minutes with an unexpected bridge that slows the song down from its mid-tempo beat and then returns to full strength in a way that makes the song more powerful in its use of dynamics. ‘Not Penny’s Boat’ delivers the goods and the unexpected bonus acoustic version works well too. The words in the chorus won’t all connect with you at once, but they will in time as the main version is a favourite among favorites here.
Lyrically, the band cover many facets of life. ‘Things Are Gonna Get Better’ provides a shot of optimism and hope in the dark times in life. As my Dad is struggling, it feels like the band is singing to me. ‘Liar’ provides another great hook in the chorus while addressing the deceitful people in our lives. Old album closer ‘I Don’t Wanna Die Alone’ provides a slower anthem that feels a bit like the Ramones ‘I Wanna Live’ and addresses something most of us have probably felt at some point in our lives. Mikey (bass) and Chris (drums) really create a great groove in the song.
I didn’t touch on all the songs, but there are no weak spots here now. This reborn version of the album has really helped save these songs from simply fading into the band’s catalogue as an afterthought. The added cover of ‘The Breakup’ provides another nice bonus. If you have never checked out the band, this isn’t a bad starting spot. Their run of albums from ‘High School Rock’ through ‘Songs in the Key of You’ would be where I would go next, but that is probably just personal taste for me as the recent live album ‘Ciao Italia! Live at Punk Rock Raduno 5’ is also highly recommended. This album? Revitalized, Reborn, and Recommended Listening!
‘Muerto, Carcel, O Rocanrol! Renacido!’ is available now.
First off, thank you for taking the time to answer some questions. I am hopeful that the news I saw regarding the fires around Los Angeles being better contained are true, and the long recovery can begin for everyone affected by them.
Thank you! Yeah it’s been a pretty crazy fucked up start to the year here. Thankfully the fires are out now! It’s going to be a long road to recovery, but the community has really come together like I’ve never seen before to help each other and it’s awesome to see.
I had not realized how long I have been listening to you until I realized the ‘High on Yourself’ single came out almost 10 years ago now. Frankie and The Studs have just released your first full length album through Deadbeat Records which contains a mix of new songs and some former singles. Ironically, one of the more recent singles ‘Drain Me’ is not on the album. How did you go about determining what songs made the album?
Almost 10 years already?? Damn!! So you’re probably also wondering what took us so long haha. Yeah, we decided not to put ‘Drain Me’ on the record because that song came from a time of experimentation during lockdown and we wanted to go back to our roots and put out something more raw. We actually had a lot of songs that were in the same universe as ‘Drain Me’ and we re-recorded them as a live band. Whenever we play ‘Drain Me’ live, we play it totally differently to fit our 4 piece live band setup. So we wanted the whole album to just reflect what it feels like to go see us live. I’ve always thought of us as a live band, and to go back to the 10 years thing. I spent a lot of time just playing and getting all that experience under my belt. Right now felt like the right time… I know who I am as an artist, and the band feels solid. My bandmates are my best friends. We’re all in it together. The band went through some different iterations over the years and I’ve been fortunate to work with incredible musicians, but there were times the band felt more like a solo project, but now we feel like a band… so it was time to put out an album!
One of the new songs has to be relatable to anyone who has worked a few jobs in their life is ‘Fuck this Shit.’ My daughter has grown to love the song and is very careful to just sort of mouth the words to the chorus. From live clips I have seen online, the song understandably gets the crowd singing right away. I catch myself playing it at least twice in a row each time I play it. Did the song come quickly when you were writing it?
Hahah that’s awesome, I always tell children to cover their ears if we’re playing an all ages show. Yeah our guitarist Frank Salazar actually wrote that song and when he showed it to me I came up with the lyrics to a second verse pretty quickly, because like you said, I think we can all relate to that feeling!
‘Flash’ is an older song that I called out in my recent review as one of my all-time favorite songs in general. I have a custom playlist where it slots beautifully between a song by D Generation and the New York Loose. How did that song come about?
Aw thank you, that’s a high honor!! We wrote that song fresh off a tour with the Longshot in 2018. We all got in a room and started jamming some ideas for new songs and that one turned into a song about how you get everything you want and it goes by in a flash. Kind of a reminder to myself to be present and appreciate what you got. I grew up idolizing Billie Joe, and to be able to meet him let alone tour with him, was beyond a dream come true. I kept pinching myself… I still do!
‘Not This Time’ is a beautiful soft rocker that channels, to my ears, Bowie in the Ziggy Stardust era. What would we find in your own record collection? What are some of your favorites and maybe what artists would surprise us?
That was definitely the main source of inspiration behind that one! I wrote that one with my friend and collaborator Stewart Cararas. His saying during our sessions is always “WWBD – What Would Bowie Do” The obvious ones would be the Ramones, the Runaways, The Clash, T. Rex.. Some of the more surprising ones would probably be Patsy Cline, Loretta Lynne, Tammy Wynette.
I grew up when Bananarama had a hit single with ‘Venus.’ Your cover adds a nice crunch to it and works perfectly with the hard rock approach. Part of me would love to see your cover take off and help the band get some exposure, but I wouldn’t want that to be ‘what you are known for’ if that makes sense. (Readers- Let’s make ‘Fuck this Shit’ the song for 2025). When did y’a’ll discover that was a perfect song to cover?
Let’s do it and I hear ya! Billie Joe actually sent me the Shocking Blue version one day and suggested we cover it. I remember growing up hearing the song in Venus razor ads lol. We first tried it live and it had such a vibe we decided to record it and put it on the record.
How did you choose which two songs would be the bonus tracks for the CD version? ‘She’s Insane’ is one of your oldest songs, ‘Some Kinda Love’ provides a great groove.
She’s Insane has always been a part of our set, so it felt right to add a new and improved version as a bonus track. Funny enough, when we opened the session file to re-mix it we found a long lost synth track that we were debating on putting on the original recording. It ended up getting vetoed because we wanted to be able to play the songs true to the record live, but we added it back in for the bonus track. I also did a new vocal take since I’ve grown up a lot since the first recording. ‘Some Kinda Love’ was a track I recorded with Macy Gray and it was her idea to cover the Velvet Underground song and make it our own. I always loved this version and had just been sitting on it, so this was the perfect opportunity to put it out.
How did the current band members come together? In the video for ‘Fuck This Shit,’ there is a cohesiveness where things seem to be clicking from an outsider’s perspective. The ‘cool’ factor is definitely present, and it seems to work across generations as my daughter stops what she is doing to watch it.
I love that your daughter is a fan of that song/video! Nick Rossi has been in the band the longest, he joined the band in 2018. We first met in 2017 when I was looking for drummers for our tour with the Biters and he came recommended by my friend Jorma Vik who responded to a Facebook post I put out looking for drummers. Lizi, is an italian singer/songwriter and has her own band LIZI. We first met at one of my shows in 2018 I think?? and she handed me one of her band’s CDs. Flash forward a few years later she was in my dad’s studio recording her album. She asked me to sing on one of her songs “Dying Inside” and we became instant friends. We’ve toured in Italy with both our bands together and when I needed a bass player for a gig she filled in and now she’s a Stud! Frank Salazar, is my boyfriend we met on Tinder 6 years ago haha! At first I didn’t want to intertwine the two but he’s an amazing songwriter, guitarist, singer and we just naturally started to make music together so it made sense!
Established bands are currently struggling to tour and break even. I have resigned myself to watching live shows from your band on YouTube, including some shows from Italy at the end of 2024. When it comes to live shows, can we expect to see any shows outside of California in 2025?
That’s the goal! My main goal for 2025 though is to play outside of LA more.
My assumption would be you grew up in a very musical home. I first started listening to your Dad (joining Alice Cooper’s band for his current tour) back in the late 80’s when he was in Kill for Thrills. He has obviously seen the music industry go through a lot of changes from the time he was in Candy until now. What words of wisdom has he given you over the years you have been performing?
The best advice he’s given to me is “if someone can do it, why can’t you!”
Away from the music, you had a clothing arrangement with Forever 21. I wasn’t sure if that was still ongoing.
Yeah we did a Frankie and the Studs x Forever 21 collection for festival season in 2023. That was a really wild experience! The collection sold out pretty fast.
What final words do you have for our readers?
We’re getting ready to put out another single and put the album out digitally. We decided to first put out the record on vinyl/CD only because we think that’s the best way to hear music. But we also realize it’s not easy to get vinyl across the world, so it will be out everywhere very soon!
Thank you Frankie for taking the time to answer questions for us. Please watch for live dates in the future and pick up the awesome ‘Life’s a Glitch’ album.
After many years, the anticipated moment has arrived with Frankie and the Studs finally releasing their full-length debut album. This album has kicked off 2025 with not just a bang but a massive detonation. I had high expectations coming into this one as I have liked the singles the band has released over the years which have showcased a band homing in on their sound. High-powered rock ‘n’ roll infused with helpings of glam and punk is perhaps the best general description I can give, but they also throw in some other cool wrinkles here. It’s not a stretch to think of them sharing a bill with DGeneration and the New York Loose in New York back in the 90’s, even with their California roots.
Storming out of the gate with the previous single ‘Hole in My Head’ works perfectly as the heavy rhythm leaves an immediate impression on the listener. Frankie Clarke’s vocals sit comfortably in the mix here to set up an awesome call-and-response type punk chorus with her bandmates to hammer the hook into your head. The guitar solo simply shreds too. Changing gears with the slightly slower ‘BiMiNi,’ this one has always reminded me a bit of a 90’s era type song a la the New York Loose and it again highlights one of the qualities of the band, they can pull from different eras and make it all work together. ‘Headrush” ups the tempo again with a catchy chorus that burns itself into your head.
‘Flash’ is another early single that is one of my absolute favourites, not just from this album but in general. This is a glorious song that feels like it was dipped in 70’s glam, 77 punk, the streets of NYC, and then sprinkled with extra helpings of what makes this band so special. The contrast between ‘Flash” and next song ‘Here I Lie’ is perfect with the dark and moody latter song providing a great contrast. ‘Monster’ closes the first half of the album with the band utilizing a tempo that sways from slower to faster with another chorus that begs for audience participation.
The flipside kicks off with the band’s new single which should be relatable to anyone who has worked a few different jobs in their life. ‘Fuck this Shit’ is a current audience participation number at their live shows with a high-powered rockabilly beat finding Clarke delivering an attitude-filled lead vocal that is simply perfect. The guitar solo fits the song like a glove and has inspired some air guitar over here. The band keeps the rock coming with ‘Can’t Stand You’ being another punky feeling song with a great hook. The band slow things down with the closest they come to a ballad in ‘Not This Time.’ I prefer to think of it as what the Dogs D’amour once described as ‘soft songs for hard people.’ The band has released some very cool slower songs in the past, but this is my favorite of those. I think it has been sequenced into the album at a great point too.
The band delivers another hook filled moment of gold in ‘Nothing to Do’ whose only crime is that it the chorus highly recalls the song of the same name by the Donnas. The rest of the song doesn’t with the quieter sounds of the verses being my favorite parts of the song. A very strong cover of ‘Venus’ follows which should induce immediate singing along. The rhythm section is again dialed in perfectly giving the song a very strong backbone throughout the song, and the guitar solo makes the most of its space. Closing out the record is another immediately catchy song in ‘Losing You.’ The band make all the hooks across the album look easy. The backing vocals compliment the chorus perfectly here.
For the CD version, two extra songs are provided with the first one ‘Some Kinda Love’ being a bluesy rocker that showcases another element of the band, and I really like the way Clarke uses her vocals here. Straight head rocker ‘She’s Insane’ then closes out the CD version which is another song that should already be very familiar to fans of the band.
Best album of 2025? Well, so far for me it is of course. I anticipate in 12 months though that this album might still be claiming that title. This one has been on repeat since it arrived and highly recommended. The album was produced by Frankie’s Dad whose work as a producer has really evolved for me. I remember the old Beat Angels albums he produced back in the 90’s and felt they lost a lot of their rawness. This album has a great balance of being raw and polished which is a tricky combination. How much do I like the album? I bought both the record and the CD versions. Time to start rocking again!
Have you ever heard a band for the first time and felt like a part of your soul just became more complete than it had been? When I first heard James and the Cold Gun, that is the easiest way to describe the feeling. Hailing from Wales and with a string of singles prior to this debut EP, they have laid down an incredible EP that somehow becomes even better with each listen as more and more elements reveal themselves. EP of the year? The answer is an emphatic “yes” with me experiencing the same euphoria I felt when Quinn the Brain released their debut EP a couple of years ago.
What makes this band so special? Let’s start at the beginning of this release with ‘Seven’ which builds slowly before unleashing a killer rhythmic hook. They pack an urgency in the groove that gives way to an insidious chorus that sticks in the head like gum on your new shoes. Hints of bands like the Foo Fighters, 3 Colours Red, Ash, and others are present but really just serve as a reference point as James and the Cold Gun have captured their own identity. There is an awesome breakdown in the song which takes the musical dynamics to another level. They show no let up with a RFTC influence introducing ‘Around the Bend.’ The guitar work here is awesome with the mix really giving extra flashes to the guitar notes. This feels like having a freight train barreling down on you in the tunnel and hopping on for the ride at the last second.
‘Plug Me In’ might be my favorite among favorites here. The intro reminds me a bit of a harder-edged GvsB as the volume gradually increases over the first couple of verses before exploding to give way to the chorus. The vocals here have a vitality to them that showcases so much emotion and passion that it is hard to describe. If you could unleash some primal screams with melody while feeling your throat get pulled apart, that might get you close to the right spot. Next up is ‘It’s Mutual’ which brings some Queens of the Stone Age to mind but again James and the Cold Gun have really captured a magic and unique formula all their own. Here they use a sneaky great chorus that will have you singing along while trying to figure out what the actual title of the song is as it is seamlessly etched into the chorus lines. Wrapping up this bundle of sonic perfection is ‘The Long Way Home’ where a seesaw-type riff leads into a hit single in waiting. Some hand claps are added into the mix here which are perfectly placed in the mix as the guitars still lead the way. The bridge breaks the song down and creates a feeling of intense pressure building before it throttles all that tried to stand in its way. It brings to mind Refused around the time of ‘The Shape of Punk to Come.’
At this point, I hope you have ordered this album and are currently already listening to it as there is not much else I can say. This is an incredible release that has become a part of my soul. It’s a cathartic release that can be played again and again. The bigger question might be how the band follow up this release but, much the way the Wildhearts followed up their initial EP releases with an amazing full-length debut many years ago, I think James and the Cold Gun will do the same.
Bitch Queens return with their follow up to the excellent ‘City of Class’ and continue to release well crafted albums that maintain high quality. They don’t tend to break out of the hard rock laced with punk attitude and catchiness category ( or is it punk rock with attitude and hard rock elements) that they have mined for several years. If you have liked the past couple of albums, this one is a no-brainer to purchase, and, if you have not heard them, start your journey here and enjoy a trip through their back catalog as well.
‘Burn It Down’ surges to life with an urgency that packs every second of its two minutes with vitality. The chorus doesn’t mess around and presents a simple refrain to immediately bring the listener into the album. The short breakdown in the song provides just enough of a break to create an impact when the hook comes back around for good measure. Slowing the tempo for ‘Con Man Contraband’ creates some dynamics as the verse then is given more power with the screaming vocals. A slithery guitar riff weaves its way through the song as the chorus is more subtle than the opener. Within the confines of the band’s sound is where they have expanded what they do as opposed to genre jumping. Sampling a warning announcement, they launch into ‘The Apocalypse’ and continue to ease just a little off the throttle here to create impactful moments. This is another chorus destined to be stuck in your head, and I like that we get the chorus before the first verse. The slow down at the end of the song fits perfectly too.
‘Don’t Be That Dude’ feels like a throwback to the mid to late 90’s a la Turbonegro, Supersuckers, Gluecifer, etc. It is catchy with lots of levity and will be one that will likely irritate you as you sing it in your head later. The title track provides an immediate switch with a balls to the wall race to the end of its frantic 40 second runtime. The band then immediately goes back to their super catchy hard rock with ‘The Worst Thing’ to close the first half of the album. It’s not a far reach from the Backyard Babies but contains a bit more exuberance and punkiness than BB have done for a while.
Kicking off the back half of the record, ‘Brainwash Radio’ is a solid classic Bitch Queens song with a large hook, excellent production, and made for air guitar riffs. This is the kind of song that should be getting played to death on the radio. The guitar to open ‘FU Emily’ provides more twists in the dynamics of the album. The song serves as a bit of a ballad here but is laced with so much attitude that it feels incredibly sinister and extremely catchy. ‘Ignorance is Bliss’ ups the tempo considerably and will either have your fist in the air or head banging in no time. This again highlights one of the greatest qualities of the band. They create albums that have a flow and take the listener on a journey. When the record ends, you want back on the roller coaster.
The final quarter pole of the album kicks off with ‘A Good Day to Forget’ which continues the hard rocking excellence. The chorus provides some moments to start singing immediately, but it is not one that will get boring. The guitar solo after the second chorus serves the song perfectly. ‘This is How We Roll in 2020’ provides another scream along moment as we recall the misery of the 2020 world. I don’t think someone could sit still during the song. Closing out the album, ‘Sugar Balls’ takes a step somewhat out of the ordinary but still sounds just like the Bitch Queens. The intensity builds up during the song to serve as the perfect ride out into the sunset moment for the album.
The Bitch Queens entered my world with the awesome ‘L.O.V.E.’ album back in 2017. I went backwards to catch up with their back catalog and have now been a fan since the start for their two most recent albums. If catchy hard rock laced with punk venom sounds like your thing, grab this new album and then start making your way through their back catalog too. You will not regret it.
This album is my first time hearing a full album by the band as I have heard some songs here and there over the years. Stylistically, this falls right into my punk n roll wheelhouse and has grown on me a bit with each listen. It has not done enough to consistently keep me coming back to it. Other albums in this style have generally connected with me more than this one, but there are moments here I do enjoy. I don’t think I will be the only one that is a bit hit and miss with this one.
Opener ‘No No No’ has some cool backing vocals and guitar parts through the chorus but otherwise leaves me a little flat. There is a sense of urgency present, but it doesn’t ever really grab me. The guitar solo is cool, but I catch my attention drifting. ‘Love Exorcist’ has a cool riff and groove but suffers as it needs to be up front in the mix for me. Again, the guitar solo hits the spot, and the chorus has a nice shouty hook.
‘Diane’ is a surprise cover and perhaps should have been placed later on the album as it distracts from their originals and competes in my brain between the original and Therapy?’s haunting cover from the 90’s. While this is an alright version, I much prefer the two previous versions. It does not help that it comes before ‘Supersonic’ which is a burner with a huge hook and a catchy guitar riff for reinforcement. This is a hit single in some other dimension. This also would have been my first song on the album. Glen Clarke’s vocals perfectly fit the song, and Robin Schafer’s guitar riffs leap out of the speakers. ‘Dance Dance Dance’ continues to hit the mark as a slow build to some amped up rock n roll akin to a train thundering down the tracks with no let up in sight. The addition of Ross the Boss on lead guitar will likely bring the band some added listeners.
The band change gears with a slower tempo in ‘Generator.’ I really like that they are mixing things up here, and my feelings on this song have really depended on my mood. I wish there was more to the chorus, or it was used less. Acoustic guitar opens our side one instrumental closer ‘Gismo.’
Side two opens with the Supersuckers sounding ‘Drinkin Out Loud.’ I like the song but also realize I would rather just put on a Supersuckers song which is unfortunate. The little breakdown with the crowd noise in the background is a nice touch though. ‘Get Drunk with Me’ follows which in terms of the song titles I find appropriate. Schafer again lays down a nice riff that serves as a hook in itself. The rest of the song though doesn’t really establish its own identity. If I heard this playing in a bar, I would likely tune it out midway through the first verse and randomly come back to it throughout the song. They highlight that intro riff again at the end which does give the song extra life for my ears.
The band changes things up again with the more power pop feel of ‘One You Love’ and is another of my favorites from the album. Adding vocals by Lisa Kekaula again provides another shot of something different over the course of the album. I wish there was more power in the mix of the album, and I have a feeling this song will move at a slightly faster tempo live. Ross the Boss makes another appearance on ‘Killslayer Bob’ with a guitar intro that is really cool. The Beach Boys style backing vocals in the chorus are awesome here. It is the songs that I like that make this whole thing frustrating at the moment as I am quite sure there is an album by Black Sheriff that I would absolutely love if the stars aligned.
Coming to the end of the album, ‘Happy Camper’ brings in some Johnny Cash at the beginning, but this one just completely loses me. To reference the Supersuckers comparison again, when they go country, it feels very genuine as another side of the band. This just comes across to me as unnecessary filler. ‘Black Angel’ returns to the rocking vibe of the album, and it really suffers because of the previous track. I may isolate this song onto some of my own playlists to let it stand on its own as I like the chorus and the extended part near the end. I just check out after ‘Happy Camper’ when I listen to the whole album.
Black Sheriff have created an uneven 5th album for me which frustrates me as I can see them doing a lot of songs I enjoy. This will likely be one where I eliminate some songs from my listening to see if it holds my attention better that way. Songs like ‘Supersonic’ and ‘Killslayer Bob’ will have to be able to serve as the ones to keep me listening. At the end of the day for me right now, I’m just left feeling meh…
G.G. Sleaze and Johnny King originally came together in Texas to perform cover songs live in 2020, but, during the lockdown, they decided they wanted to start writing some original material. I recently captured an invigorating live show (my first in over a freaking year) by the band where they helped take the crowd’s mind off everything that is going on in the world. I was partially singing along to songs by the end of them and experiencing a great rush of adrenaline in the process. Pulling influences from Hanoi Rocks, Johnny Thunders, 80’s sleaze, and rock n roll, they have unleashed their debut EP or mini LP depending on your preference as it contains five originals and one acoustic cover to close out the proceedings.
‘Singapore Sling City’ gets things started with a cool guitar riff that sets the stage for the album. The Hanoi Rocks influence musically is present, but King’s vocals recall more the likes of early Phil Lewis L.A. Guns sleaziness. The recording is down and dirty which really works to the benefit of the song here. ‘The Road’ opens with a catchy chorus and a mid tempo feel. King really gets to demonstrate some range here, and this song was awesome live. It is one of those songs that can totally lose its feel if it is overproduced and layered with effects. The gutter glam feel of the mix adds to its charm here.
One of my favorites from the live show comes next in ‘The Fringe.’ The guitar work by Sleaze grabs the listener’s attention as the song erupts into a hard rocking treasure. The amalgamation of influences really come into play here as different bands come to mind, but it never really feels like one certain band. There is some GN’R/ Faster Pussycat street 80’s glam at play, but it feels like it is because Shotgun Sally is drinking from the same well as those bands. The band changes gear again with the 70’s style nostalgia rocker ‘Crimson Avenue’ recalling the days of foolish youth where consequences didn’t seem to exist. The chorus is super catchy which is something the band does very well across the board. As I mentioned at the beginning, I was singing along at the live show by the end of these songs, and it is not because they repeat the title ad nauseum. The hooks have teeth and stick with the listener.
‘Hounds of Hell’ rocks hard with Sleaze taking over the lead vocals. When I heard it live, I really liked it despite some technical issues at that time. It has a mix of Thunders, Hanoi Rocks, some snotty 77 punk, and reminds me of something that could have been perfectly at home on American Heartbreak’s first release. The band bring us to a close with an acoustic cover of ‘Life Loves a Tragedy’ by Poison which works very well. If the first five songs serve as the main course, this is more what you might expect after the show when Sleaze and King decide to grab a guitar and knock out some acoustic covers before hitting the road for their next show.
The band added some more songs to the live show which will hopefully find their way onto the next release. In the meantime, they have released a debut that keeps finding its way onto my playlist. I purposely waited a bit after the live show to review this as I didn’t want to be thinking about or influenced by the live versions while writing this. I may or may not have been successful in that regard. These are the kind of releases that throw my year end results all out of whack as I have to decide for myself if I put it in with the EPs or albums. I have not had many releases this year really grab me, but this has been one of them. The music is down and dirty, gritty, and filled with hooks.
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