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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I find myself in the exquisite surroundings of one of London’s finest concert halls, The Roundhouse in Camden Town for what is the first time in ages. For I’m about to catch the last night of The Mission’s Deja Vu World Tour. Whilst it seemed like forever ago when I went to the second warm-up show on the tour in Cardiff but that was only Wednesday, April 12th, 2022. Fast forward a year and I then caught a pretty special show in Barcelona, then in the summer it was a support slot with the Cult before rounding off (Boom Boom) in the Roundhouse for the finale. To be fair they were pretty damn good out of the traps on that opening night warm up but hell, the Roundhouse smashed all my expectations.

Sure Barcelona was hot a sweaty fun and the band had already been on the road for twelve months and the new boy Alex was well and truly in the groove but The Roundhouse they were absolutely on fire. Anyway, later. Firstly thanks to the London crosstown traffic and utterly shite weather we managed to miss Ist Ist which was a shame, but, walking into the already full Roundhouse just as Kirk Brandon and the band took to the stage for what was a fantastic no nonsense set of nine Theatre Of Hate songs plus the Spear Of Destiny ‘Grapes Of Wrath’ and this was the first TOH set I’d seen in years having previously caught Spear Of Destiny sets and Brandon Solo, or as part of Dead Men Walking many moons ago. The Saxophone worked well and as part of a post-punk setup up it was different songs like ‘Conquistador’ that went down a treat and Brandon looked and sounded in great shape which was also great to see.

Not much banter from Brandon it was a case of letting the music do the talking and get on with the job at hand so, ‘Incinerator’, ‘Westworld’, and ‘Propaganda’ were fine ways to sign off that evenings warm up. Excellent song delivered well, and a fine way to catch up with a unique talent that is Kirk Brandon now for the headliners.

The Mission, Its no secret and its fair to say I love the band from the first time I heard them burst onto the scene back in the 80s. They’ve been a constant throughout my youth and into adulthood, seeing the band dozens of times from way back in the day at Cardiffs New Ocean Club back before the debut album hit the shelves right up to this point and the final night of a pretty impressive and mammoth world crusade.

Making the most of it or just trying to draw in every last second I hope it’s not their swans song and there is more to come from the band who to be fair have sounded amazing and this night in the big smoke was an absolute triumph. To be fair I know they rehearse so many songs for the tour and then rotate them I’ve seen a pretty varied list of songs played and with the exception of ‘Naked And Savage’ the Roundhouse set was unbelievably good from the opening excitement of The Dam Buster Theme and into the epic ‘Beyond The Pale’ it was all systems go and the band were on fire. tight and road ready the miles had certainly paid off and Alex sounded so comfortable as it was no time for nostalgia or messing about it was pure business as the phenomenal ‘Serpent’s Kiss’ ripped through the PA as fresh as the first time I ever heard it. My mind was racing trying to take it all in and memories came flooding back as the band went through some big hits early doors it was ‘Crystal Ocean then ‘Butterfly On A Wheel’ before one of the newer tunes got a look in and for me, I’ve not been able to get the chorus of ‘Met-amor-Phosis’ out of my head. Sure I love the classics and will never tire of hearing ‘Garden Of Delight’ and ‘Stay With Me’ but equally the newer songs like this and ‘Swan Song ‘ hold similar status in my memories.

Ending the main set with a blustering big mother of a song ‘Deliverance’ delivered. It was time for a drink and then Wayne returned on his own for a quick bit of Sister’s banter and an impeccable ‘Wake’ before the band resumed their positions onstage for an epic one-two of ‘Blood Brothers’ and ‘Wastelands’, I found myself getting a little emotional saying it was moving too fast and can it go on longer but a glance at the watch said time wasn’t our friend and there was only room for one more, but we’d almost been here for two hours It had simply flown by which only left Wayne and Simon on stage for a stumble through ‘You’ll Never Walk Alone’ before leaving the stage briefly before an absolute monster version of ‘Tower Of Strength’ and a heaving mass of people must have all been thinking the same thing as the band took a final bow and left the stage right. Howling triumphant applause saw the band off it was the least they deserved after such a draining set of songs that were the sound of a band right on the top of their game and a band that could go toe to toe with anyone on this form, simply superb.

I do hope this isn’t the end, but merely yet another chapter for one of the best bands for several decades. Go home, take some time off, and recharge the batteries. look back fondly on an amazing tour where the band got better and better because to go out at this point would be a travesty, especially with significant anniversaries on the horizon. Besides, I want to try a German date next time. This was certainly a taste of God’s Own Medicine and one I will never tire of taking, I treasure these moments that’s for sure. Play on Wayne, Craig, Simon, and Alex that was a special end to some special memories. Nice one.

Author: Dom Daley

You can’t keep a good man down, and the Duracell bunny of positivity that is CJ Wildheart is back with a new solo album to improve your life. After the fury and anger of 2020s ‘Siege’, this is a collection of killer tunes that, while often ferocious, maintain a link to the melodies he’s known for. And so it begins with ‘Kick Down The Walls’, the opening chord reminiscent of ‘Sitting At Home’ by the mighty Honeycrack, before launching into an anthemic chorus. “We’re ready for the fight…”, and he still has a knack with a tasty middle eight. It’s the little things that can transform a song into something special.

‘Butterfingers’ is just as infectious, whilst reminiscing of old days at the Marquee; “messing with our hair, getting ready for the night”. You can almost taste the Hard Rock Hairspray. “Are you ready, are you one of us?”, wrapped around a simple but insistent melody. Lovely.

‘Victoria’ has a great, upfront bass line, made for pogoing, while ‘All The Dough’ and ‘S.D.E’ riff it up in a similar fashion to RFTC, and a similar high quality. This doesn’t sound like an album made on a small budget, and Dave Draper has done a fantastic job throughout.

‘Bad Decision’ reminds me of the energy and riffs of Chris Catalyst, as I regularly spin his recent album. Another good guy, for sure. Having listened a few times now, it’s ‘Give The Dog A Bone’ that really sticks in my head immediately, the chorus is classic CJ, from The Jellys onwards, and you will be playing it on repeat.

‘Mr Angry’ is two minutes of focussed fury, and ‘All You Rude Boys’ tackles the lecherous idiots in clubs and bars; “you’ll never set that girl alight, cause she knows damn right that you talk too much and you’re full of shite”.

‘Shweinehund’ is almost heavy Goth, set to a nursery rhyme tune, an unexpected turn. I wonder if he’s heard Mr Catalyst’s ‘Robochrist’ stuff? ‘The Grass Is Greener’ ends on a positive note; “hope, it glimmers in the distant light….on my own, it tastes so good alone”. It certainly sounds like CJ is content with where he is right now. He’s delivered a corker of an album. It pays to be a good guy.

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Author: Martin Chamarette

Get in your time machine it’s time to rock! Entering The Earl Haig Club was like stepping back in time, Meat raffle and Sunday Strippers (only joking but that’s the style of this out-of-town workies club do) The place was pretty busy and the support band The Pearl Harts were on stage doing their distorted blues thang a la White Stripes but two females but you get the kinda vibe. They put in a whole hearted set but it didn’t help with the large room and seating around the three sides and the bar at the back but all in all the audience who did watch were suitably warmed up.

By the time Jim Jones All Stars were hitting the stage the place was pretty busy to be fair and for a school night things were looking promising as Jim and his masterful musical ensemble took to the stage with one thing on their mind and that was to cast a spell over this impressive turnout and spent the next ninety minutes well and truly kicking their backsides with a perfect blend of good-time garage rock n fuckin greasy roll.

The volume was suitably impressively loud and the no nonsense aproach from the All Stars is a thing of beauty when they’re in full flight and pumped up and tonight boys and girls they rose to the challenge and gave this up for it audience a seriously really good time.

With a seriously good new record in tow and a back catalogue that goes all the way back to Thee Hypnotics there is an overflowing well of top tunes to turn to should they need to turn the heat up or take it down a notch or two from the unbelievably good ‘Burning Your House Down’ through ‘It’s Your Voodoo Working’ it was horn-honking-tactic as the band hit their groove right from the off and just cruised through the gears with songs like ‘Cement Mixer’ turning into an even bigger snarling beast with the saxophones adding another dimension to the already exhilarating sound. As far as live bands go this is only my second time seeing the All-Stars and my umpteenth time seeing Jim Jones kick out the jams over the decades and hand on heart this is on another level. When he broke up the Revue to pursue other things I was gutted but every shuffle of the pack has been a twist and a shake-down that’s had me on my feet cheering for more. Man, ‘Rock n Roll Psychosis’, and ‘Princess And The Frog’ were immense endings with t eh horns but finishing on ‘Shakedown’ this is how thee Hypnotics were meant to sound and I went home yet again wondering how they could possibly top that.

Of the new songs the band were in their groove and properly gig worn in ‘Troglodyte’ was the cream of the crop whilst their cover of ‘Run Run Run’ was loose baby and was hypnotically casting a spell on the room. If you get the chance I urge you not to pass it up and take full advantage of seeing one of the finest live bands anywhere on the planet. ‘Gimme The Grease’ was an early set warmer upper with a phenominal groove.

Jim Jones All-Stars have the perfect name, to sum up, their evil powers called Rock n Roll. Boundless energy an explosive songs one after another dropping sonic bombs that are equal partsdevastatingg and joyful. Simply superb. Go get yourself shakendown. Amen Brothers and sisters, Afuckinmen! The sermon has been delivered and Cardiff was served. Bosh!

Author: Dom Daley

Bernie Tormé was one of my first ever guitar heroes. He in some way took the genres of punk and hard rock and made the songs he played on sound like something altogether different, then when it came to his image Bernie looked like no one else on the rock scene back in in the early eighties, in fact he looked more like a cast member of The Hitchhikers Guide To The Galaxy than a bullet belted jeans and t shirt rocker. And in my teenage mind this meant everything. Bernie Tormé (as some singer would later declare on live TV) really was a STAR.

When I caught up with Bernie for a chat at the very first Hard Rock Hell festival all the way back in 2007 that tired old adage of “never meet your heroes” never entered into my head, being introduced to the man by his then fellow GMT band mate John McCoy (yup THE John McCoy) with strict prior instructions to tell Bernie just how much his music and playing had meant to me growing up. I soon found that the cocksure Wild Irish six stringer I’d only ever previously seen flaunting his insane talent on stage was anything but that off it. Bernie was initially shy and oh so humble in my presence, but once he’d relaxed into our conversation he opened up about his time being the hippy on the punk scene and playing the Vortex, then becoming the punk in the hard rock band Gillan, before then regaling me with tales of his brief time with Ozzy, his (in my eyes at least) perhaps finest hour in Tormé (with Phil Lewis) and then his time with Dee Snider and Clive Burr in metal supergroup Desperado.

I’m, getting ahead of myself here though, because this four CD box set released via HNE Recordings/Cherry Red Records (the first in a series of such Bernie boxes I’m lead to believe) covers the years 1982 to 1983 and includes the two studio albums Bernie released during this time, initially solo whilst he was still a member of Gillan and then following his departure from that band alongside his bandmates as the Electric Gypsies. Together with these discs we also get two live albums from 1983. It was around that time I also saw Bernie live for the very first time and his ferocious playing that night saw him not only cut his hand but also bleed all over my Wrangler jacket, something that in 2007 Bernie not only apologised for but also offered to pay to get cleaned. A sincere gesture that still makes me smile to this very day.

Something that also makes me smile (a hell of a lot) is the album that kick starts this box set, 1982’s ‘Turn Out The Lights’. It’s a record that at the time confused quite a few of us hard rockers, not least because after the initial Gillan-esque bluster of the opening title track and the album’s only single, up next was a tune most of us had grown up knowing as being by Boney M. All these years on of course I now know ‘Painter Man’ was originally a ‘60s hit for The Creation, but there’s nothing quite like hearing your guitar hero in an all-new context to shake up the senses. Looking back now I can see it was really no different to what Gillan had been doing with their series of cover versions something that had provided them with UK chart hits and saw the band making several appearances on Top Of The Pops. Elsewhere, ‘Turn Out The Lights’ is an interesting mix of up-tempo hard rockers like ‘America’ and ‘Lies’ mixed up with the more elaborate songwriting of ‘Possession’ (which is still my favourite song on the record) and then there’s the brooding instrumental ‘Inda’. I do wonder what Gillan (the band) might have done with some of these songs and what Ian himself might have made of covering the Velvet Underground/Nico’s ‘Chelsea Girls’.

The version of ‘Turn Out The Lights’ included here not only contains the three bonus ‘Back With The Boys’ tracks that were included on Bernie’s very own Retrowrek Records’ version of the album but also adds a live rehearsal of ‘Chelsea Girls’ from 1982 alongside an also previously unreleased version of ‘Boney Maroney’ from 1979?, which I’m actually quite happy to turn a blind eye to timeline wise as it’s a top notch version.

Moving on to the box set’s second disc and 1983’s ‘Electric Gypsies’ album, and where ‘Turn Out The Lights’ had been an album recorded during Gillan downtime with the help of friends like Phil Spalding and Nigel Glockler, the nine tracks that make up this record were songs that the band had fully road tested before entering the studio. The Electric Gypsies at this point featuring one time Def Leppard and soon to be Waysted drummer Frank Noon alongside ex-Bethnal bassist Everton Williams, along with Bernie once again mashing up the musical genres to deliver his music vision. So, from the dive-bombing guitar histrionics of ‘Wild West’ through to pounding album closer ‘Go Go’ (which reminds me of something Gene Simmons would have written for KISS around the same time) ‘Electric Gypsies’ is much more a straight up hard rock record than its predecessor. With just the cover of The Troggs ‘I Can’t Control Myself’ and the acoustic ‘Presences’ proving to be the albums only musical curveballs this time around.

There’s a few nice surprises contained within this CD’s bonus tracks though, with this release adding two previously unreleased live cuts (a cover of the Stooges ‘Search & Destroy’ along with Bernie’s original version of the amazing ‘Star’) recorded in Paris back in 1982 to the already expanded Retrowrek Records’ version of the album that added five additional studio cuts to the running order, the pick of these for me being the much more poppy ‘New World’ which underlines the real depth of Bernie’s songwriting talents when he wasn’t just penning bluesy hard rockin’ anthems.

Just when things were really looking up for the Electric Gypsies a little thing called record company politics would soon rear its ugly head to put a stop to the band ultimately taking the next step up, something that would not only see the record delayed by a year before finally being released on a different label, but also see the band’s line up slowly disintegrate, something that saw the record also move from being promoted as a band record to being a Bernie Tormé solo album.    

With a series of live dates already booked Bernie urgently needed to find a new rhythm section to tour his new record so calling upon the talents of Stampede bassist Colin Bond and one time Iron Maiden drummer Ronnie Rebel this stop gap line up set off on a two week whirlwind trip around the UK and here on discs three and four we get to experience them in all their ragged glory.

CD three in this box set was originally released as ‘Bernie Tormé Live’ via Zebra Records back in 1984, but here it has its track listing expanded from seven to eleven tracks whilst CD four captures the same line up live at Sheffield Octagon, and this boasts the same thirteen song track listing as the version previously released digitally via Bernie’s Bandcamp page.

Both CDs are solid live accounts of the Bernie Tormé band back in 1983, and the bonus tracks tagged to the end of CD three are of particular interest to me, having never previously heard these versions before.

‘Lightning Strikes – Volume One (1982-1983)’ comes complete with the usual high-quality booklet/sleeve notes that you expect from HNE Recordings/Cherry Red Records releases, this one containing some stunning archive photography too.

This box set really set the bar high for any subsequent releases in this reappraisal of Bernie Tormé’s solo career go grab yourselves a copy when it hits the shelves on October 27th.      

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Author: Johnny Hayward

First up this cold and wet UK morning is Autogramm, a synth-driven power-pop band from Seattle, Chicago and Vancouver. They have just announced their latest LP ‘Music That Humans Can Play’ with an advance single and video for the track “Plastic Punx”.

Their first album in over two years will be released on vinyl and digital formats world-wide on November 17th via Stomp Records and Beluga Records EU.

Autogramme – Bandcamp

New York City guitarist, singer-songwriter Steve Conte has released the music video for his latest single “Girl With No Name.”

The clip was shot on the streets of NYC & in studio by Natborn Productions’ Peter Perenyi & son Orion Perenyi, with motion graphics, lyrics & final touches by David Provan at 12 Inch Media.

The song follows the summer release of his single “Fourth Of July” (co-written with Andy Partridge of XTC).

Conte says, “This is a song of regret…about missed opportunity and lack of skills in meeting someone you’re attracted to.

When putting my new album together, I was looking for songs that would fit nicely alongside the songs that Andy Partridge and I had written for it and I kept thinking of this one. I wrote it back in 1984 and never forgot it – which was a good sign.

Because it came to me so long ago I can’t exactly remember my process for writing it, except that since I was young & single at that time I was probably experiencing these kinds of situations & feelings on a daily basis!

Musically, I can hear what was influencing me back then; mid 60s Beatles, mid 80s XTC, and that beloved Motown groove from a certain Diana Ross & The Supremes song…”

A follow-up LP to Conte’s acclaimed 2021 solo album Bronx Cheer, is expected in Spring 2024 via Steven Van Zandt’s Wicked Cool Records.

Phil Campbell has seemingly come full circle since leaving both The Temperance Movement and The Byson Family, by continuing on the singer/songwriter solo journey he started before joining one of the UK’s new breed of bluesy classic rock artists back in 2011.

While it’s a shame The Temperance Movement never reached the dizzy heights their early material and magical live gigs promised, the singer seems comfortable and content with his current status, and the release of his first solo album under the name Philip Seth Campbell.

Playing more intimate venues than he has been used to for many years, Philip is promoting ‘City Lights’ with a series of low-key dates, just the man and his guitar, with just a bassist and a keyboard player backing him.

Taking to the stage of the smaller community room at The Brudenell Social club, on this the second date of a UK tour, you would be forgiven for thinking the Glaswegian singer had come straight from a do. Wearing an open dress shirt, trousers and trainers Philip Seth Campbell looks like the dishevelled, cool uncle at a family wedding. He and his band then proceed to run through a selection of choice cuts from the new album, older solo material and a couple of tracks each from his former bands.

Opener ‘Magical West’ was the euphoric first single released, and it loses none of its power in this stripped back format. The ever-animated Campbell may be restricted in his movements with a guitar strapped on, but his voice is on point, full of vigour and soul as he rasps his way through each high energy chorus. By the time the trio hit the gospel-tinged third track ‘Revelation’ his voice and the sound mix has certainly hit the sweet spot.

Yet there’s a sense that the singer must work for it tonight, he is certainly not going through the motions. Starting fresh, playing new songs to an audience who may be unfamiliar with the material can be a trial by fire, and while the meagre and polite audience need some well-spirited goading from the singer into breaking the unnerving silence between songs, the whole thing seems to go swimmingly well. He certainly has the stagecraft, the songs and the voice to carry them. But it is nice to see a performer who is nervous and doesn’t know what to expect, deliver in spades.

The anthemic Springsteen vibes of ‘Hasta Luego’ shine strong in a live environment, and the slower soulful moments such as the autobiographical ‘Sober Boy’ sound great. The new songs all fit well with the older material whether that be The Temperance Movement, The Byson Family or older solo stuff such as the sweet ‘Wrecking Ball Nights’, a song he introduces while strumming the opening chords

“Sometimes there’s nothing else for it but to get fucked up!” he declares. He may be a sober and happier boy these days, but he reminds us that things can easily change.

It was a bit of a surprise to hear him break into ‘Chinese Lanterns’. To be fair, I wasn’t really expecting that. It’s always been a favourite TM track since those early shows where Philip would sing it acapella, off-mic to a stunned crowd. Tonight, with an acoustic guitar as accompaniment it is just as special. Another TM classic ‘Lovers & Fighters’ closes a sweet set that satisfies fans both old and new.

I saw The Temperance Movement in this very same venue 10 years ago on their way up, and now it seems quite fitting to see their ex-singer continue his musical journey in fine form. A mesmerising and rewarding set from one of the best singer/songwriters we have to offer and one of the best gigs of the year for me. This could be the start of something special.

Author: Ben Hughes

‘All Quiet On The Eastern Esplanade’ (8th March)

NEW SINGLERun, Run, Run (Out Now)

Plus intimate shows in Margate (9th/10th December)  

If you want the night to lastThe Libertines are excited to announce the release of their fourth studio album entitled, All Quiet On The Eastern Esplanade out 8th March 2024. The release marks the band’s first new album in nine years and opens with the infectious new single, Run Run Run out today Listen Here.

All Quiet On The Eastern Esplanade’ is available to preorder from: https://TheLibertines.lnk.to/AQOTEEPR
Anyone who preorders the album will be offered the chance to purchase tickets for “All Quiet On The Eastern Esplanade’ two days of special acoustic & electric live shows by The Libertines, at the 500 capacity Lido in Margate on Saturday 9th and Sunday 10th December. Also available both nights are VIP after party tickets at the Albion Rooms and Justine’s nightclub, which will include full band DJ sets.


Opening All Quiet On The Eastern Esplanade is the firstsingle Run, Run, Run, a huge singalong punk rock anthem, Carl says, “It’s about being trapped, and trying to escape your dismal life, a bit like the man in Bukowski’s ‘Post Office’. The worst thing for The Libertines would be to get stuck in a ‘Run-run-run’ rut, constantly trying to relive our past.”


On All Quiet On The Eastern Esplanade, the quartet of unlikely lads have gathered from their new-found homes in France, Denmark, Margate and London to solder a strongest-ever internal bond, and scale new creative heights resulting in the best music of their extraordinary career so far.
Featuring eleven new sparkling Libertines songs with songwriting credits shared among the four band members, the album was produced by Grammy-nominated producer Dimitri Tikovoï (The Horrors/Charli XCX/Becky Hill) and recorded at The Albion Rooms in Margate. Recorded in just four weeks earlier this year during February and March and finished over seven days at La Ferme de Gestein Studios in Normandy, with additional production and mixed by Dan Grech-Marguerat (Lana Del Rey/Liam Gallagher/Paul McCartney).


The story of the making of All Quiet On The EasternEsplanade goes like this – in September ’22 Libs glimmer twins Doherty and Barât decamped to Geejam in Port Antonio, Jamaica. Away from any distraction the chemistry between the infamous songwriting partnership began to bubble in earnest.
Fast forward to February ’23 and Peter and Carl regrouped with rock solid knaves to the rhythm, John and Gary, at The Albion Rooms, and, says Doherty“we really came together as a band. It was a moment of rare peace and unity, with all the members contributing.”For Carl, the whole Libertines journey has been leading to this moment. “Our first record was born out of panic, and disbelief that we were actually allowed to be in a studio; the second was born of total strife and misery; the third was born of complexity; this one feels like we were all actually in the same place, at the same speed, and we really connected.”
Peter proclaims: “We’re over the moon, and the ball is in the back of the net… and I’m chuffed for the lads!” He adds, more seriously, “I feel like we’ve completed a cycle of some kind as a band, and finally now we can add these songs to the set list, because we’ve got some bangers in there. Now we’ve opened the hotel and used the studio ourselves and it’s all worked out – more Libertines records? I should hope so!”
The album – named All Quiet On The Eastern Esplanade as a nod to their hotel’s street address and their enduring love of Erich Maria Remarque’s landmark anti-war novel – is an unequivocal triumph.
All Quiet On The Eastern Esplanade will be available on CD, deluxe CD, 12” vinyl in limited edition coloured variants, deluxe double vinyl cassette and digital download.

Pic courtesy of Ed Cook