The Gun Club – Preaching The Blues’ Boxset set for January

The Gun Club – Preaching The Blues’ Boxset set for January
Pic by Ed Colver

Limited Edition 7 x 7inch vinyl Box Set


Includes the highly sought-after debut 7” ‘Ghost On The Highway/Sex Beat’ All tracks remastered and issued with original artwork.


52-page booklet with rare photographs, reminisces from Thurston Moore, Mark Lanegan, Henry Rollins, X and extensive liner notes from noted author Clinton Heylin.


Includes exclusive ‘Fire Of Love’ Fanzine, ‘Gun’ Button and Promo Postcard Released by Flood Gallery on 21st January 2022

Box set Pre-Order Here

If ever there was a band seemingly determined to come from nowhere and go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and destroy combo was spawned by the L.A. punk scene in 1979. Two years later their first LP, the incendiary Fire Of Love, was spewed out by Slash Records, a matter of months after the punk zine Pierce wrote for, and the label named itself after breathed its last. Fire Of Love was one of the 80s’ genuinely shape-shifting US debuts, igniting post-punk depth and minting genres including blues, psychobilly, and Americana. Yet before they could fire up the lathe to cut the album master, The Gun Club unleashed a debut 7” ‘Ghost On The Highway’ b/w ‘Sex Beat’, two purgatory-bound hellraisers from the pen of Pierce. Appearing in the UK on the Beggars Banquet label,
this single is now entrenched in the collectors’ market commanding a three-figure sum for a mint original. Its inclusion here is worth the price of the Box Set alone. “Ghost on the Highway/Sex Beat’ was the first in a run of fire and brimstone singles The Gun Club released. Seven of their very best 45’s issued between 1981-1993 are
brought together on this potent collection including three later day 7”s for the completists. Joining “Ghost On The Highway’ are ‘Fire Of Love’, the ‘Death Party EP’, ‘The Great Divide’, ‘Pastoral Hide & Seek’, ’Cry To Me’ and a ‘Miami Demos’ single, exclusively made for this box set.

Each double-sided single is remastered and reproduced with its original artwork. Inside the Box Set is a high quality 52-page page booklet complete with expert sleeve notes by author Clinton Heylin alongside various contributors, among them Mark Lanegan, Henry Rollins and Thurston Moore. Reproductions of gig posters, tickets,
rare photographs and other Gun Club memorabilia are featured throughout. The Box Set is produced in association with the Jeffrey Lee Pierce Estate. Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at the age
of 10, he quickly immersed himself firstly in reggae and later the Delta Blues, particularly works by Tommy Johnson & Robert Johnson. By 1976, he had become obsessed with Blondie, going on to become President of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who suggested to the band they cover ‘Hanging On The Telephone’. The Blondie connection would later resurface in 1982 when Chris Stein signed and produced The Gun Club for his Animal Records label. In 1996, after releasing 7 studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away following
a stroke. What he left behind is a legacy of work that has had a prolific effect on some of the most distinguished rock acts of the past 20+ years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White Stripes, Mark Lanegan, Primal Scream and The Black Keys.


The Gun Club story would not be complete without mentioning the following personnel who played an integral role in the musical output of the Gun Club: Kid Congo Powers, Terry Graham, Chris D, Rob Ritter, Patricia Robinson, Romi Mori, Ward Dotson, Jim Duckworth, Dee Pop and Nick Sanderson.

The Gun Club ‘Preaching The Blues’ Singles Box Set

  • Ghost On The Highway (1982) – Ghost On The Highway/Sex Beat
  • Fire Of Love 1982 – Fire Of Love/Walking With The Beast
  • Miami Demos (1982) – Carry Home/Brother And Sister
  • Death Party EP (1983) – The House On Highland Ave./ The Lie/Death Party
  • The Great Divide (1990) – The Great Divide/Crabdance
  • Pastoral Hide And Seek (1990) – Pastoral Hide And Seek/Black Hole/Emily’s
    Changed (Live in Paris, 91)
  • Cry To Me (1993) – Cry To Me/Give Up The Sun

L.A. Guns – ‘Checkered Past’ (Frontiers Music)

L.A. Guns – ‘Checkered Past’ (Frontiers Music)

Written and recorded while the world was still in the grips of the coronavirus pandemic, this new studio album sees the band just keep rolling and making music for the 21st Century as they did on “The Devil You Know” and “The Missing Peace” even if this has some softer lighter edges in the shape of the whistful ‘Get Along’.

Sure their classic rock influences are still in the mix. The heavier songs are present and correct but thats the beauty of an L.A. Guns album you kinda know what you’re going to get but there are subtle surprises within that keep the listener on their toes.

When fans absorb the album as a whole, they’ll see that the tracklisting is divided up into ‘sets’ or ‘suites’, where a sonic style is explored across multiple songs before moving on to the next, making for a longer-lasting listening experience that has certainly kept fans coming back for more (as well as the obvious talents within the line up).

I’ve always been a big fan of Lewis from when he was fronting Girl through Torme and as a solo artist he’s lost none of his talents over the years.

The album kicks off in style with the dirty rock of ‘Canonball’ that harks back to the real spirit of the band and when they first came to the fore. The attack of the two guitars and Lewis’ voice is excellent. then to follow it up with the groove-based boogie of ‘Bad Luck Charm’ then ‘Living Right Now’ that has attitude as well as grooving on a ‘Born To BE Wild’ opening riff its three songs in the intro and three styles that blend really well before the acoustic change of pace that is ‘Get Along’.

Going back to the ‘Sets’ where the album is divided into this laid-back, reflective acoustic section has the excellent ‘If It’s Over Now’ that has a great classic melody going on and Lewis vocals soar before gently getting back into the verse where its more softly spoken. The solo you know is coming and I got the impression of a Randy Rhodes style Ozzy feel and it hits the spot.

There is a solid more gang-like feel to this album and one the band seems altogether more comfortable with. There isn’t any need to just pummel the listener (even though they do at times) they seem more comfortable experimenting and taking different paths with the arrangments and that always makes for a better listen.

Halfway through the album, there’s plenty of grunt on ‘Better Than You’ before the boys get the feet up on the monitors for a DC like stomper in the shape of ‘Knock Me Down’. ‘Dog’ sees Tracii lead the way with a ballsy rocker.

As we head into the home straight the band shift through the gears with the slow-building ‘Let You Down’ that might just be the highlight of the whole album reminding me of the band’s darker classic ‘Hollywood Vampire’. Closing off proceedings with the sludgy, big, let’s get the fuck outta dodge grinding rhythm of ‘Physical Itch’ that closes off another long-player from a band that should rightfully get the respect of its peers for being not survivors but pioneers – a band who kept fighting against the odds and doing it on their own terms and a band that is maturing like a fine wine. Not going through the motions but a band that is going through the emotions – lifting you up and putting you down and if you turn up the speakers they’ll still throw you about. Long may this incarnation of L.A. Guns continue because they have the chops and are still very much capable of cutting the mustard and making really really good albums.

Buy ‘Checkered Past’ Here

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SLADE official deluxe vinyl album re-issue series ‘Slade in Flame’

SLADE official deluxe vinyl album re-issue series ‘Slade in Flame’

SLADEofficial deluxe vinyl album re-issue series slide in Flame’released on limited edition splatter vinyl out 26th November 

Pre-order here

‘Slade In Flame’, the third release in the series, will be released on red and yellow splatter vinyl. 


The first release in this beautifully presented re-issues collection ‘Slayed? debuted at #7 in the Official Vinyl Charts and the final release will be ‘Slade Alive!’.Slade’s first soundtrack album and fifth studio album ‘Slade In Flame’, includes the singles ‘Far Far Away’ and ‘How does it Feel’. Originally released on 29th November 1974, the album entered the UK album chart at #6 and it was certified gold by the BPI in February 1975. Slade’s seminal film was hailed as ‘the Citizen Kane of British pop movies” by Mark Kermode, BBC.


‘Slade In Flame’ follows the release of Slade’s third and fourth studio albums ‘Slayed?’, and ‘Old New Borrowed And Blue’. ‘Slayed?’ features ten songs including Number One single, ‘Mama Weer All Crazee Now’  and ‘Gudbuy T’Jane’ which reached Number two in the charts. While ‘Old New Borrowed And Blue’, features the singles ‘My Friend Stan’ and ‘Everyday’ and  The Times to retrospectively state: “This is joyous, unshackled and unpretentious stuff that reminds you how they rattled off six No.1’s.”

Pictures By Barry Plummer


Slade are without doubt one of the most exciting bands to come out of Great Britain and were unstoppable throughout the Seventies becoming one of the biggest bands; releasing six smash hits albums, including three UK Number Ones, a run of 17 consecutive Top 20 singles and their hits provided a soundtrack to the Glam Generation.
To pre-order ‘Slade In Flame’, go to: https://slade.lnk.to/sladeinflamePRTo order ‘Old New Borrowed And Blue’ go to: https://slade.lnk.to/onbabPR To order ‘Slayed?’ go to: https://slade.lnk.to/slayedPR

Skids – ‘Songs From A Haunted Ballroom’ (Cleopatra Records)

Skids – ‘Songs From A Haunted Ballroom’ (Cleopatra Records)

Open your mind and just let the music do the talking.  That’s how I approached this album of covers from the Skids but it had to meet certain criteria before being considered for inclusion on this album and to be fair, they only bloody well pulled it off!

Veteran punk rock outfit Skids have returned with a powerful new studio album that pays tribute to the band’s hometown venue, the historic Kinema Ballroom in Dunfermline, Scotland. Both a live venue as well as a traditional dance club, the Kinema became a musical and cultural epicenter for the youth in Scotland’s Fife province, especially during the late ‘70s, early ‘80s punk rock movement. It would also become the home venue for Skids who played numerous shows at the Kinema as both a support act for such legendary bands as The Clash as well as the headliners for multiple sold-out events.

Now, Skids take a walk down memory lane, performing songs by the bands who influenced them in those early years. ‘Songs From A Haunted Ballroom’ includes versions of tracks by The Clash, The Adverts, Ultravox, Sex Pistols, and Magazine PLUS new versions of their own early hits “Into The Valley” and “The Saints Are Coming!” so laying themselves open by covering some iconic punk tunes.  Let battle commence.

The first single from the album, a supercharged version of Ultravox’s ‘Young Savage’ is an eyebrow-raising moment because it’s both vibrant and has boundless energy. Then it’s one of those peek through your fingers moments as they take on ‘Complete Control’ and again I breathe a sigh of relief because they manage to stay on the right side of the cover version style and don’t do it cabaret style.  Capturing a good sound on those guitar crunches that was Jones and Strummers style and Jobson does a convincing job on the vocals.  Purists will no doubt be all over this complaining about one thing or another but I think they do a sterling job and pay tribute rather well.

 

As I relax a bit more it makes sense they do ‘Gary Gilmore’s Eyes’ it’s more Skids style and again it’s really well done. They even manage an energetic take on Rockpiles ‘Heart Of The City’  so its not quite there but to even take on such a top tune deserves some kudos.

 

What this record does do is send your mind back to what seems like better times when music was pouring out of every nook and cranny of the UK and everyone seemed to be indulging in pop culture in one way or another.  I guess they were simpler times with fewer distractions for young people’s time and energy.  I just hope Jobson will wear the Glove when they play ‘Rock On’ Live.  Cool song and a cool respectful take. One of the best versions here is ‘violence’ (never have too much cowbell), not enough bands sound like Mott The Hoople anymore.

 

Some of the best tunes here are indeed the lesser-known covers or ones you weren’t expecting  ’35mm Dreams’ springs to mind and to be fair the guitar sound captured on ‘Submission’ is most worthy then laying it side by side with ‘New York Groove’ is a great idea and two very different genres collide.

 

It’s hard to fuck up a cover of Iggys ‘I Wanna Be Your Dog’ such is the majesty of the track and Skids manage to avoid any embarrassment but making it a CD-only track is a little puzzling considering the vinyl revival going on.I guess it seems only fair that the band includes two of their most famous tunes as part of this look back at what made the band sound like they did and ‘Saints Are Coming’ is still a fantastic song as is ‘Into The Valley’ and fond memories of school discos come flooding back.  This only leaves the final track which again is a CD-only affair with Vinyl lovers.  ‘Christmas In Fyfe’ is their very Scottish affair and maybe one vinyl lovers won’t mind being omitted but don’t let that distract you from what is a really good album.  On the back of the acoustic record which again I really enjoyed this will also nestle in nicely in my collection – Check it out and remember your own memories of when new bands and sounds were hitting your ears on a daily basis.  Ah, the memories thanks skids this was a real tonic!

 

Pre-order the CD & vinyl: Here

Pre-order/pre-save the digital: https://orcd.co/skids_songs_from_a_haunted_ballroom

Author: Dom Daley

The Streetwalkin’ Cheetahs – ‘One More Drink’ (Dead Beat Records)

The Streetwalkin’ Cheetahs – ‘One More Drink’ (Dead Beat Records)
The first new album in 20 years is finally here. Those fine people at Dead Beat Records made it happen.  It features guests John Easdale, Rikk Agnew and Paul Roessler.  Eleven songs with a veritable Melting pot of styles is what’s on offer, so turn up the stereo,  sit back pour a cold one and lets go.
‘Ain’t It Summer’ sounds like Cheap Trick and the first thing that stands out apart from Paul Roesslers swirling keys are the layers and layers of harmonies on what is effectively the smash hit of the summer that never happened. it really is like a cool summer evening with the saxophone blasting out in the distance but not quite what I was expecting but ‘Fast Fucked & Furious’ is the rocket ride I was expecting.  Maybe they fucked up the running order I dunno.  Mayers vocals are as sharp and rockin’ as they ever were as he takes this sucker home but not before the guitars get set to melt their fretboards on the solo and from there on in the song is out of control.
Chillin’ or kicking back slightly ‘Bad Vacation’ has got a great hook with the riff and vocals working in tandem on the verse and when the sax joins in I’m sold – I love that setup and this is turning out to be a great tune. ‘We Are The Ones (We’ve Been Waiting For)’ is like a rouged up slice of power pop with the opening riff sounding like Neil Young and Crazy Horse jamming on a Wildhearts track.  Seriously it’s got those ingredients in the DNA.
We have some Rikk Agnew going on on ‘The Rejected’ as the boys fire up the Rock and Roll hotrod and take it out for a spin with a cool melody and vocals from Geoff Yeaton as well as his fantastic saxophone. I think when they wrote ‘Rumblin’ Train’ the title kinda wrote itself because the beefed rhythm section is like the sound of a freight train steaming down the track barely in control and its not Casey Jones honking on the rip chord tootin’ as it speeds down the track its a wide-eyed Frank Meyer with the devil’s horns raised high screaming for all he’s worth ably flanked by Duff as he rips out the guitar licks – great stuff.
They turn up the smooth old school classic rock for ‘Let Me Out’ in contrast ‘One More Drink’ is a punk rockin’ power poppin’ drop of nectar from the Gods of Rock and Roll.  It’s the more you play the better it gets kinda record.  Stick with it kids and the rewards start to filter through one by one.  You can stomp your feet to ‘Warzone’ which might well be the weakest track on offer here but it has some sparkling guitar licks and saxophone honkin’ which saves the cliches that otherwise might have gotten overwhelming. The record is closed off with ‘Switchblade Knights’ where they introduce some proper Ian McLagan boogie piano for good measure and sign off a bloody decent record.
In places, it soars like a phoenix from the ashes of what they used to be.  It never drops below an excellent record and when it does veer into a little cliched territory its got a saving grace that gives the song a free pass be it the vocal, a guitar break or saxophone honk – The world is a better place with bands like the Streetwalkin’ Cheetahs in it releasing records and making a worthwhile noise.  Now do yourself a favour and go get it because when they’re gone you’ll regret it but I hope it isn’t another couple of decades until the next one.
Facebook / Buy it at Bandcamp
Author: Dom Daley

Gilby Clarke – ‘The Gospel Truth’ (Golden Robot Records)

Gilby Clarke – ‘The Gospel Truth’ (Golden Robot Records)

While he will always be known as the guy who replaced Izzy in Guns n’ Roses, Gilby Clarke has always been much more than just the Ronnie Wood to Slash’s Keef. When he left Guns n’ Roses in 1994 he went on to release arguably the best solo album by any member of the band with ‘Pawnshop Guitars’, proving he was always more than just a hired hand.

Gilby went on to release 4 quality solo albums in the late 90’s/early 00’s to much critical acclaim, yet little commercial success. The following years have seen the singer play with Slash’s Snakepit, Heart and MC5, as well as fronting the Rock Star Supernova project.

Now, 20 years after his last solo offering ‘Sawg’, Gilby returns with his new album ‘The Gospel Truth’. It was self-produced, written and laid down at his LA recording studio Redrum Recording, before lockdown was even a thing.

 

The thing I like about a Gilby Clarke album is you know what you are going to get. Let’s be honest here, he ain’t reinventing the wheel with his low-slung rock n’ roll tunes, but he has never claimed to. Gilby is just having fun writing and recording top quality tunes influenced by his heroes, pure and simple.

And the essence of loud guitars and rock n’ roll is evident from the off on the opening title track. With a killer, driving bassline, a cool ramshackle riff and those unmistakable raspy vocals, its low-slung rock n’ roll at its finest, delivered in the same vein as ‘Cure Me… or Kill Me…’ from that classic debut album. The cool female backing vocals add some soul to the rock n’ roll goodness here, which only helps to make a cracking opener.

‘Wayfarer’ follows, probably my current favourite song. Overly cool bass, handclaps and organ take us down a bluesy, well-travelled road. Again, some great backing harmonies that give a west coast vibe, you will keep returning to this one, believe me.

Motley Crue legend Nikki Sixx and Jane’s Addiction drummer Steven Perkins add their respective talents to ‘Tightwad’, a solid enough punky rocker where, funnily enough the bass is not as prominent or as cool as in the opening one-two.

Elsewhere, ‘Violation’ is full of punky attitude and NY garage rock goodness. A New York Dolls kinda riff gives way to honkytonk piano accompaniment to create a backstreet anthem that gets better the more you crank it. Funnily enough, this works just as well with ‘Rock N Roll Is Getting Louder’, where the killer bass groove returns. Add cowbell, a lyrical theme of motorcycles and guitars, then shake it but don’t stir it, and you have an instant classic Gilby track.

 

The warm production is perfect for the laid-back groove of ‘Rusted and Busted’. Again, a slow burner that benefits from repeated plays. Overdriven power chords, handclaps and that unmistakable vocal drawl, blend together in harmony, what’s not to like here? Closer ‘She Won’t Fight Fair’ is a goodtime glam stomper. A cool riff and powerhouse drums drive the song along towards an anthemic chorus with just a hint of Adam and The Ants in the backing vocal department if I’m not mistaken.

 

‘The Gospel Truth’ is a solid return to form from Gilby Clarke. No cover versions, no ballads, just 10 killer, groove heavy rock songs, influenced by the songwriter’s love of English bands like The Faces and The Stones. Sure, it ain’t no ‘Pawnshop Guitars’, but it is a fine collection of effortlessly cool songs, delivered with the fire and passion of a road worn rock n’ roll veteran with nothing to prove and much still to give.

 

Buy Here

Author: Ben Hughes

Rev. Peyton’s Big Damn Band – ‘Dance Songs For Hard Times’ (Family Owned Records)

Rev. Peyton’s Big Damn Band – ‘Dance Songs For Hard Times’ (Family Owned Records)

 In times like these we need bands like Reverend Peyton’s Big Damn Band. This fact is not lost on the band itself, and so now here we are with their latest album ‘Dance Songs for Hard Times’. If ever music can be the cure for anything, the Rev is here to deliver.

The band aren’t kidding when they declare these to be dance songs. The Rev’s bellowing voice (stronger here than ever before) and blues craftsmanship, backed up by the endless charm of Breezy’s washboard and backing vocals, and Max’s Senteney’s drum rhythm, are as solid as always. This album, however, really is brimming with bluesy, party numbers.

From the driving opener of ‘Ways and Means’, straight into the swinging ‘Rattle Can’, this record is crying out to be enjoyed loud. The rockabilly of ‘Too Cool to Dance’ perhaps symbolizes the carefree nature of this release more than any other song on the album – “we may not get another chance/please don’t tell me you’re too cool dance.” It really is a breath of fresh air in these tough and uncertain times. It just makes me sad that we really can’t get out there to dance.

The record still leans heavily on its traditional influences, and songs such as ‘No Tellin’ When’ carry the timeless and haunting sound that is so integral to folk & blues storytelling, whereas ‘Come Down Angels’ closes out the album with a raucous riot of gospel.

Reverend Peyton’s Big Damn Band is a band that just keeps improving – technically and creatively – without ever straying from the elements that make them easily one of the best blues bands of modern times. I fell in love with them upon listening to ‘Between the Ditches’ in 2012 and have rejoiced in everything they’ve released since; however, listening to ‘Dance Songs for Hard Times’ comes closest to that feeling of utter joy I experienced the first time around.

Buy Here

Author: Craggy Collyde

Jess and the Ancient Ones – ‘Vertigo’ (Svart Records)

Jess and the Ancient Ones – ‘Vertigo’ (Svart Records)

If you like your rock in a mysterious ceremonial circle with a load of other rocks then ‘Vertigo’, the new album from Savonian occultists, Jess and the Ancient Ones, is for you.

 

The follow-up to previous album, ‘The Horse & Other Weird Tales’, ‘Vertigo’ may be seemingly simpler-titled but it is certainly not a simple rock record. This eight-track curio from the Finnish psych rock outfit is one of those rare albums that comprises solely of deep cuts, yet is strangely essential and vibrant.

 

The band’s previous brand of twin-guitar-led metal has mutated into organ-drenched heavy psych oddity rock that feels almost as old and certainly as ominous as the hooded figure that listeners will surely see in the corners of their eyes when listening to this audio excursion into ghostlore.

 

Wrapped in suitably jolly artwork – a crude, vintage photograph of a tornado laying waste to some mortals – ‘Vertigo’ features haunting, brooding tracks that could be the soundtrack to episodes of Hammer House of Horror, hauntings, or night terrors – possibly all three… and possibly within the same song.

 

Pop culture permeates the grooves at various intervals here: ‘Talking Board’ points its planchette in the direction of The Exorcist via the infamous “Captain Howdy” dialogue; ‘Summer Tripping Man’ steals a ‘Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb’ sample to great effect; while ‘Love Zombi’ could accompany an action montage in an episode of Space: 1999.

 

This is folk horror rock, not to be mistaken with folk rock; in fact, situated towards the end of the album is a pair of tracks – ‘Born To Kill’ and ‘What’s On Your Mind’ – that threaten to rock out in a more familiar fashion. They only threaten it, mind; normal for this band is still as off-kilter as the most curious thing you’ll see, and be troubled by, all year.

 

Recreating a soulful garage psychedelia from the late Sixties was the aim of Jess and the Ancient Ones on this album and, yes, the band members’ aim is true… even if they have paired those desired sounds with occult rock sonics of a certain vintage that are sure to give those of us from the haunted generation scare flashbacks and cold sweats.

 

The recreation of a bygone era’s sound and folklore exhibited here is quite remarkable, it has to be noted; inspiration found on woodcut, the ritual and ceremony faithfully recreated. This is the lysergic doom album that you were looking for. In the corner of your room. At 2am. It’ll be there again tonight. Watching. As you sleep. Fucking hell. Facebook / Bandcamp

Buy ‘Vertigo’ Here

Author: Gaz Tidey

 

Trucker Diablo – ‘Tail End of a Hurricane’ (Self Release)

Trucker Diablo – ‘Tail End of a Hurricane’ (Self Release)

Irish rockers Trucker Diablo’s latest release presents us with a much more muscular sound to their brand of Celtic tinged pop/hard rock, with a vibe not dissimilar to Black Stone Cherry et al they have really upped their game with a strong album of catchy, upbeat and  sometimes mindless (‘Rock Kids of the 80s’ particularly) tunes that will sound great at your socially distanced summer BBQ.

Opening track BTKOR has a nice fist-pumping, head-banging groove and lyrics about big trucks and beer. What more could you possibly want? ‘I Am Still Alive’ has a fine chugging riff and a Celtic feel that wouldn’t go amiss on a Ricky Warwick solo album. Don’t Hold onto Hate is another decent slab of pop-rock with another catchy chorus which is reminiscent of Phil Campbell and the Bastard Sons and has some great twin lead guitar work.

Other highlights include the punky ‘Insects’ and the punchy ‘Slow Dance’ with a riff that reminiscent of the Eagles classic ‘Life in the Fast Lane’. There are some throw away tracks like ‘The Edge of Tonight’ which sounds like a lackluster Nickleback B side. ‘Woodstock to Vietnam’ is a story of two friends from the 60s who follow different paths in life, more impressive guitar work gives the track some substance. The album closes with ‘Bury the Ocean’ which has a Maidenesque jig.

Trucker Diablo aren’t looking to change the world with their knuckleheaded beer and party style of New Wave of Classic Rock. They just want to have a good time and for everyone else to do the same. Get down the front and bang your head. Easy.

Buy Trucker Diablo Here

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Author: Kenny Kendrick

 

The Boatsmen – ‘Verses The Boatsmen’ (Ghost Highway Records/Spaghetty Town Records)

The Boatsmen – ‘Verses The Boatsmen’ (Ghost Highway Records/Spaghetty Town Records)

Woah! I wasn’t expecting that.

When the needle dropped and you get that initial feeling as you sit back and relax,  It was less than 20 seconds in and I was gripping the armrests and holding on for dear life as ‘Action Delivery’ handed me my ears ringing on a platter of feedback, wah! and a thunderous rhythm all wrapped in a majestic pop tune with melody and hooks galore.

I had no time to recover because ‘Friday Night Forever’ sent me over the edge.  Punky as fuck but in a HArd rockin’ sort of way, these jolly seamen don’t hold anything back in reserve and you get a shot right across the bow as the volume is relentless and the energy captured in these grooves is infectious, exciting and exactly what the noise doctors ordered.  Never mind ingesting bats full of mutating viruses this is my poison of choice and consumed in large quantities is most advisable to help get you through all the real life tribulations.

 

‘Blame It On Me’ is awesome, like the Hives jamming on some Turbo with an unhealthy amount of punk rock blaring through your ears. It’s like a violent headwind that’s out of control.  Then to serve up a steady dose of DC with added woo hoos! sees ‘The Thirst Song’ boogie and swing like a good un – they must know they’ve written a corker here and it must have been hard to record through such a ten-mile wide grin across their faces. I’m delighted they’ve still got a thirst and raise a glass in celebration of such an exciting record.

 

The Boatsmen have hinted at greatness but narrowly avoided it in the past or held back for one reason or another but now is their moment to shine and like a blazing sun they are right on the button. ‘Saved By Rock’ be fucked, they’ve picked up the flag and are carrying it to the top of the mountain triumphant in the knowledge that the Boatsmen are serving up a one-stop Rockin treat and covering all bases of loud in your face good time rock and roll that is this album.

 

It’s relentless in its quality and tune after tune it’s a twist and turn to emphasise how damn good these songs are. Just don’t get me started on ‘Even The Good Times Were Bad’ it’s like bottled lightning and ‘I Don’t Wanna Lose This Time’ is more restrained in comparison but then they up the ante again with the drinking song ‘When I’m Drunk’.

 

Put the beer down you might spill it as ‘Big Waves’ roll around and it’s a chance for us all to raise another glass and sing along. We get our groove on for ‘Clap Canon’ and some cock-rock and roll with a little tip to the 70’s glam stomp of a T Rex and Sweet. I hope you caught your breath as ‘Take Your Money’ is rapid and like a runaway train speeding toward the buffers without a care in the world.

 

It’s not all hard Rockin and Rollin and party party party.  ‘Better Man’ is a laid back brooding, grinding song that paints a darker atmosphere but no lesser quality, that’s a given and the harmonica is an awesome addition to the texture of the record. The temptation to throw in as many puns or going overboard, seamen and piraty themes is difficult but let’s let the music do the talking because, trust me here me hearties, these tunes are superb as is the whole albums feel, attitude and playing.  The Boatsmen ‘Versus The Boatsmen’ is going to be one of the albums of the year no question about it. so hoist the sails and get out there and purchase a copy because I wouldn’t want you to miss out – land ahoy! me hearties Boatsmen ahead.

 

PREORDER NOW!!
Ghost Highway Records / Spaghetty Town Facebook / Bandcamp

Author: Dom Daley