When Metal Collides…

Tigertailz welcome phenomenal hard-hitting Power Quest / Dendera front man Ashley Edison as their new vocalist.

It’s said certain metals cannot be mixed, they cause corrosion. Surely this is true when trying to meld together a power metal vocalist and the UK’s most prolific Glam Metal band?

Jay Pepper: ‘Some things should never happen, and yet when Ashley came to the studio and began singing ‘Sick Sex’, the mountains in Wales started to rumble, an earthquake was happening, and his voice was causing it! From that moment I knew people had to hear it. Ashley singing Tigertailz songs is like a jet engine running on Nitroglycerin!’

Ashley Edison: ‘I am SO excited to be joining the legends in Tigertailz! A band that not only inspired so many but still put on a hell of a show! When I was with Jay singing Sick Sex, everything just felt right and fell into place perfectly! The guys have been so incredible to work with and I can’t wait to get going on some exciting future projects together!’

The Sick Sex single is available digitally from all usual outlets.

Click here to listen on Spotify. They also announce our first live show for 2023. The Underworld, Camden, London Saturday June 3rd 2023.

Tickets available here.

Right now in 2022 they may not openly want to admit this, but there was a time back at the start of the ‘80s when the uber cool indie Spillers Records emporium in Cardiff, Wales, really was the place to go for all your US metal needs. If you wanted to hear Y&T’s immense ‘Earthshaker’ record, or be knocked bandy by The Rods self-titled platter following both of them getting rave reviews in Sounds that record shop was where you would find them. You could keep the NWOBHM, that was already old hat by 1982, especially when copies of the “life changing” (not only for the band, but for us too) self-financed debut record from a certain LA based band known as Motley Crue finally made its way across the Atlantic and into the window of a certain shop on the Hayes.

I remember it like it was only yesterday, looking in the right-hand window of the shop and seeing that leather groin cover staring right back at me. It’s import price tag would certainly have meant me forgoing a few other music purchases that month, but following yet another rave review in Sounds just a few weeks earlier for said album I just had to have a copy, and boy oh boy was it ‘Red Hot’…no wait, that came a couple of years later didn’t it. Ha!

Let’s face it, Motley Crue never topped that self-released debut record, in fact they then went on to completely ruin it just a few months later with a godawful Roy Thomas Baker remix of it pre the release of ‘Shout At The Devil’. However, via that legendary 10 track Leathür Records version they introduced a whole new generation of cool kids to the visual and aural delights of glam rock, their influence stretching all the way from the Starwood, Whisky a Go Go, and Roxy music venues of their home county right through to Bogiez in Cardiff, where if you asked the likes of Rankelson and Tigertailz who they really wanted to be, Motley Crue would have been top of the list.

So, what the hell has all of this got to do with ‘Bound For Hell: On The Sunset Strip’ I hear you ask? Well, this 21-track compilation of the LA bands that didn’t quite have the same worldwide influence as Motley Crue, takes you on a journey back in time to a place where there weren’t all the sub-genres that metal/hard rock is plagued with today and every new band was seemingly just looking to have a good time, whilst making, what they thought was, awesome music in the process.

Of course, the reason a majority of the bands captured here never got further than playing mainly local shows was because they only had maybe one or two great songs at most, but just like the four amazing, ‘JobCentre Rejects’ albums proved for the lesser-known bands of the NWOBHM scene, there’s certainly nothing wrong with doing a deep dive into the underbelly of a scene, as you never know quite what long lost musical gems you might find.

Case in point here being the opening double whammy (bar) of ‘Going To The City’ by Stormer and ‘Cocaine’ by L.A. Rocks, the former a glorious slab of Van Halen influenced rock shot through with some angelic (as in Punky Meadows’ band not Mensi’s mob) vocal harmonies whilst the latter could very easily have come from an early Tygers of Pan Tang release, and in the process sounds like the start of the NWOLAM movement that never quite got past the release of this 1979 released single.

The juxtaposition of these lesser known bands and how they deserved (in some cases) to sit alongside those that then made it to the next level by signing major label deals is exemplified well here via the likes of Lizzy Borden, Armored Saint, a very raw sounding Black N’ Blue, and Rough Cutt all getting a look in alongside the likes of Odin, V.V.S.I and Knightmare II, and if you were wondering if the female end of the scene is represented then the likes of (the Rock Goddess sounding) Jaded Lady, (the Maiden-esque) Hellion, (the more new wave/Benatar sounding than I expected) Bitch, Leather Angel (who featured Terry O’Leary who then went on to write better material with Jaded Lady) and the melodic rock of Lisa Baker are all here to show you it wasn’t just the men who got to wear the eyeliner and Aqua Net back in early 80s LA.

There are a few possible turkeys included, because not everyone is going to be the next Van Halen, but I’ll let you decide which tracks you might want to flick through, as I found myself compelled to listen the whole 21 track onslaught, largely due to the brilliant 144-page coffee table book written by Katherine Turman (co-author of Louder Than Hell: The Definitive Oral History of Metal) that accompanies the deluxe 2LP box set. This is a book that takes you on a band-by-band rollercoaster ride through the LA scene, and unveils many interesting facts along the way, like Black Sabbath’s Bill Ward once briefly being a member of Max Havok as were Quiet Riot’s Carlos Cavazo and W.A.S.P.’s Tony Richards. Who knew that eh? Not me.

The perfect companion piece to Deadline Music’s excellent 2005 released ‘Hollywood Rocks’ box set ‘Bound For Hell: On The Sunset Strip’ is available to pre-order right now across a multitude of formats to suit all budgets, starting from an entry price point download or CD and going right up to the 500 only coloured vinyl Poser Proof edition wallet buster.

This is not just a set for heritage rock fans though as ‘Bound For Hell: On The Sunset Strip’ awaits a whole new generation of rock fans to influence and corrupt.

But it Here

Author: Johnny ‘Aquanet’ Hayward

Released via Bandcamp to be getting on with, I’m assured it’s also getting a vinyl press on snap! Records (or at least some of them are) On this evidence it richly deserves that vinyl pressing and a whole lot more besides.

Continental Lovers is the workings of former Breakdown band leader Joe Maddox who was busy writing tunes prior to the pandemic and decided to recruit some likeminded band members who had a passion for good time Rock and Roll with a penchant for big choruses like Cheap Trick and a few other notable seventies rock n rollas. A dash of punk Rock snot and a whole heap of attitude and when it’s put together by people who clearly love the music and respect where it’s come from it deserves to rise straight to the top of the pile. Joe has put together a bunch of Trash Rock monsters that are glittering examples of just how to do trashy punk and on this evidence, it won’t be too long before the support slots are the thing of the past and its headline shows in packed venues for The Continental Lovers.

Some of the songs were tested out on the public as demos over the last year or so but the punch of songs like ‘St Joan’ are excellent. short songs with big hooks and no messing about are exactly what’s on offer here. Punching like a heavyweight but these haymakers aren’t random swinging but more lazer-guided jabs to the temple.

Six tracks just about make for side one of an album, but we’ll investigate them one by one, hopefully, we can give them the respect they deserve. None of these tunes overstay their welcome and most nestle around the two-minute mark kicking off with ‘Tape Deck’ which is a sprightly, snotty dust-up where Joe gets on with the job of kicking out the jams with no fucking about. Cool, calm, and right up for it. ‘Really Doesn’t Matter’ has the feel of his old band The Breakdowns with an excellent melody and I love the tone of the guitar break which nails it and pulls the whole tune together. A cool backbeat and some sunshine Rock n Roll blasting through the speakers.

‘Tattered Star’ is Trashy Rock n Roll in all its finery. There’s a familiarity about it like slipping into a well-worn pair of creepers that have some wickedly comfortable insoles for you to bop til you drop. Continental Lovers clearly know where their music comes from and have big enough hearts to use that history and write new songs for the 21st century whilst doffing that gatsby to the past.

‘St Joan’ pays tribute to the Queen of noise – Ms. Jett and they nail the riff to the lyrics and pen a killer song that is fitting someone so cool. I hope she gets to hear it and who knows take these guys out on tour and duet this one cheek to cheek. ‘Can’t Get Her Out Of My Head’ is sub two minutes of 1-2-3-4 hey ho let’s go. It’s got attitude and a cheeky pogo, covered in sweat and just enough snot to satisfy the punks and the glam kids.

Bringing this EP to a swift end is ‘Dale Arden’ which is a thumping way to go out – swinging and bopping and leaving the listener wanting more, more, more. A massively impressive debut offering of six of the best. Continental Lovers can go straight to the top of the class with this EP. It’s everything you could hope to hear. Now get to work on an album and we very much look forward to the record when it hits the shelves later this Summer. Continental Lovers your new favourite Glam Slamming trash Rock n Rollas #Fact! If you get the chance go see em live and when the pre-orders drop for the vinyl record we’ll let you know

Buy Here


Author: Dom Daley

The ‘Salvador Dali of rock n roll’ is back. Was it really only last year that David Ryder Prangley released ‘Black Magic And True Love’? I’ve played it so regularly, it seems like it must be longer. From Rachel Stamp to Sister Witch and all points in between, he’s cast a singular figure. “He puts the glam in Mid-Glamorgan”, as Simon Price said. David Ryder Prangley remains outside of time, and his music is all the better for it. He should, of course, be famous, and filthy rich. Nevertheless, he is a star.


‘In The Palace Of Dead Stars’ croons darkly, an apparent homage to an old Star Trek episode. Oddly, I watched them all again recently, so this seems to fit the mood. ‘Hello’ is the first single, you may have seen the video already. While not perhaps an obvious choice for a single, it could only be D.R.P, the guitars sounding as sleazy as ever.


‘Sweet Heartbreaker’ is a brazen chunk of 70s riffage. I’ve never really liked KISS, but this was how I thought they should sound, if they were actually as good as they think they are. Now THIS is a single.

An underrated guitarist, for sure, I love his choice of tones throughout the album. And an underrated songwriter, as ‘Never Grow Up’ proves his versatility. The light touch on the piano, a beautiful tune.


‘Saint David Of The Bleeding Heart’ reads like a lament to the artist’s doomed soul, complete with a towering solo. ‘Song For A Witch’ is, er, self explanatory and suitably ethereal. ‘Dreaming Spires And Crystal Steeples’ could easily have been a Tyrannosaurus Rex title, but sounds more like one of Donovan’s more inspired moments. “Flutey as fuck”, I believe our Mr Hayward would say. A compliment, of course.


‘Heart Full Of Love, Head Full Of Poison’ brings back the raunch, and I can forgive D.R.P for nicking his own lyrics here (see ‘Captain Sugar’). It would be a great double A-side with ‘Black Magic…’ for some hip-shaking glam stomping. ‘Hey Stargazer’ ends things on a gentler note, a piano led song of sci-fi visions, but once again with a beautiful solo.


This is certainly a similar album to ‘Black Magic…’, which is hardly surprising, but, if anything, the choice of track list is better, with light and shade, and I might even prefer it. Given that ‘Black Magic…’ was one of last year’s best albums (based on how many times I’ve played it), that’s quite a surprise. I’m really pleased that I preordered it. July is looking up…

Buy it Here

David Ryder Prangley plays live – 15th Aug at Lexington?


Author: Martin Chamarette

Having just completed Doug Brod’s excellent ‘They Just Seem A Little Weird’ book, this third album for Rum Bar Records from Boston based rockers Watts couldn’t have dropped in my review stack at any more appropriate moment.




Well just like Brod’s book took me back to the magical days of discovering the likes of Cheap Trick, Starz, Aerosmith and KISS for the first time and making me go all gooey eyed in the process, this all new ten tracker celebrates that same glorious era of musical creativity whilst giving it an adrenalin booster shot just right for the 2020s.


‘Loud & Fast’ kicks things off in fine style conjuring up a kind of Blackhearts meets Motorhead vibe with vocalist/guitarist Dan Kopko’s instantly recognisable gravelly roar front and centre hammering home the song’s huge hook. ‘Queens’ is where the band’s underlying KISS influence really does get turned up to eleven, and it’s better than anything the New York glam veterans have written in the last four decades, plus it’s delivered with a Judas Priest lyrical nod that has me grinning from ear to ear every time I hear it. This is how I want MY rock ‘n’ roll that’s for sure.


The other great thing about Watts is that three of the four members can sing lead, so when bassist Tim McCoy takes the microphone for ‘Breaking Glass’ this leaves Kopko to deliver some soaring Lizzy-esque duel harmony guitar with his counterpart John Blout, plus when drummer John Lynch delivers ‘The Night The Lights Went Down’ his cleaner vocal delivery lends this Black Crowesy roots rocker a more power-poppy sheen and band in the process offers up a potential breakthrough radio hit.


Elsewhere ‘Shady’ would not sound out of place on a post-Bowie intervention Mott The Hoople album, whilst ‘Heavy Metal Kids’ has an instant “in his prime” (as in prior to 1985) Bryan Adams charm to it, that if this world has any justice to it will see it being sung in karaoke bars worldwide for decades to come, and I really do not mean that as a put down. Then there’s the incredible ‘Shocking Pink’, a song Blout/Kopko (who write seven of the ten tunes here) surely must have written whilst listening to Jellyfish, albeit here the glorious vocal hooks are all played out by a band who really are hooked on a Heartbreakers (Tom Petty version) trip rather than Supertramp and Wings.


And talking of breaking hearts, the sleazy Thunders/Dolls vibe of ‘Seventeen’ is a hellraising, fag in the corner of the mouth kind of rocker driven along by some brass stabs that will have you straight up and stomping your creepers, and if you’re looking for the perfect morning after soundtrack to counter that then ‘When the Party Ends’ is just what the doctor ordered for your hangover from hell (even if to my ears at least it’s got a bit of Stereophonics thing going on). Which just leaves the only track on here that has been previously available, the prophetic and Cars-like ‘All Done With Rock & Roll’, which kind of takes us full circle, ensuring as the final chords chime out you just have to press play again.


The world needs ‘Shady Rock & Rollers’ like Watts right now, and believe me when I say you need this record in your life.  It’s out now via Rum Bar Records and really is essential listening!!!!!


Buy Here

Author: Johnny Hayward


Facebook /Twitter /YouTube /Rum Bar Records

Make No Mistake I’ve got a lot of time for London Rockers Neon Animal and their first album had moments where they showed confidence and played like they had it going on and they could certainly be the next big thing and wouldn’t just be one of those bands where only a few remembered the name let alone any of their songs.

Album number two is here and ‘Make No Mistake’ is something of a giant leap for me and that hype and confidence might just be about to be realised and they now have the songs to go with the look and they are talking the talk and walking the walk.

There’s more to this record than being posers who site influences from the downright cool to the downright premier league of recording artists. It’s not a record of garagy punk rock there’s more going on here and the new Neon Animal is certainly a different beast this time around. It might well be heavier, dirtier, broader than the debut and throughout the albums nine new tracks its a more confident more expansive record that explores the time-honoured subject matter of sex, the drugs and the rock ’n’ roll. Sure it’s decadent but it’s quality.

Opening with a really strong track in the shape of ‘Rock and Roll War’ its a statement of intent and has the energy to make you sit up and listen. That heavier tag is evident on ‘Let’s Make The World Rock’ with its simple chorus and biting riff its the breakdown and into that thumping bass riff and solo that lifts this into something quite exciting and Rock and Roll needs that.  Sure its got some garage Rock and Roll going on but it’s mixed with a punk rock bass and hard-rocking riff and it blends really well. There a polished edge to this record but its also rolling on a dirty stage floor and a great example of that is ‘Rock and Roll Suicide’ it’s restrained and is a really well-written song.  Sure it’s not reinventing the wheel or anything but so what that’s for others because Neon Animal are about the here and now and we need some bands to just kick out the jams and ‘Rock and Roll Suicide’ is a real highlight, something you should be hearing on the radio in the middle of the day if there was any justice.

The band get their groove on with a straight-up groove rocker with ‘I Can Tell You Love Me’ man they make me blush it’s like overhearing a dirty conversation between two lusty teens and the mix of sleazy funk and rock is infectious,  You won’t be hearing this on any radio station I know that!

The band introduce some big acoustic guitars for the sunshine of ‘Hello L.A’ a top-down get the beers in the fridge kinda Bowie influenced number. Something quite different from the rest of the louder songs but a very nice sidestep into something altogether more ’70s glam and who isn’t down with that?

The album closes with the dark ‘Broken Mirror’ it’s like a Soho late-night mini-opera from a bygone era as it twists and turns another quite different sidestep that is excellent and adds another flavour to this record that is growing and growing the more I play it.  Had it been all riff-ola crash bang wallop then it would have been missing that x-factor but the gear shifts and twists and turns elevate this to something quite special.  Neon Animal might just have arrived and have the tunes to mess with the big boys and throw a big sleazy-glam-garage-rock ripple in the stale pool of Rock and Roll ‘Make No Mistake’ is one hell of a statement piece and I give it my full support.  Get on it kids this is most excellent.


Buy ‘Make No Mistake’ Here

Author: Dom Daley


Italian rockers Bravata released their debut album ‘Pray for Today’ in May 2020 – as with so many bands, a very unfortunate time to release an album. However, the result is an accomplished, catchy collection of songs.

The Lecce-based band seem to effortlessly mix 70s American rock and roll with British-style Brit pop and beat, perhaps most notable in the song ‘Magpie’. There’s as much to remind me a little of New York Dolls as there is Suede, but the delivery is certainly not as hard as either. Offering up well-crafted songs with a laid back delivery, the album chimes easily from one song to the next, making each one a delightful pill to swallow.

It’s an easy album to get hooked on. While it’s punk rock and roll that drives it, it’s heavily layered with pop melodies and harmonies. The garage-infused title track is about as hard as it gets, whereas ‘I Don’t Know’ has a great The Cure-esque lead guitar hook and multiple harmonies. ‘Generate’ carries a bit of a darker sounds and definitely a highlight on the album.

Bravata traverse a lot of complementary genres to achieve these thoroughly enjoyable 10 tracks. They certainly do know how to craft a decent song or two.

Buy ‘Pray For Today’ Here


Author: Craggy Collyde

New York rock ‘n’ rollers The Shrieks are led by Italian/Venezuelan shrieker Luis Accorsi. After treading the beer & sweat drenched boards of CBGB’S fronting he likes of Manslaughter and Cracked Latin, Luis teamed up with producer Raphael Sepulveda to channel big guitars and even bigger choruses in The Flux Machine. Their masterful ‘Louder’ album came out in 2016 and is well worth checking out if you dig arena rock from the likes of Velvet Revolver and My Chemical Romance.

Fast forward a few years and The Flux Machine have evolved into The Shrieks, and following last year’s ‘Toxygen’ album, Accorsi returns with a new bunch of cool cats and some even cooler tunes to digest.


Opener ‘ T.Rex’ carries a ramshackle sound straight from the heart of Johnny Thunders. From the retro guitar riff that sounds like a car horn, to the junkie-like vocal drawl, it exudes the sounds of the streets (or should I say the gutters) of 70’s New York City.

Yeah, you could say The Shrieks shake it loose with the best of ‘em! It’s Lo-fi garage rock to the max on the likes of ‘Love Or Lust’ and the ultra cool and funky ‘Give Love’, where Luis channels Iggy to a soundtrack of soulful backing vocals and Hammond organ runs. Yeah, this is quality stuff.

The edgy title track is ‘Ballad Of Dwight Fry’s funky, punky older brother. A full on Alice meets Iggy run through that lyrically deals with mental health issues. A posthumous tribute to his friend Joe, who worked as a caregiver in a hospital. The singer takes on the roll of doctor, reeling off a list of drug dosing instructions for some hapless patient, over Strokes-like guitar stabs before breaking into a wah-wah infused jam out. Its dark, its quirky and its damn fine too.

‘Notre Dame Is Burning’ takes things down with acoustic countrified vibes and spoken word, poetic vocalisin’. Just lay back and chillax, as the singer takes us on a heady, tripped-out ride to question life, death and everything. As it builds, the vocal harmonies transport us into Pink Floyd territories. Spoken word seems to be a bit of a thang for our man Luis, as it pops up at various places to great effect.

The Shrieks mix it up nicely veering between retro, garage rock, bluesy jams and laid back, countrified sentiment. At all times sounding like the soundtrack to a Starsky & Hutch episode.

The funky ‘Collision’ with its scratchy, wah-wah guitars and pumping NY groove, is a cool tune for sure. Elsewhere, the mournful guitars and tinkling of the ivories add depth to the almost jammed out, countrified ballad that is ‘Let Me Go’. Country style slide guitar and soul sister backing vocals take the more upbeat rock ‘n’ roller ‘Lie To Me’ further into Rolling Stones territory.

Closer ‘Legs’ is a classic rock blues jam of the highest order. Coming on like a young Steven Tyler shrieking over a bad ass Sabbath riff, Luis delivers his most schizophrenic vocal performance as he descends, seemingly into madness for the duration of the song.


The Shrieks deliver a solid rock ‘n’ roll record that harks back to a different time. Eclectic and diverse in its own way ‘Ode To Joe’ soaks up 70’s rock nostalgia to great effect. A heady melting pot of what made The New York Dolls, Lou Reed, The Stones and Iggy so damn exciting, and why they still remain a great influence on great rock ‘n’ roll bands today.



Author: Ben Hughes








The world needs stars. Real stars, self-made weirdos, who are forced to make their art because it’s a part of them. The downside is that the world at large ignores them nowadays. The gems glitter in the dark corners, hidden from view. David Ryder Prangley has always known this. Regardless, he helmed Rachel Stamp, and now Sister Witch. With this, his debut solo album, he is spoiling us.


While there are only seven songs, the quality demands your attention and cash. Yes, you can listen for free on Bandcamp, but if you love what you hear, grab a cd. Give me seven great songs over 30 minutes rather than another dull, drawn out album any time.


Yes, there is the anticipated, crunching glam sound, but also a broad palette of tunes. ‘They Came From The Stars To Capture Our Hearts’ opens the album, ethereal piano and vocals. I’m reminded of the stupendous Jonny Cola And The A-Grades, who, no doubt, owe a debt to Mr R.P. It’s beautiful.


‘Space Station Number Nine’ cranks up the riffs and drums, with some slinky, dual guitars. Music to pout to. ‘Trouble Every Day’, quite reasonably, sounds like Rachel Stamp. The production is great, proving that you don’t need a big budget if you know what you’re doing. ‘Forever In Starlight’ was the first track released with an accompanying video, plaintive and simple. I like to think that  Bolan would be making music like this. Love the guitar tone.

‘The Apple’ is an instrumental interlude, which brings us to the hip-shaking title track. Unashamedly glam, guitar and sax vying for attention. Prepare to strut your stuff. ‘Captain Sugar’ reminds me of Roxy Music and Prince, which takes some doing. It starts like something from ‘For Your Pleasure’, before the vocals get all fruity and the solo kicks off.


11th March, you can witness this for yourself at Nambucca, London. Sadly, I’m the wrong side of the channel now, but what’s your excuse? You won’t regret it.


Buy Black Magic And True Love Here


Author: Martin Chamarette