They say that in life first impressions are everything, and when it comes to Oslo five-piece Gluecifer, for yours truly, that was most certainly the case.

I first encountered Gluecifer around a quarter of century ago, initially through a Rockpalast performance on (German TV channel) WDR early one Sunday morning after a night out in Abertillery Rock City. I was completely blown away by what I witnessed, not only by their rather unique take on the garage punk genre but also by the suave stylings of the band’s members, especially the ultracool onstage persona of singer Biff Malibu. I mean anyone who can wear white loafers and a red velour bowling shirt whilst ridiculing Joey DeMaio’s inability to drink a (piss weak) tin of beer is already a winner in life, right?

Having quickly taped this performance onto VHS for all my mates to see I then quickly invested in a copy of the band’s ‘Soaring With Eagles At Night To Rise With The Pigs In The Morning’ album and loved every second of it. Then, just a few short months later, me and my (pre) uber rockin’ amigo Gaz Tidey found ourselves stood stage front and centre watching the band live as they hit Newport’s Legendary TJ’s venue. This time around the guys were out on the road with Gaza Strippers promoting their then-new album ‘Tender Is The Savage’, and if they’d blown us away on TV playing live, nothing was about to prepare us for what they were like in the flesh. So, when drummer Danny Young decided that playing a gig in a fibreglass (pretend) cave somewhere in south Wales was also the best time to wear arseless leather trousers whilst at the climax of their set the guys also took a step back (they couldn’t take any more than that as they’d have been off the back of the stage) and unleashed an indoor firework display that must have set them back at least £3.50 of the tour budget, we fully understood why Gluecifer, really are the undisputed Kings of Rock.

Following on from that most eventful night, I went to see the band pretty much every time they toured the UK, and unlike some of my fellow Gluecifer fans who I have got to know through the years, I also thought they progressed as songwriters with each subsequent studio album they released, until in 2005 following the tour in promotion of their ‘Automatic Thrill’ album, they rather unexpectedly (to me at least) decided to call it a day. The world of rock was left with a giant Gluecifer shaped hole, something that not even the arrival of Bloodlights (guitarist Captain Poon’s excellent post Gluecifer band) could ever truly fill.

A posthumous Gluecifer compilation album ‘Kings Of Rock (B-Sides And Rarities)’ was released by Epic/People Like You back in 2008 and this is where the genesis of the idea behind the album I’m about to (finally) get around to reviewing first saw the light of day. That album (in their Norwegian homeland at least) took one album packed full of “hits” as its main selling point, then added a second album of deep cuts, whilst everywhere else in Europe it was that 16 track second album (with an added ‘Desolate City’ from LP number one) that hit the record shops as a standalone release.

Here in 2024 that rarities album has been expanded to a 24 track double LP/download, taking 14 of the tracks from the 2008 release and adding 10 new ones to the track listing, including some recorded during the sessions around the ‘Tender Is The Savage’ and ‘Basement Apes’ albums that have never previously been released.

Kicking off with (the aforementioned) ‘Desolate City’, which was the last track the band recorded together prior to them splitting up back in 2005, this track was penned for a Norwegian action movie named “Izzat” and since the guys reformed back in 2017 to play a series of live shows this tune has proven to be a particular set list favourite with fans. Listening to it again here in 2024 certainly reinforces my shock at the band splitting up back then, because as this tune proves, they really were going out on a high.

Not that there are any lows during the 23 other tracks that make up this compilation I trust you understand, as the band’s earlier tunes like the rip-roaring ‘Monoman’ (taken from the band’s debut ‘God’s Chosen Dealer’ single, which has all 3 of its tunes included here) sitting alongside the likes of  ‘Beg Like The Dog You Are’ (previously unreleased from the ‘Tender Is The Savage’ sessions) make for a fascinating sonic voyage through the band’s deep cut back catalogue and their development as songwriters.

The songs I was particularly interested in hearing were the 3 previously unreleased tunes that didn’t make the cut during the recording of the ‘Basement Apes’ album. With this being my (when pushed to choose one) favourite Gluecifer album the harmonica honking ‘All The Young Droogs’ is an immediate “why didn’t this make the final album?” standout, whilst the almost Saxon-esque thunder of ‘The Hammer & The Wheel’ is also a winner, which just leaves the sassy strut of ‘(Gimme That) Good Butter’ (complete with some Stonesy female backing vocals) to close out ‘B-Sides & Rarities 1994-2005’ and illustrate once again that at the very heart of Gluecifer there was always more than just a balls out garage punk band.

At just shy of 1 hour and 20 minutes long there’s a hell of a lot to get through within the grooves of ‘B-Sides & Rarities 1994-2005’ so I’m going to leave you to fully discover what Captain Poon himself calls “a nice little treasure hunt”. It’s well worth investing your time and money in that’s for sure.

‘B-Sides & Rarities 1994-2005’ is available now on “slightly” silver double vinyl, tucked snugly into a gatefold sleeve via the link below, and you never know, if enough of us in the UK go out and buy this, Gluecifer might even think about playing the UK again (I have everything crossed here anyway).

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Author: Johnny Hayward

Compilation of released and unreleased material between 2014-2018 sees Chicago punk n rollers Poison Boys Front Man Matt Dudzik has settled on a three-piece but there have been several past members who’ve come and gone but leant a helping hand during the recordings of this album in the four years these songs are lifted off. The band recorded on White Zoo Records as well as London’s finest No Front Teeth Records as well as some early self-released demo tapes. this is essential listening if you’ve gotten into the band via their two mighty fine albums that followed but it’s a great way to kill some time before the new album drops as it shows how the band honed their skills and went from a rough round the edges punk n roll outfit with plenty of attitude coursing through these songs. Besides, some of these records as 7″ singles are like rockin’ horse shit so it’s tough to track down if you’re late to the sleazy party.

The No Front Teeth singles were where I joined the Poison Boys train and mightily impressed I was too. ‘Bad Mouth’ still sounds fuckin awesome but you might want to start this trip from back to front because the demo is nasty in the best possible way. All Johnny Thunders riffs n licks and the sound of some punks kickin’ back and dropping sound bombs in your ears. ‘Turn’ sounds like it was found in some ditch next to a body with no ID but a Lewis Leather Jacket and some cool worn creepers.

Anyways heading back to the top and the two tracks from the White Zoo Single ‘Bustin’ Out’ and ‘Run And Hide’ with their cock of the walk Chuck Berry licks and JAgger puffed out chest is a great place to start with this compilation. If wrapping up the band’s output is what you’re after then hop on board it’s a wonderful fifteen-track that kicks ass and is pure rock n roll with attitude with hidden gems like the leftover session cut that is the sleazy acoustic smokey ‘In The Night’ sounding like they were channeling The south of France Stones Exile sessions.

Head over to Bandcamp and show Poison Boys some love and support this record and look forward to what they do next. these pirates are sailing the choppy waters of Rock n Roll and taking no prisoners but leaving a fantastic trail of destruction in their wake. Hail, Hail Punky, sleazy Rock n Roll Its alive and well and living in the shadows of Chicago.

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Author: Dom Daley

On 17th May Ferocious Dog proudly release their brand new studio album, ‘Kleptocracy’, on Graphite Records. Kleptocracy, features 12 songs and will be available on CD, Deluxe CD (with 4 bonus songs), transparent red vinyl (exclusive from the band’s website), clear vinyl and all digital platforms.

Kleptocracy, delves into themes of societal injustices and the enduring struggle against exploitation, echoing the band’s commitment to shedding light on the issues plaguing Broken Britain and our world today.

In typical Ferocious Dog fashion the album is a mix up of all sorts of genres! To name a few of the influences that appear: Celtic folk, gypsy folk, blues, dissident folk, pop punk, full on hardcore punk, and straight up rock. However, despite the many styles, primarily this album in particular goes back to a more classic folk punk sound.” – Ferocious Dog.

Kleptocracy is the follow up to The Hope which debuted at Number One on the Official UK & Ireland Folk Album Charts  and entered the National Album charts at Number 31.

With a righteous anger and a brand new line-up, Ferocious Dog “didn’t want this album to sound just like The Hope or previous albums, we wanted to put our own stamp on it. So even though this album has the same undercurrent as all Ferocious Dog albums, it is faster, more rocky and a closer reflection of our live shows. It has been a great venture all working together on this album amidst all the shows and tours.” 

Thought provoking and politically charged, Ferocious Dog seem to have the knack of evolving their dynamic and eclectic music, without losing any of the sound or attitude that made you fall in love with them in the first place. 

To preorder Kleptocracy go to: https://linktr.ee/FerociousDog

To celebrate the release of Kleptocracy, Ferocious Dog have announced 14 headline shows and two festival appearances; Stone Valley South and the Bearded Theory. The Kleptocracy tour starts on May 17th  at the legendary 100 Club in London, includes the Nottingham Rock City on 18th  May, before concluding at the Blackpool Tower on 9th  June. 

“These performances aren’t just about the music; they’re a rallying cry for change, a space to unite and amplify voices against corruption and injustice.” 

Tickets for the tour  can be ordered here: https://ferocious-dog.co.uk/live-events/

Ferocious Dog 2024 Kelptrocarcy tour dates:

May 

Fri 17th 100 Club  London 

Sat 18th Rock City  Nottingham 

Sun  19th The Globe  Cardiff

Mon 20th Phoenix  Exeter

Tue 21st Chalk  Brighton  

Wed 22ndBooking Hall Dover

Thu 23rd Mash  Cambridge

Fri 24th Nightrain  Bradford 

Sat  25th Stone Valley South Hertfordshire

Sun 26th Bearded Theory  Derbyshire  

Fri 31st MK11 Milton Keynes 

June

Sat 1st Guildhall  Gloucester

Sun 2nd The Drill Lincoln

Fri  7th The Georgian Theatre  Stockton-on-tees 

Sat 8th Old Fire Station Carlisle

Sun  9th Blackpool Tower Blackpool 

Those shirtless Swedish sailors, The Boatsmen, are back with the first single from their fifth, and perhaps greatest, album “Hard Livin’”.  Slated to be released on the 29th of December this year, we wanted to give you a taste of what The Boatsmen have cooking.  It’s less than three minutes, you have three minutes.  Why wait, go give it a listen!

“Hard Livin’” will be available on vinyl and on all major streaming/download services on December 29, 2023.  Available in North America from Spaghetty Town Records. In Europe from Ghost Highway Recordings or from The Boatsmen.

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FROM NEW ALBUM 
WHAT DO WE DO NOW
OUT FEB 2nd ON SUB POP

PRE-ORDER

musical virtuoso J Mascis releases ‘Set Me Down’, the beguiling and electrifying new single from his forthcoming album What Do We Do Now which will be released worldwide via Sub Pop Records on February 2nd

Recorded at his studio Bisquiteen in Western Massachusetts, What Do We Do Now is J’s first solo album that features full drum and electric leads, although the rhythm parts are still all acoustic. It features a host of guest musicians including including Western Mass local Ken Mauri of The B-52s on keys and Ontario-based polymath Matthew “Doc” Dunn on steel guitar.

‘Set Me Down’ follows on from the record’s lead single, ‘Can’t Believe We’re Here‘, which features appearances from J and a few of his friends and foes. The video was edited by Adam Bale at Ballad Pictures.


J has scheduled two solo headline shows for 2024 in Australia, which coincidentally happens during a run with his other band, Dinosaur Jr. The dates include Sydney’s Liberty Hall on Tuesday, February 20th, and in Brisbane at The Triffid on Saturday, February 24th. Additional solo dates will be announced soon.
 
Mascis is currently on the road with Dinosaur Jr., who are touring to celebrate the 30th anniversary of their sixth studio album, Where You Been.

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr.The FogHeavy BlanketWitchSweet Apple, and so on), well, to paraphrase Lou Reed“J’s week beats your year.”

What Do We Do Now began to come together during the waning days of the pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. “When I’m writing for the band,” he says, “I’m always trying to think of doing things Lou and Murph would fit into. For myself, I’m thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it’s just what happened.”

Two guest musicians are playing this time out; Western Mass local Ken Mauri (of The B-52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, “Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I’m really only comfortable playing the white notes, so it’s kind of limiting. [laughs] Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it’s harder to figure out how to stretch your fingers around the other ones.”
 

Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on ‘I Can’t Find You,’ where he is Jack Nitzsche to J’s Neil Young, creating one of the album’s loveliest tunes. The other guest musician, Matthew “Doc” Dunn, is also prominent on this track. Dunn’s steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc’s great 2022 Sub Pop single, ‘Your Feel,’ he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads.

What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they’re presented is just about perfect. Asked if he would be touring to support the album, J says he’ll be doing some weekend dates, but he probably won’t be putting a band together. And I’m sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis’ instantly recognizable approach to making music.

So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him.

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Hot on the heels of last year’s Ramones tribute, ‘Basement Beat’, Brad Marino returns with 10 new songs that, ideally, would have been the soundtrack to this summer. Still, it’s a welcome return, and I can almost remember what the sun looks like whilst listening to another top notch collection of tunes.

Whether it’s the Slade-tinged title track, or the slide infused ‘Up And Up’, this is poptastic stuff. Crafting great power pop isn’t easy, but Brad has a knack with it, and none is finer than ‘Hung Up’, with its Rickenbacker-friendly melody. You’ll be “ooh”ing along in no time, perhaps due to it being one of two collaborations with Kurt Baker. They really are made for each other, musically speaking.

Just listen to this and ‘I’m Broke’ for the proof. Fingers crossed for a full album together, though they’re obviously both busy; Kurt’s ‘Rock N Roll Club’ being one of the best albums this year.

They both make it sound effortless, ‘(She’s) Doing Her Thing’ settles in your head like an old friend, in a Flamin’ Groovies style. ‘Lucy’ rattles by, complete with castanets, like Ramones on a sugar high. ‘Looking Then’ is worthy of Paul Collins, and Brad throws the kitchen sink at ‘Another Sad And Lonely Night’, but it pays off, with contributions from members of the “New England Mafia”, Joe Queer and Geoff Palmer.

It’s a no brainer, folks. If quality power pop is your bag, this needs to be in your collection. Big grins all round.

Sioux Records For Vinyl

Rum Bar Records for CD & Digital

Or Brad directy Here

Author: Martin Chamarette

The complete Klark Kent – eighteen tracks spread out over four sides of vinyl. Stewart Copeland taking over vocal duties on what is effectively a new wave, energetic romp through a whole bunch of tunes dating back to 1980 when these songs were first recorded. It was the first solo album (of sorts) for any of the Police. There is the bonus of some unearthed gems to fill out this collection that was pressed on Wax for RSD a while back but this is bigger and better.

Obviously, there is the punky side to Copeland’s work on a fairly hefty dose of his rhythmic new wave that his then-day job in the Police did to enormous levels. There is an exceptional level of musicianship and often a lot is going on throughout the records. But you do get a sense that Copeland had a lot of input into those Police records and his sense of melody is spot on quite often.

I quite like Copelands vocals and I know they can be a little thin at times but they work for the new wave style and songs like ‘Office Girls’ it suits as it does on the catchy ‘Too Kool For Kalypso’ whilst remembering this record, these songs are 40 years old.

Some of the record sounds dated, ‘Away From Home’ with its reggae roots shuffle but that also brings a particular charm with it that I found appealing. What They haven’t done is tamper with the recordings and given them a modern sheen or recording which would have killed any energy stone dead.

The single ‘Don’t Care’ has that time capsule vibe like classic Buzzcocks with the melodies and that’s what works here. A good song is a good song no matter the time or method of recording and Copeland’s rapid snare runs shine like a star. I also like his attitude that if you don’t like it you can suck his socks, so edgy.

The 18-track expanded album will be complemented by a bonus CD of Copeland’s Kent demos, released here for the very first time. But the one gripe I have with the vinyl isn’t the mission demo but the lack of liner notes, I’d love to know the boring details of who plays what where, and why that would have been nice. Oh, and a side note I’m always happy to admit I’m never keen on instrumentals and shy away from them but here I quite enjoyed checking them out and wasn’t tempted to skip not even once. Maybe I’m getting old or just growing up who knows? But one thing I do know is you should check out this record. Be it as a fan of the Police or a curious old new wave/pink rocker who always had a soft spot for the Police and those early records. This is an excellent accompaniment.

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Author: Dom Daley

PAT TODD and his band THE RANKOUTSIDERS release album number seven and LA’s finest rock’n’roll band comes some 36 years full circle after the label’s first dalliances with Pat., back when he fronted the legendary Lazy Cowgirls of course. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he’s upgraded the Lazy Girls for Some Rankoutsiders – Yet another killer band to back him.

OK a show of hands please. Has anyone ever not throughly enjoyed a Pat Todd record? No? No, I didn’t think so because whilst you might think it’s a trick question because Pat Todd doesn’t do bad record – Fact. ‘Sons Of The City Ditch’ is just a full force rockin and rollin record.

If this was a Georgia satellite record it would be causing a stir with the likes of ‘Living In A World Of Hurt’ that gets this rowdy do off to a thumping start. But hang on it’s like if Springsteen grew up on a steady diet of the Dolls and the Ramones and had an attitude of swigging beer and barroom brawls he’d be able to sound as vibrant and rockin’ as this.

‘All We Have To Show’ is carrying on the party after hours back at the shared house and the lounge is awash with beer-drinking boys and girls having the best of times and the music is just killer. Turn it up DJ we don’t wanna stop yet.

Oh, yes please ‘State Line’ is like the getaway car theme tune after the perfect heist. Keep on driving and turn that stereo up. Pat Todd and his Rank Outsiders are killing it on this record just playing sweet sweet rock n roll loudly. Fast and Loose its not rocket science it a time honoured tradition and Todd and the gang just get it.

They do kick back and ‘Donna’ made them do it. It’s a love song but soppy it ain’t. ‘Long In The Tooth (Before The Dolls)’ lulls you into a false sense of security before taking off and delivering one of the record’s real highs from the time-honoured riff to the backing vocals and into the dueling guitar solos. Sure it’s unoriginal, and doesn’t deviate from the well-trodden path but it’s all about the songs and delivering just exceptional rock n roll. That’s it, the MO is simple and some people just get it and are able to smash it pretty much every time, that’s Pat Todd that is.

The production lets the music breathe and it works well on the countrified  ‘Back Down In The Basement’ another thing Todd knows how to do as well as the likes of The Supersuckers. ‘Hi, Ho Silver Lining’ is something of a glam stomping interval for me. Sure it’s a well delivered anthem but I’m not sure I’d have included it here but what do I know? ‘Goodbye To The World’ has some rasping harmonica added for good measure.

This album is right up there with that first Dan Baird solo LP for me and PAt todd is much the same but with a more punk rock handle on proceedings mixed with his Rock n Roll and his records are always Full of top tunes, great production, and knockout delivery.

Leaving just the title track to sign off in style and possibly leaving the best til last. The soloing and harmonic duel are killer but what else would you expect. Another day another excellent record added to the Pat Todd & The Rank Outsiders arsenal maybe their finest yet it’s got all the vital ingredients to take that title. Buy it!

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Author: Dom Daley

The latest Motorhead album to get the deluxe 12″ book treatment along side ‘Iron Fist’ and ‘No Sleep’ albums as opposed to the superb box sets of ‘1977’ and ‘Ace Of Spades’ is 1983s ‘Another Perfect Day’ This brand new half speed master from the original tapes also includes a full live show of a recently unearthed concert recorded at Hull City Hall on June 22nd 1983. As well as the story of ‘Another Perfect Day’ told through previously unpublished and new interviews and never before seen photos and rare memorabilia. I’ll let Kenny explain the diamond in this most impressive set.

Motorhead – Live at Hull City Hall, 22nd June 1983

1983 was a strange year in the Motorhead camp. ‘Fast’ Eddie Clark had left the band after Lemmy’s dabbling’s with Wendy O Williams, (apparently, Eddie was less than pleased with their ill-fated cover of Tammy Wynette’s Stand By Your Man.) The man who replaced Eddie was ex Thin Lizzy axeman Brian ‘Robbo’ Robertson. On paper, a good choice you would think. In hindsight, this era was the most divisive in Motorhead’s long history. Robbo was reported to be a bit ‘difficult’ while being in the band, refusing to play standards such as Ace of Spades live and wearing questionable clothing on stage, shorts and ballet shoes?? (much to Lemmy’s annoyance.)

Drummer Phil ‘Philthy Animal’ Taylor was said to be a bit of a fanboy of Robbo and he couldn’t do any wrong in his eyes. Robbo’s tenure in the band was short lived but he left us a fine album with Another Perfect Day. The Motorheadbangers were unsure at the time, sales of the album reflected this, it only reached number 20 in the UK charts for example. Over time though, the album has gained critical acclaim, I think it’s a great album myself, Robbo brought some much-needed melody to the songs while it was still unquestionably Motorhead.

As part of the 40th anniversary release of the album we get a cracking snapshot of the Robbo era in a live setting with a full set recorded at Hull City Hall in June ’83. The band really are on fire here, tracks like Heart of Stone, Rock It, Dancing On Your Grave, and standardslike Shoot You In The Back & The Chase Is Better Than The Catch sound great. If there was any animosity between the band members at the time you certainly can’t pick that up here.

This is a wonderful addition to the original album that’s been remastered and repackaged beautifully on vinyl and CD formats. Go and give ‘Another Perfect Day’ a listen if you haven’t for a while. You’ll be pleasantly surprised….

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Author: Kenny Kendrick

The clue is in the title. Johny gets a couple of chicks on board who wont answer him back, wont drink his rider, argue in the van steal his leather strides and get into fights with the local police,but, can knock out some dirty punk n roll fast n loud and look awesome in a wig.

Turn it up suckers this is no nonsense, loud n fast punk n roll. Its down n dirty and having learnt from the best it also includes a filthy rendition of ‘No Class’ which to be fai ris clearly the MO for this EP. Its back at the marquee on Wardour Street where McCoy n Thunders are hanging out by the cloakroom whist the Lords are tuning up. Clocking in at a thunderous one minute ‘Dancing With The Dead Girls’ is a call to arms and ast enough to get the heart racing and a longing for a time long gone but hell of alot of fun.

Don’t pause because the Lords dripping ‘Bad Intentions’ is a sliding solo to Hell and back as the tempo is like a hog guzzling petrol on the highway to hell with the FTW middle digit to the rest of the pack before buring out rather than fading away.

what a corker Johny hits paydirt with a sleazy slice of ‘No Class’ that Lemmy would certainly be proud of would tip his hat and rattle his jewelery at if he hears it. To be fair I’ve played it loud enough that he might just hear it with a fair wind into the next life. the energy on ‘The Buzz’ is fantasticand having the EP come out of covering ‘No Class’ is a gift from the Rock n Roll Gods and proof that music is plucked from the ether or gifted from the spirits who’ve passed on.

The energy keeps on going and the Dead Girls keep on giving as ‘Where The Action Is’ is a motoring cruise control riff a rama where it builds to the solo that’s on fire! then we’re back to that Lord’s inspired bass n drums breakdown that takes this sucker home.

Closing off the best piece of work mr Skullknuckles has done for a long time and if anyone has been paying attention that is an impressive catalogue behind him and this is the icing on the cake the cream of the crop if you like. ‘Dirty Fucking Rock n Roll’ is a slow-burning groove-infested rocker that does what it says on the tin. Now pop over to Bandcamp and fill yer boots. Stick it on the player and stick it in your ears its music for the soul and music for the connoisseur of Dirty Fuckin Rock n Roll. Now where can I get Silent Sonia’s phone number for my Mate Hotshot, he loves how she does her hair and paradiddles her snare and no doubt holds her liquor. Buy It

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