Canada continues to churn out the finest in punk rock anywhere on the globe (sorry flat earthers) Blink and you might miss this one as Slovenly knock out four tunes in just over five minutes pressed onto wax. Its Sore Points first release on Slovenly and the Vancouver punks aren’t hanging around here folks this is like blunt trauma frenzy punk attack.  First up is the fuzz fest of ‘Not Alright’ – to the point its like an audio punch in the face and before you can gather your composure were into ‘On The Wire’ and Sore Points are like a frantic frenzied loon just rabbit punching the listener round the ears.

Pause, deep breath and flip this bad boy over as ‘One More thing’ is up with its rolling riff but they have saved the best till last with the brutal ‘Not Coming Back’ which just slays with its rough riff-a-rama. it’s brief, it’s brutal but its good and Slovenly don’t do bad records and to get on a label like this you have to deliver so its a no brainer, buy Sore Points end of.  A long player should be the next target and the sooner the better.  CEO of Slovenly please make this happen thank you kindly RPM

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Author: Dom Daley

With the new video in the can and doing the rounds, The Bar Stool Preachers are continuing their never-ending tour schedule for the brilliant ‘Grazie Governo’ and RPM highly recommends you catch them at one or more of these dates.

 

 

 

August 2019

1st BLACKPOOL, UK – Rebellion Festival, Winter Gardens
1st BLACKPOOL, UK – Rebellion Festival, Winter Gardens
4th COMPTON MARTIN, UK – Outcider Festival, Fernhill Farm

Bouncing Souls + The Bronx + THE BAR STOOL PREACHERS

August 2019

9th MONTREAL, QC, Canada – Foufounes Electriques
10th TORONTO, ON, Canada – Phoenix Concert Theatre
11th PITTSBURGH PA, USA – Mr. Smalls Theatre
13th CLEVELAND, OH, USA – Grog Shop
14th DETROIT, MI, USA – Saint Andrews Hall
17th CHICAGO, IL, USA – Metro
18th MINNEAPOLIS, MN, USA – Varsity Theater
19th MILWAUKEE, WI – X-Ray Arcade

THE BAR STOOL PREACHERS + The Raging Nathans

20th DAYTON, OH – Blind Bob‘s
21st LANCASTER, PA – American Bar & Grill
22nd ASBURY PARK, NJ – Asbury Park Brewery
23rd ALLSTON, MA – O‘Brien‘s
24th DOVER, NH – Brickhouse

THE BAR STOOL PREACHERS

September 2019

13th KINGSTON, UK – Fighting Cocks
14th DERBY, UK – Hairy Dog
15th MANCHESTER, UK – Star ’N Garter
16th LEEDS, UK – Brudenell Club
17th NEWCASTLE, UK – Trillians
18th GLASGOW, UK – Stereo Cafe
19th CARLISLE, UK – Brickyard
20th BLACKPOOL, UK – Waterloo Bar
21st CARDIFF, UK – Club Ifor Bach
22nd ILSON, UK – Latch Lifter (ALL AGES)

Ticket details for all shows are Here

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New album – Glasto appearances – and now an interview with Ben at RPM it’s all happening for Ulysses at the moment check out this cheeky Interview on everything Ulysses. 

 

The new album ‘On Safari’ is a bit of a monster, well-done sir! It has been getting a great response from fans and critics alike, are you surprised at all the positive feedback?

Relieved probably! I didn’t really have any expectation of how it would go down other than I knew people who already like us would have to get their heads around it as it’s a different animal than ‘Law And Order’ and I hoped they would eventually consider it as good, if not hopefully better. Every album we do is different though, we don’t write music to order, we just do what we do and if anyone whatsoever at all likes it, it’s a bonus!

 

I think I referenced everyone from Kiss and ELO to Supergrass and Super Furry Animals in my review. You have a lot of classic 60’s and 70’s influences going on but there’s a bit of disco and new wave going on, you seem to have branched out your sound more than ever this time?

We were listening to a lot of Tom Petty and The Heartbreakers anyway and then he died so were listening to them even more! The Cars we’ve always loved, just feeling the late 70s / turn of the 80s thing really, the English end too, Nick Lowe, Elvis Costello, Joe Jackson, etc. ‘Doctors And Nurses’ chorus popped in my head fairly fully formed, I heard it a bit more Grange Hill theme tune, we kept some of that but it also turned into a full-blown Disco smash, maybe I was listening to too much Bee Gees. I did personally stop worrying about being stuck in one or two styles and just did what I used to do which is just do whatever I want and not worry about it.

 

What song on the new album are you most proud of?

‘Calendar Street’ was a beast – I’m proud to have finally tamed it, I dreamed the Medieval intro and that helped finish it off. I think ‘Bad Tattoo’ is the best overall song in terms of songwriting and conciseness, although I felt uncomfortable with how ‘serious’ it was to begin with. ‘Situation Man’ is a personal victory/breakthrough, it’s a step in a different direction. We’re proud of all of them though really.

 

How do you approach songwriting?

Just things or a part of a song pop in my head to being with, fairly fully formed. I usually sing something into my phone or grab a guitar or piano and then figure it out and play that into my phone. Then I’ll bash out a rough demo of it where I can throw down some other ideas / parts at it. Takes a while to craft it into a final version, sometimes playing it with the band and doing a band demo of it is when it finally all comes together / Denny and Shane will put their stamp on it etc. There’s no real formula. Lyrics I find the hardest to finish, but I probably enjoy writing lyrics more these days so that’s getting easier.

 

Have you ever written a song, only to be told it was just a rip off of something else and then scrapped it?

Only by myself. Once when I presented a song to the band they all laughed, but then it turned out to be one of our best and most popular songs – who’s laughing now eh?

The weirdest is when you get a review saying a song sounds like a song by someone you’ve never even heard of.

 

Like many bands in today’s musical climate, am I right in saying Ulysses is not a full-time thing for you guys. Band members have full-time jobs and families to feed. In that respect, is touring and promoting a new album an easy thing to workaround for you?

 It is difficult, but I feel we’ve got to a point where I consider us lucky – we can do the band fairly legitimately and with a degree of success but basically alongside our normal lives with families and jobs, etc – I’d say that was pretty cool really. I think there are too many models in music these days in my opinion, I don’t think you can be model for that corporate shit and be an edgy Punk musician, sorry. I blame Vice magazine, or maybe it’s not their fault, it’s just symptomatic. Music should be made by suburban weirdo outsiders, not rich kids who grew up seriously good looking.

 

Let’s talk about the fantastic cover art by Caitlin Mattisson. How did that come about?

We had Howlin Rain and friends in common on Instagram and I just immediately loved her work, so I sent her a message and we cut a deal. I wanted something celestial – turned out perfect! Would love to work with her again.

 

It looks like a page from an adult colouring book. Maybe a second pressing of the vinyl is in order, the cover on matt paper and some free crayons?

We’ve sold half of the vinyl already but alas all the money is going to into the big black hole of debt. Maybe if someone could stump up the money we could do a ‘Ulysses band members’ scratch n’ sniff version?

 (review of the album: Here)

You recently played multiple sets at the Glastonbury festival. How was that experience?

 It was great thanks, probably not as glamorous as it sounds. We played 4 of the smaller stages, so it mostly working out how were going to get our gear from one stage to another etc! It was really lovely though, great people everywhere we went pretty much – one of the best. We also met Steve Frost from The Young Ones / Who’s Line Is it Anyway etc when we played the Theatre And Circus Backstage Stage – he was a total dude.

 

Who was the best artist you saw that weekend?

We clashed with The Cure which was the only band I really wanted to see alas. By fate, we shared a bill on the Acoustic Stage Backstage with Marla and David Celia, a Canadian / German acoustic duo/couple, and they were fantastic. Great to hang out with too and we’ve stayed in touch, hopefully, do something with them next year. And of course our good friends Magic Bus who were the perfect hippy festival band on the Croissant Neuf stage.

 

You have toured and shared stages with many bands over the years, who is the nicest musician you have met?

 Hmm the nicest. Well apart from the above, Marc Ford was a big hero for me, he was great, very sarcastic though. We drank a lot! Scott Holiday from Rival Sons is a pal and top guy. Richard Thompson was lovely, he had sandals and socks on too. Probably the nicest was either Bobby Conn who I’m a huge fan of (the most humble should-be-a-massive-star mega-talent around) but we fell out as I don’t like cats, or Michael Tyack from Circulus who I don’t think gets enough credit for helping bring in this current wave of Medieval and Pagan influenced culture around at the moment. Oh and also Ed Bazalgette from The Vapors who not only is a magnificent guitar player, he is also a very lovely fella.

I have to say though that as far as I can remember everyone we’ve played with or met has generally been pretty lovely company. There’s a few who have been hard work but they probably have conditions etc.

 

We have a really wonderful network of DIY and indie label bands that we play with and are friends with and love. I would liken it to a modern version of CBGBs – its lots of disparate and stylistically quite different bands thrown together by basically all having very limited outlets / opportunities, but appreciating each others’ talents and weirdness. That’s what the ‘Indie’ scene is these days for me.

 

The worst celebrity encounter though was Barry Wom when me and Shane Ulysses went to see The Rutles play in Bristol a few years ago. We went to talk to him after the show about Patto the great 70s band he was in, and he literally just completely blanked us and turned around and carried on drinking his pint with a handle. Pretty cool though.

 

If you could have one of your heroes guest on your next album, who would you choose and what instrument would you get them to play?

It would have to be Paul McCartney and he’d be on drums, sorry Shane. Or maybe Lindsey Buckingham on whatever he wants, if he’s feeling better.

 

When people think of Luke Smyth, what do they most associate you as being?

Hairy, like Jeff Lynne crossed with Marc Bolan, like a bearded Marc Bolan basically. Possibly a bit of a weird pervert? You tell me!

 

RPM: What was your first guitar, and what song did you first learn on it?

 

LS: God… Um first guitar was my older brother’s I think, and I could play along to the melody of Beatles records by ear when I was about 5, which is kind of weird now I think about it.

 

What do you think was the best year for music in your lifetime?

I thoroughly enjoyed 1993 and 1995, but during 1997/98 I worked in an independent record shop and there was a phenomenal amount of good albums that came out in that period, Air, Spiritualized, Super Furry Animals, Pavement, Jon Spencer Blues Explosion, Supergrass, Beck, PJ Harvey, The Make Up, Massive Attack, Primal Scream, an endless list.

 

If you could have a billboard anywhere in the world, where would you have it and what would it say?

In the middle of the Sahara desert, and to quote The Heads “Everyone knows we got nowhere”.

 

If you could go back to your 20 year old self, what 3 pieces of advice would you give?

Oh just the usual: make love to as many women as possible, travel about a bit, and stop worrying about everything so much for God’s sake. There’s definitely a few people I would advise myself to avoid.

 

And finally, if you could have a drink with anyone, alive or dead, who would it be and what would you drink?

If it was a man I would share a drink of Peyote and magic mushroom tea with Paul McCartney, or if it was a lady I would share some kind of bedroom enhancing beverage with Winona Ryder, or maybe late ‘70s Dolly Parton, I’m not fussy.

 

IDLES today announce a short tour for December – including their biggest headlining date yet on Saturday, 7th December at London’s Alexandra Palace.

Tue 3 Dec Glasgow, Barrowland Ballroom
Wed 4 Dec Manchester, Academy
Thu 5 Dec Leeds, O2 Academy
Sat 7 Dec London, Alexandra Palace

Tickets will go on sale this Friday 28th June at 9:30 AM BST but fans can gain access to artist pre-sale on Wednesday 26th June 9:30 AM BST by signing up at https://www.idlesband.com

 


Tickets will go on sale this Friday 28th June at 9:30 AM BST but fans can gain access to artist pre-sale on Wednesday 26th June 9:30 AM BST by signing up at https://www.idlesband.com

With their last shows selling out in minutes IDLES wanted to give as many fans as possible an opportunity to acquire tickets to celebrate what has been an incredible year. Tickets will be limited to 4 per person.

The band will also be working with Big Green Coach to provide a return coach service for fans to travel safely to and from the Alexandra Palace show. There will be services ran from Bristol, Bournemouth, Reading, Southampton and Swindon and tickets will be available direct from: https://www.biggreencoach.co.uk/idles

The band’s latest release “Mercedes Marxist” is currently A-listed at 6 Music and will be released physically on August 2nd as a 7″. The single will include another new song on its B-side, entitled “I Dream Guillotine.” Both tracks were written and recorded during the band’s sessions for “Joy as an Act of Resistance.” and pre-orders are available HERE.

 

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Hands up how many people remember the track “Another Girl, Another Planet”? Talk about pop perfection, looking back The Only Ones kicked in as far back as 1976 and were active right up until 1982, Peter Perrett being the vocalist/guitar slinger. Now hands up how many people are aware of Englands Glory? Perrett’s band before the only ones and how dark the vocals were, always drawing comparisons with Lou Reed? This stuff finally got released in 1987 and I would suggest you check it out, especially if your into the more experimental side of music.

 

But lets not dwell on the past Humanworld is brand spanking new, and worth looking at as a representation of now and an artist rebuilding not just themselves, but their sound. The trademark sneer to first single “I want your dreams” sets the tone and really highlights the strength of the songwriting. Next up “Once is enough” brings the urgency, moving the LP up about three gears, biting, arrogant and in your face, this is the darkest pop imaginable. The guitar work weaves around that trademark vocal and at just over two minutes its way to short.

 

“Heavenly day” slows things back down trawling the memory banks weaving an image that we can all apply ourselves too. “Love comes on Silent feet” brings back the drive and intensity ripping out of the speakers and probably holding its hand up as my fave on the LP.

 

Right the way through there seems to be two sides to the LP “The power in you” dropping the intensity back down, we seem to have the balls out lets hit the future head on and the more reflective melancholia, you can really get under the skin of what’s being said and done.

 

The Sneer and scathing lyrics that opens up “Believe in nothing” paints a starkly nihilistic viewpoint, but every story comes from an experience, just as every songwriter utilizes the experiences that shape them. “War Plan Red,” takes off with a classic Punk Rock and Roll riff, then the vocals worm their way into your mind, this is a seriously tasty track.

 

“48 crash” has an almost Stonesy groove to it, then were straight into “Walking in Berlin” again painted from the memory banks, and I think that the thing I really take from this whole set of songs is how vividly the songwriting paints a picture, the lyrics draw you in, take your mind to where the writer wants you to be. The Stuccato groove to next up “Loves Inferno” draws a few Bowie comparisons, even if it’s just the changed vocal delivery, but what a clever track. Next up “Master of destruction” is absolutely blinding, all edge and intensity before the LP wraps up with “Carousel “ the cracked vocal leaving you wanting more, looking at a life gone past, and maybe just peeking towards a future.

 

Fair play this is a stunning collection of songs, well worth the purchase price.

Buy Humanworld Here

Author: Nev Brooks

When I saw Aussie punks Amyl & The Sniffers live recently, singer Amy Taylor launched herself into an excited and sweaty pit to sing and mosh with her fans for the first of several times…the band had been on stage less than a minute.

Part Yolandi Visser, part Wendy O Williams, Amy Taylor is a tiny, platinum-haired Aussie whirlwind of fun. Along with her mullet sporting flatmates; Declan (guitars), Bryce (drums) and Gus (bass) whom she formed the band with back in 2016. They have steadily been making waves since writing, recording and releasing their debut EP in the space of 12 hours.

These waves have made it across continents since the vinyl release of their ‘Giddy Up/Big Attractions’ EP, culminating with the band recently touring the States and the UK to rave reviews and packed clubs.

 

They don’t fuck around when it comes to music and live they are a high-octane blast of energy guaranteed to incite riots. That riot-inciting attitude is captured perfectly on their debut, self-titled album.

Just look at that goddamn album artwork and tell me you don’t need a piece of that in your life right now? Imagine a mash of The Rezillos, The Dead Boys and X-Ray Spex covering The Breaking Glass soundtrack and you might get close to their sound.

No one is doing late 70’s punk right now with as much balls, as much energy and certainly with as much authenticity as Amyl & The Sniffers are.

 

‘Starfire 500’ is simply one of the best album openers of the year, what a track! It blasts from the speaker with a statement of intent, riding on some out-of-this-world  Ramones-a-like riff. In Sniffers terms it’s an epic beast; Amy’s distinctive, snotty vocals don’t even start until the 1 minute 30 mark.

It’s clear from the off that the band have taken things up a level and they have come a long way since that lo-fi debut EP. While the production has improved, the songs are still full of raw, undiluted garage rock goodness.

If Kylie had been mentored by GG Allin instead of Pete Waterman she would probably have come out with a song like ‘Gacked On Anger’, a furious diatribe set to a wall of fat distortion.

Previously released singles are present and correct. The brilliant ‘Cup Of Destiny’ has a hook that will embed itself in your brain instantly and album closer ‘Some Mutts (Can’t Be Muzzled)’ is like some anti ‘I Wanna Be Your Dog’. A “fuck you!” song to an ex about his new bird (or dog in this instance). Amy even throws in some choice “woof-woofs” for good measure.

The band bashes out 3 chord bangers like they were born to do it, with every track worthy of 7” release, like old school punk classics. ‘Monsoon Rock’ rides on a stabbing Dr. Feelgood style riff before descending into a power trip of Dead Boys proportions. The vocals spat with venom and the dirty guitars delivered with the power of a DC 10. The Stooges-like ‘Control’ is a chaotic, death trip jam, and ‘Angel’ is as close as the band gets to a love song…at least I think it’s a love song, but it sure ain’t no ballad, folks!

‘Got You’ sounds like an early Adam & The Ants b side. Riding on a rumbling bass line and a great chanting chorus, the lead vocals delivered with a most nonchalant punk rock attitude. The accompanying video features the boys in the band on leashes being walked by their singer. You gotta love it, and I have so much love for this tune right now.

 

Garage rock bands are two a penny, but Amyl and The Sniffers are the dirty penny you want to scrub up and keep for good. They have the tunes, the style and the attitude to match. They also have a growing fan base, a ferocious live reputation and now a killer album to boot. How can they possibly fail? An essential purchase.

Buy Amyl And The Sniffers Here

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Author: Ben Hughes

 

 

 

 

 

 

 

 

 

The Wildhearts are riding on the crest of a wave right now. ‘Renaissance Men’, their first album in 10 years is an absolute monster, it’s currently at number 11 in the album charts and at least 3 of these 8 dates to promote it are already sold out.

It’s not just a good time to be a Wildheart either; it’s a good time to be a Wildhearts fan. With a sizeable chunk of the back catalogue getting re-mastered and re-issued on deluxe vinyl and the promise of plenty more dates this year, it is also an expensive time to be a Wildhearts fan, but we wouldn’t want it any other way would we? In 2019, there is more interest and more excitement about this band than I can ever remember.

Re-united and re-invigorated, the classic line-up of The Wildhearts is back, but are they back for good? Only time will tell. While this current wave of excitement could open doors and see great opportunities for a band who, let’s face it, have certainly paid their dues, I keep getting this niggling feeling that it could all go drastically tits up at any moment. So let’s enjoy it while it lasts.

Talking of things going tits up… fuckin’ Towers Of London are back! Where the hell did that come from?  The original line-up that recorded the most excellent debut album ‘Blood, Sweat & Towers’ and then proceeded to burn out in a blaze of arrests and fisticuffs, are back together. There’s new music on the way too, they have unfinished business to attend to. What a time to be a rock ‘n’ roll fan!

Donny Tourette and the boys take to the stage with air raid sirens blaring and fire straight into ‘I’m A Rat’. It sounds fuckin’ ace! Dressed in matching black boiler suits and shorn of the gravity-defying hair of ten years ago, they may look a bit different, but with a newly reinstated The Rev delivering cool licks and a bare-chested Snell bashing seven shades of shit out of his kit, the band are on fire and looking like they really mean it.

While Donny’s nonchalant punk attitude is more Gallagher than Iggy, the delivery is still fantastic. ‘Beaujolais’ is punked-up to the max goodness, and newbie ‘Get Yourself Out Of Here’ with its chanting chorus and sleazy delivery is full of the right kind of attitude, it promises much for the new album.

A blistering version of ‘Fuck It Up’ surely silences any non-believers in the room and ends a high energy set from a band that is truly back to their best form.

While Towers Of London are not the fucked up kids of yesteryear, they have matured, learned a few things, but still have that edginess I desire from sleazy punk rock. Love ‘em or hate ‘em, no one can deny they were spot on tonight.

Whether they’ve got the new songs to rival the likes of the fantastic ‘Air Guitar’ or ‘On A Noose’ we will see, but I for one can’t wait to find out. Bring on new music, headline gigs and world domination then.

Now, if someone could please explain the appeal of Massive Wagons I would be most grateful, as I don’t get them at all. I’ve tried, but they are just not for me. A band fronted by a diminutive Game Of Thrones extra who sounds like Biff Byford, backed by a band who look like they scan your shopping in Aldi, call me fussy but…

Joking aside, in a live setting I can’t really fault them. They have energy, I’ll give them that much. Baz is an animated frontman and a loveable character, who can work a crowd and The Wildhearts crowd seems to love them. But that’s not enough. It would probably be ok if they had the songs, but for me, Massive Wagons just don’t have the songs, pure and simple.

I’ve seen them live several times now and my opinion hasn’t changed. I’m afraid to say I head for the bar not long into their set. Most Massive Wagons reviews I’ve read are positive, with many citing them ‘retro’. Me, I cite them ‘dated’. And in my defence I present their closing song ‘Fee, Fi, Fo, Fum’ as evidence, the cheesiest song I’ve heard in many years, and on that note I rest my case.

In all my years of seeing Wildhearts live shows, I can honestly say I have never seen a bad one, come to think of it I have never seen even an average live performance from Ginger and co, whatever the line-up has been.

Tonight is no exception, in fact tonight is probably the best I have seen them. It’s up there with the hot and sweaty Bristol Bierkeller show of ’94, its as heavy and loud as Edinburgh and Glasgow were in 2004, and it’s even as euphoric as the Chutzpah! show in Leeds 10 years ago.

From the moment Ginger cranks out that opening riff to ‘Dislocated’, the place goes nuts. Such a great response to a new song. A relentless cacophony of riffs and melodies that has the pit bouncing as one, signaling that this brand new song is already classed as a fan favourite.

It leads perfectly into ‘Everlone’, ‘Vanilla Radio’ and ‘Suckerpunch’ all delivered in quick succession, leaving no time to talk or even breathe. Going with the theme of ‘Renaissance Men’ it is a well chosen, heavy set of songs tonight. Mixing it up nicely, there are a few surprises in amongst the usual live favourites. ‘The Revolution Will Be Televised’ and ‘Jackson Whites’ are especially awesome and even ‘Urge’, which I imagined would be a disjointed mess, actually sounds amazing.

Bearing in mind that most people have only had ‘Renaissance Men’ in their ears for a week, the new songs get a great response. ‘Let ‘em Go’ was always going to go down well, it’s got a stadium-sized chorus that is up there with their finest hits. But it is ’Diagnosis’ that probably gets the best response of the whole night. What a fucking tune live! The way they build that AC/DC style riff to gain momentum, before releasing that main hook on an unsuspecting crowd, who in turn go absolutely bat-shit crazy for it. It’s a great feeling being right in the middle of the chaos for the duration. Like being a teenager discovering live music for the first time, all over again.

The band seems truly invigorated and on fire. Ginger and CJ’s vocals are spot on and the pair are full of energy, bashing out riffs and jumping in unison, giving photographers every opportunity to capture that elusive jump shot.

With bassist Danny McCormack now fit enough to make it through a whole set without needing his stool is a big, big thing. The loveable Geordie with a big heart and an even bigger bass sound just brings something special to The Wildhearts and it’s a joy to see him back where he belongs.

Post encore, the band mime through a version of ‘The Renaissance Men’ which is being videoed for a commercial single release on each night of the tour. Bit weird for all concerned, but the show doesn’t suffer or lose momentum.

A five-song encore is pretty good value at any show and with the likes of ‘Mazel  Tov Cocktail’, ‘My Baby Is A Headfuck’ and ‘I Wanna Go Where The People Go’  rounding the evening off nicely, who could ask for more?

 

Where The Wildhearts go from here is anyone’s guess, but my advice is to go out of your way, sell your children or steal money if you have to, but whatever you do, do not miss The Wildhearts live right now, as they are on top of their game.

 

Buy Renaissance Men HERE

Author: Ben Hughes

Photographs: Neil Vary

Glam slammin’ this Monday morning.  slap on a scarf for the trip into work or put some glitter in your pocket.  Here are a few tunes to help the day go quicker and put a smile on your face and make your heart beat faster. Even Shit Island is wearing sun cream today so why not put some sunshine music on as you skive off and sit in the garden.

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Next up with a brand new record just released on Pink Vinyl we delve into the bands back catalogue to pull out this epic video… Enjoy! Hammered Satin

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finally Giuda rock up with their Space Walk to celebrate their review going up this past week from Martin who witnessed their performance at the 100 Club.

As far as soundtracks go this was a no brainer for me.  Having seen the film and always been a huge Bators fan in this day and age I’ll take anything on offer and Danny Garcia did such a great job I can’t imagine a Stiv fan not wanting a piece of this. I know its been a long time coming but its finally here and just ahead of the video or DVD release April saw a RSD special with the soundtrack hitting certain shelves (mainly) through America I know at first I couldn’t get my paws on it over here on Shit Island but thankfully I managed to score a copy off the internet and not too soon the Red 12″ record sort of landed on my mat.

 

Featuring twelve cuts from the likes of Deadbeat Poets, The B-Girls, Lustkillers and Jimmy Zero to name a few its a quick smile at the cover art with Stiv van surfing and the needle drops.  Side one kicks off with the wonderful Deadbeat Poets ‘The Stiv Bators Ghost Tour’ then the wonderful B Girls and ‘Mystery’ before Stivs track ‘Don’t Go Away’ that was previously released on the Easy Action album released a few years ago of the work Stiv was working on before he passed.  I can only presume this is from the very same sessions so would feature Neil X on guitar but I can’t say for sure as there aren’t any credits on offer here it’s just your basic sleeve with tracklist a few thank yous and a nice Red slab of vinyl.

I love the Lustkillers and ‘Revenge’ is an excellent track taken from ‘That which Does Not kill Us’ It’s uncanny that two people could sound so alike and play similar kinds of music but I love it and think ‘Revenge’ is such a good tune. Next up and one that made this a must-have was Stiv performing ‘Evil Boy’ live in Berkely Sq back in 1980. Club Wow performing ‘Nights Are So Long’ is another great cut even if I am more familiar with the Michael Monroe version which he did so well this is a top tune and brings a really strong side one to a finish. Jimmy Zero from the Dead Boys, Jeff West from The Testors I guess it all fits together with Deadbeat Poets with Frank Secich and this (club Wow)  Jimmy Zero and Stiv its a big family at times but it’s not all at the same time.  These songs are such killer songs It breaks my heart to think that only a (relatively) small number of people get to hear them and exposure is minimal especially in today’s quick as a flash musical climate.  I’m always really excited to hear about films like ‘Stiv’ and records like this coming out in the hope that these bands and artists have a lasting legacy and who knows some kids might dig it again and we see a resurgence in some great music.

Anyway, flip it over and side two is more of the same great songs starting with the dark and brooding ‘Paris’ from Jimmy Zero followed by the fantastic ‘You Don’t Go Away’ from Alpha Kitty whilst The Stiv Bators Ghost Tour are back for a second bite with the excellent ‘Room Full Of Strangers’. Danny Fury rocks up with ‘Dark Star’ from his band Tango Pirates before the soundtrack is signed off with ‘To Feel You’ The Primadonna Reeds pure Noo Yawk cool like you didn’t already know that.

 

All in all there is so much good music on offer here and as far as soundtrack records go it might not be the Ghostbusters soundtrack but its got an abundance of great songs by great bands for a great cause and if you have any sort of love for Stiv and his legacy then you need to snap this up pretty quickly before they’re all gone and you won’t be able to find one for love nor money.  Get out of here!

Buy Stiv Vinyl Here or CD Here

Order The DVD of the film Here

Author: Dom Daley