Killing Joke are proud to announce ‘Killing Joke – Follow The Leaders’, a very special UK show at the Royal Albert Hall on March 12th, 2023. Killing Joke will be performing their first two albums in their entirety; 1980’s self-titled debut album followed by their second album “What’s This For…!” “We are living in the most dangerous period in human history in which extinction from nuclear war could happen in the next twelve months. If we make it, then Killing Joke at the Albert Hall in 2023 will give great meaning and comfort to all of us. Come share a moment in history with the prophetic and legendary Killing Joke.” Dr. Jaz Coleman.
Tickets for “Killing Joke – Follow The Leaders” at the Royal Albert Hall go on sale on Friday 1st July via:- myticket.co.uk/artists/killing-joke
Killing Joke are currently working on a new album, following the release of ‘Lord Of Chaos’ EP via Spinefarm Records, their first new material in over seven years.
Killing Joke is very much music as ritual – raw, uncompromising and precisely-targeted lyrically; proof that Jaz Coleman, Geordie, Youth & Big Paul, the original Killing Joke personnel, are currently delivering the best and most relevant material of their career, with no mellowing or softening of the edges getting in the way. With collective nostrils flared and righteous anger carried torch-high, Killing Joke continues to take their music of resistance to fresh levels, both in the studio and out on the road. Follow the leaders……………..
It’s got to be close to two and a half years since many of us originally purchased tickets for tonight’s show. Such are the unprecedented circumstances that tonight’s headliner is now touring a completely different album to the one we would have seen him touring originally, but such is the sense of joy that surrounds us all tonight that this is all finally happening I bet Jesse could have played a set of countrified acoustic Clash covers (more of which later) and no one would have batted an eyelid.
Tonight’s line up is indeed an all-acoustic affair, and I’ve never seen the Le Pub stage look quite so barren, resembling something more akin to the set up for a stand-up comedy show than a rock show. But rock it most certainly does (there’s an obvious Val Doonican gag right there but tonight I’m bigger than it), especially when we have local lad James Mattock opening up proceedings. James, you may or may not know, has been in bands such as White Trash, The Computers and Sharks and is currently fronting post punk outfit The Violent Hearts. So, to see James sans band (and normally a quite raucous one at that) is something of a unique situation indeed, however as soon as he opens his mouth any initial concerns I may have had about him maybe not connecting with an audience here largely to enjoy music with (shall we say) a more American bent, are promptly put to bed.
Yes, the largely all new set of songs are pretty much unknown to both myself and the audience, but that doesn’t stop James from receiving very healthy applause for his repertoire, which subject matter wise ranged from songs specifically designed for the lovers in the audience through to his rather obvious (and quite understandable) loathing of Tory politicians, something which manifests itself in the shape of the glorious gothic loop pedal driven tirade that is ‘The Lure’. There are times during James’ relatively short set when I can still clearly hear the underlying punk influence, but this is all topped off with a pop sensibility that actually has me thinking of Dog Man Star’ era Suede, especially during the sombre ‘Anything But Evil’.
Apparently, the songs aired tonight are going to be forming the base for the next Violent Hearts album, which on the strength of this performance promises to be a very interesting proposition indeed.
Having already received a rave review on these hallowed pages from brother Ben Hughes I have to admit that the prospect of seeing a singer/songwriter probably more at home in the surroundings of the Grand Ole Opry than CBGB doesn’t exactly fill me with excitement, but then as I’ve never seen Kelley Swindall live before I’ve never experienced the absolute joy her music can bring to an evening. Straight out of NYC but born and raised in the American south Kelley’s live show is (structure-wise at least) not unlike tonight’s headliner, in so much as its not just about the songs, but the story behind those songs, so forgive me if I almost choke on my beverage when set opener ‘Alight Alright’ has Kelley quoting Milton and talking about life’s many paradigms. I mean this is Le Pub right? All joking aside, this balls out approach immediately has me won over, even before a note is honked on the spit ruined first harmonica of the night. The storytelling brings a real punk rock spirit to the likes of ‘Spring Street Dive’ whilst during ‘Refuse to Be Blue’ Kelley clearly wears her Georgia-born heart on her sleeve, sounding not unlike a modern-day Patsy Cline.
There’s a point during ‘You Can Call Me Darlin’ If You Want’ where you could hear a pin drop, such is the power of Kelley’s performance (and I must give credit to tonight’s audience who were in the very best of order for all three acts) and what better way to end a show than by celebrating the fact we are all, whether we like it or not, going to die. Kelley Swindall made many new friends here tonight, myself included and I’m sure she’ll make many more as her UK tour extends through to the middle of July.
Author: Johnny ‘Honky Tonk’ Hayward
Jesse Malin is a performer that can do this live business anyway, anywhere, anyhow. Be it rockin out with a band or with his buddy Derek Cruz on keys and guitar or all on his lonesome. I’ve seen him do all permutations and in all sorts of venues from intimate clubs like tonight or in a field at Hyde Park or in bigger venues and he never gives less than 100% with varied sets of deep cuts and crowd-pleasers Jesse is an awesome performer with a heart as big as Manhatten and it beats out the rhythm any pace he wants.
Tonight is the opening night of his tour that takes in Glastonbury and with himself and Derek Cruz taking to the stage at 9.15 prompt Jesse was one of the first Americans to fly the nest post covid and along with his band turned in the finest live performance of 2021 bar none. Tonight whilst it was stripped back to the duet it was nonetheless powerful as he flew through his repertoire of solo records dipping in with stories that both made us laugh and with his tributer to the recently departed legend that was Howie Pyro before dedicating ‘Broken Radio’ to our fallen brother. His introduction was heartfelt, sincere and truly emotional and it was an inspired choice to dedicate to Howie. RIP.
The evening kicked off in style with ‘Hotel Columbia’ followed by a chilling rendition of ‘Cigarettes And Violets’ and you could hear a pin drop from the packed-out audience who to be fair were a refreshing School night crowd who were respectful for Malin & Cruz and there was pretty much no chatter and very little mobile phone distractions just people taking snaps which is cool. the pair cooked up a rousing rendition of the Pogues classic ‘Fall From Grace With God’ before dipping in to the pre covid album ‘Sunset Kids’ and the beautiful ‘Room 13’. The pair were locked in and creating some majestic sounds between them as the first of the Covid ‘Sad And Beautiful’ record as ‘Crawling Back To You’ was aired as Malin said the last time he saw Tom Petty was days before he passed away it was his last ever performance. The stories were coming thick and fast and really added weight to the songs before they were played. ‘Turn Up The Mains’ rocked and Rolled even without the electric band kicking it out of the speakers.
Jesse then aired a golden oldie in the shape of ‘Wendy’ from the superb debut. Malin also alluded to a rerelease of the debut with bonus tracks etc even though One Little Indian re-issued this as a double album in 2016 I’ll happily take it with new fresh ears on some of his finest post D Generation tunes. It was then Malin told us about his time spent with Howie Pyro and his emotional recollections of their time spent in NYC and JEsses feelings when he found out he passed whilst Jesse was touring Europe. It added weight to the evening and some extra depth to an already awesome song in ‘Broken Radio’ the single that featured Springsteen which also came with a pretty humorous tale about its release.
‘She Don’t Love Me Now’ was a song I always thought was when Malin really hit the Strummer vein in feel more than anything else maybe as he was writing it Strummer tuned in his antenna from his celestial Ghetto Box and sent PMA over the ether. With time ticking on and Cruz moving from piano to guitar adding different flavours to the sweet music we were getting ‘The Year I was Born’ sounded beautiful and countrified. It was easy to get lost in the music tonight another of those “Special” Jesse Malin nights its becoming a thing.
I absolutely love his last studio album and tonight ‘State Of The Art’ never sounded so damn good and it was weird that there were only two of them on stage and no rhythm section kicking this one down the line. We had a fake end of the set before the fake encore where we’re treated to a bit of acoustic boogie as ‘Meet Me At The End Of The World’ made way for a rather splendid rendition of the Mick Jones classic ‘Stay Free’ before leaving us with ‘Solitare’ that was played to an epic respectful silence, spellbinding stuff.
These are weird times kids but it’s fantastic that we still have regular visits from artists as talented as this, who roll into town, do their thing sprinkle a bit of Rock n Roll magic, kick out the jams then get the hell out of dodge but, promise to return with a band in tow and play the whole of the debut album. Bring it on I say and I’m already counting down the days. It’ll be another emotional evening and 100% entertaining and 100% PMA paid on til the next time. Brilliant stuff, I love live music I do.
“And now the end is near and so we face the final curtain”… or something like that. After completing the A-Z and then having a bazillion compilation albums come out, Two A-Z complete CD box sets, singles comps, live comps, covers Albums, 10” reissues. It’s certainly been a fantastic time to be a UK Subs fan (Even if it’s been heavy on the bank balance) we’ve arrived at the point where I believe the band has said time is being called on their recording career. Live shows are coming thick and fast and showing no sign of relenting.
If this is indeed to be the final record under the UK Subs monicker for Charlie and the boys then it’s fair to say they are going out in style and leaving us with a piece of work that stands tall next to their very best album and I sincerely mean that because ‘Reverse Engineering’ is an absolute fucking belter.
Charlie sounds better than he has for 20 years (the covid downtime must have helped his voice recover from all those hundreds of shows he didn’t have to sing at and if Alvin was paid by the note he’d be a millionaire. The songwriting is shared out and Straughan steps up and delivers one of my favourite Subs songs for many a year in ‘C60 Audio’ but more of that laters. The middle section of this album is some of the best Subs writing for years with the thumping ‘Hoist The Sail’ with its raw guitar intro and gang vocals as Admiral Harper rallies the shipmates for a battering ram of a verse that hacks and slashes towards the solo. Great stuff. It’s only the starter for the upbeat ‘Kill Me’ I know you wouldn’t think it by the title or the lyrics but the tempo and playing are excellent. It’s one of those happy-go-lucky Subs tracks. ‘Political Amo’ is an Oliver penned track that rushes out the blocks. As you’d imagine it’s a sprightly number with a modern feel to it with a strong melody.
There are a pair of Alvin-sung songs next with a smoldering ‘Slavery’ hitting you like a HGV. If you’re not familiar with Alvin’s style of songwriting now then let’s just say this one is uncompromising and full of big groove as the rhythm is rock solid and Alvin’s vocal is similar to his former employer Mr Pop and if this was to appear as a new Iggy single people would go nuts about it, the reality is, it’s laid to rest at the thick end of a UK Subs album that’s how good this record is.
The UK Subs aren’t signing out quietly with a whimper as ‘Statement’ testifies. They’re out of the trench and taking it to the enemy leading the charge, galloping along with this as the soundtrack again with some mighty fine musicianship with the guitar right up in the mix hacking and slashing away like a maniac – exciting stuff!
It’s not all galloping charging about mind. The intro for ‘The Night Holds The Key’ is low-key and restrained but it’s short-lived. The vocals leading to the chorus are superb and another classic Subs song unfolds. The record signs off with a real thumper written by Charlie. ‘Waiting For Godot’ with a cool verse-chorus set up where the band joins on the title repeat. its a more measured tempo that’s a fantastic way to wrap this album up. Go out with a track every bit as strong as the opener ‘Bad Acid’ that shows the UK Subs are still one of the very best the UK has to offer on studio recordings. They came out swinging over 40 years ago and sign off an incredible catalogue of records with ‘Reverse Engineering’ every bit as vital as at any period of their illustrious career. Trust me when I say ‘Reverse Engineering’ is an essential purchase. Get your mitts on a copy by any means necessary. Superb stuff just Buy it!
Buy Here or for those in the UK Time and Matter have limited copies Here
Due sometime in August or September the long wait is finally over for the Gunfire Dance album on vinyl for the first time. Easily one of the finest bands of their generation Gunfire Dance had it all except for the breaks. ‘Witness To The Crime’ will see some of the band’s finest songs on vinyl LP for the first time through Easy Action Records. It features twelve tracks from the incredible ‘Blue’ through ‘Burning Ambition’ and ‘Suit And Tie’. If there is one album you should pre-order then this is it. Snooze you loose, this is a limited pressing
Alright, all you groovy cats out there on this spinning rock just waiting for some cool tunes to float by. Well, the wait is over because Frisco’s coolest cats The Richmond Sluts have only gone and turned in a long-player jam-packed full of bangers with howling Organs, string bending trickery and gang vocals for you to bark at the moon along with.
Twelve tracks of wicked twists and turns and cosmic whig-outs right from the super cool off. ‘Top Of The Night’ will ease you gently before the overdriven six-string trickery clashes with that Organ wheeze to great effect. they might be on a hyperdrive mission and if this is in the 8-track cartridge then I want to be on board for the journey.
The vocals are dripping in reverb with enough dirt and whisky soaked into every breath the delivery is perfect from the cool drawl of ‘Satisfaction (I want you)’ through the cheeky handclaps of ‘Chasing Tail’ to the smokey dream-like state of ‘The Third Eye’ its oozing quality.
There’s some Stooges gimme danger captured in the heart and soul of ‘Used’ it reminds me of The mighty Chesterfield Kings and when the band joins in it reaches a giddy high and is a mighty fine tune with all its swirling drama whats not to love?
I love it when the band just rock out like on ‘What You Gonna Do Now’ No frills just kicking back and doing what they do best. They go straight into the choppy ‘Who Knew’. They throw their own spin on the classic ‘I Don’t Need No Doctor’ and sign off a really impressive record with the road worn groove of ‘Lights Go Out’ that builds like the best groove rock Primal Scream mustered which is a cool place to nestle down in and just play from the heart and soul and leave nothing behind with its cool rhythm and building wah soloing its a top tune to end with.
Ladies and Gentlemen, The Richmond Sluts are back in the groove, and that’s good news for us all. Get on it – Tune in – turn up and whig out!
Fast-rising Italian punks SMALLTOWN TIGERS return to the UK next month for the first time since their debut shows of October 2019. The girls from Rimini turned a lot of heads on that tour and plans were quickly made for a return. Covid put paid to that, however, and the dates had to be abandoned.
They refused to delay the release of their debut mini-album Five Things, though and were rewarded with fantastic reviews across the board. The icing on the cake was an invitation from The Damned to open for them on their original line-up reunion tour. Postponed twice, those dates are finally set to go ahead in October and November.
In the meantime, the girls are booked to play the Pump It Up Powerpop Weekender at London’s Lexington on Sunday 3 July. The two-day event will also feature sets by NYC’s Baby Shakes, Norway’s Yum Yums, Duncan Reid and the Big Heads, The Speedways and more.
Speaking about the show, singer/bassist Valli says…
“It’s a wonderful time of the year over here at the Smalltown Tigers camp. First, Summer is here so we can surf. Second, after an almost three years hiatus, we’re about to come back to London. And, more important, to play at one of the most significant events we ever played in our career, the Pump It Up Powerpop Weekender at the Lexington.
“It will be great to share the stage with so many great bands, some of them for the first time and some others like The Speedways and The Baby Shakes we already shared the stage with. Moreover, the fabulous NYC girls (and boy!) The Baby Shakes were the band we opened for in Italy on our first tour ever… ah, sweet memories. Can’t wait to be in London again. It’s gonna be a blast! Be sure to buy your ticket in advance, it’s gonna be a busy Saturday and Sunday night on the 2nd/3rd of July!
“Other than that, we can’t wait to play some songs from the brand new album we’re currently preparing and which will be out next year. We think it’s the best material we ever wrote and we can’t wait to hear what you think of it. See you at the Powerpop Weekender people! Stop by and say hi!”
Sounding like the best night out on the wrong side of town, Dalston’s finest and dandiest vagabonds The Urban Voodoo Machine return with their long awaited and much delayed fifth long player ‘$nake Oi£ Engin€’.
Led by the vivacious Mr. Paul-Ronney Angel, the black n’ red wearing collective have been wowing audiences for well over 15 years with their self-proclaimed “bourbon-soaked gypsy blues bob ‘n’ stroll”. Some say they are the best live band in the country, others say they are just a bunch of drunken ne’er-do-wells. Both could be right, but one thing’s for sure, you cannot ignore them.
Recorded back in early 2020 at Space Eko Studios by The Future Shape Of Sound main man Alex McGowan (who also produced alongside PR and drummer J-Roni-Mo), ‘$nake Oi£ Engin€’ captures the relentless live energy of a band who have been described as The Pogues meets Gogol Bordello playing the last damn party at the end of the universe.
Paul-Ronney Angel writes songs about living in London as an outsider. Relatable issues such as the struggles of addiction, depression, mental health problems and being fuckin’ skint! With a love of The Clash, Tom Waits and AC/DC, these swampy blues jams, New Orleans jazz inspired ditties and mournful murder ballads have been lovingly crafted by the ringleader and his crew over a bevvy or three, and a few smokes along the way.
Four of the eleven songs have been previously released as singles and soundtrack the Covid/Brexit years better than the frontman could ever have imagined. The prophetic ‘Living In Fear’ was written as a dig at the Windrush scandal and the Grenfell disaster, and took on new meaning post-Covid when we actually were living in fear. The Caribbean feel created with the addition of steel drums and brass is upbeat and fresh, and a memorable hook is always going to win me over.
‘Empty Plastic Cup’ is an ode to the rich getting richer and the poor getting fucked! It has ‘Goodbye To Another Year’ vibes, with typical bombastic, UVM backing vocals, a killer sloppy guitar riff and enough brass to kick your ass! It builds and builds to a climactic finish; you just know it’s gonna be a live favourite.
The big band vibes of ‘Johnny Foreigner’ fit the bill and the lyrics hit home even with the raw, tongue-in-cheek vocal delivery. A larger-than-life tune delivered by a larger-than-life band. The reflective ‘January Blues’ is the morning after the night before comedown. Again, with hindsight it could be a prophetic reaction to Covid as the singer drawls “last year you can fuck right off, and this year, I’ve had enough of you” over mournful violin and acoustic guitar.
Of the new songs on offer, opener ‘Little Jimmy & The Wrong Crowd’ is an early favourite. The unmistakable PR vocal drawl is omnipresent, the blasts of brass and primal beats glorious as ever. But the surprise vocal rap is sung by James Brown II and the overall Cuban feel of the track give a new dimension to The Urban Voodoo Machine killer sound.
‘Pill Popping Cross Dressing Copper’ is 2 minutes of musical insanity, another high-energy party song to add to the arsenal. ‘Hell’s Caravan’ is a sombre, death march with regimental drums and killer voodoo backing vocals, ‘Dropping Like Flies’ an ode to lost friends, while the ringleader takes us to church with the gospel-tinged sermon ‘Carry Your Weight’.
There’s enough diversity and familiarity to please fans old and new and something to whet the appetite for those who are yet to capture the band live.
Live, The Urban Voodoo Machine channel gypsy punkabilly rave-ups, mariachi marches, outlaw country and bluesy jams, with a heady dose of burlesque and circus sideshow craziness when available. These are the sights and sounds of The Urban Voodoo Machine, and ‘$nake Oi£ Engin€’ is the perfect soundtrack to the crazy world of the band who just refuse to die.
the title track, and first single, from Lornes, first-ever solo album, out on Spaghetty Town Records on September 16, 2022.
Coming off his acclaimed 2021 four-song EP When I Hit The Floor–which prompted the esteemed Jesse Malin to praise it as “Real blood and guts rock and roll that bleeds with soul and redemption”–NYC punk rock n’ roll singer-songwriter-guitarist LORNE BEHRMAN today (June 9) shares the video for “A Little Midnight.” It’s the first single (out digitally this Friday, June 10) from his debut album of the same name, available September 16 on Spaghetty Town Records. Watch the video, directed by David J Barron, here and read a new Q&A below. It was premiered yesterday (June 8) by Glide which noted that the song “features a blackened riff howl of punk bands like The Damned and The Gun Club mixed with pop sensibilities of The Replacements. When Behrman sings “A little midnight/ it’s alright/A little midnight/does you right,” listeners get a gracious sense of rock and roll escapism at its most pure form.”
The “A Little Midnight” single is a slice of dirty rock n’ roll scrapped off of the streets of the Bowery with an introspective heart from the artist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things. “The moonlight looks on good you/Not darkness just silver blue/A little midnight/it’s alright/A little midnight/does you right,” sings LORNE on the song.
A LITTLE MIDNIGHT is a 10-song collection is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed.
“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”
The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.
New video for ‘You Shouldn’t Be Lonely on a Saturday Night’ by Diamond Dogs of their album, ‘Slap Bang Blue Rendezvous’. The Duke of Honk comments on the video: “Yes! We still have time to feel good all night with friends! We still have time for rock’n’roll! – Big Love” Facebook Buy the album Here
Finishing off this most Rock n Roll of ‘Rainy Days’ is the new video from the awesome Slyder Smith & The Oblivion Kids. ‘When The Rain Comes’ is taken from their debut album ‘Charm Offensive‘, which will be out on 19th August 2022 through Ray Records on 12” black vinyl, digipak CD and digital, distributed worldwide via Cargo Records You can pre-order this album Here
Whilst they might not be clocking up the 25th Anniversary editions these three more recent Subs platters are still almost a decade old and went out of print on vinyl as soon as they were released such was the collectability of Subs albums amidst the return of vinyl buying people, In fact, it’s been eleven years since ‘Work In Progress’ was issued amidst richly deserved critical acclaim (I know I was very complimentary at the time of its quality).
This new double vinyl edition comes with one gold-coloured disc and one silver coloured disc in a very nice repro of the original artwork but in a gatefold sleeve again pressed on 10″. It’s still got the fourteen Tracks. Kicking off a new era of Subs where Jet was on six strings and the rhythm section of Alvin and Jamie really hit their stride with some of the band’s finest songs coming into existence like opener ‘Creation’ which really set the tone.
I remember interviewing Charlie around the time and his enthusiasm for the album was infectious and on hearing the songs it’s easy to see why he’d be proud of this record. ‘Tokyo Rose’ was something a bit different from the band and the Alvin Gibbs sung tracks are some of his finest writings even to this point today ‘Hell Is Other People’ is such a banger of a tune. Their cover of The Sonics ‘Strychnine’ was also a glimpse of what was to come with their covers album (post-a-z). It was a real call to arms and this reissue of sorts is a most welcome addition to any Subs collection.
As the band headed towards the end of their epic 40-plus year project who ever thought they’d even make it to X let alone surpass the lot and head into new territory. ‘xxiv’ was a stunning follow-up to ‘Work In Progress’ and showed that the band were really locking into gear as a unit with all the incredible shows they were putting in around the time covering every inch they possibly could of this planet ‘XXiv’ is a limited edition double 10” that comes in a gatefold sleeve on green vinyl (disc one) and clear vinyl (disc two). It finds itself expanded to 15-tracks over two LPs with the addition of the previously unreleased album out-take ‘Workers Beer Company’.
Originally coming out in 2013 again, it sold out on its initial release on vinyl so this will please many fans and with the bonus of the extra track it isn’t just a cash cow or pension plan. (maybe they missed a trick, not including the bonus acoustic songs or reworkings on the original double CD that came out at the time now that would have been something special) this one took what the band did on the previous release and took it up a notch or two with the barnstorming opener ‘Implosion 77’ and then led us into the harmonica honking stomper that is ‘Coalition Government Blues’. I must admit I’d not played this album in a while and have played it over several times for review purposes I have a newly found affection for it. Maybe, with the passing of time I’d rate this one right up there with the best UK Subs album through any line ups and any album. ‘Speed is punk as fuck only to be outdone by ‘Rabid’ absolute blitzing it! The thrust of ‘Monkeys’ and its backing vocals giving it a softer edge is excellent. Again the Gibbs sung songs are top quality and there is no weak spot on any side of these new 10″ records and worth every penny.
Tying up the trio of 10″ records is the penultimate A-Z ‘Yellow Leader’. This one originally came out in 2015 and the album track listing has been restored to its full running order of 18 tracks as previous vinyl editions had to cut four tracks due to running times. So again, it’s not just a reissue cashing in as anyone who picks up a copy will realise that the heavyweight records in their gatefold sleeves and pressed on colored vinyl are well worth having a lot of care and attention to detail has been put into these and it shows. ‘Sick Velveteen’ follows a long line of super-strong opening tracks on albums and it showed that there was no sign of fatigue in the Subs camp nor writer’s block. The songs were coming thick and fast and if anything better and better.
The variety on the eighteen-track album is fantastic from the punk bangers to the reflective acoustic ‘Rebellion Song’ to the riffy ‘Slave’ and the Stooges-inspired ‘Suicidal Girl’ ‘Yellow Leader’ is the third in this trilogy release and one that to my shame I’ve not played in a while but that has been rectified and one I will play more often.
The artwork reproduction is most welcome as is everything about the feel of these reissues. Lyrics, Bonus tracks, coloured vinyl – Man, I love the UK Subs, and with a new album imminent this is a great time for us fans. Sadly, I’m informed there are no plans to reissue ‘Ziezo’ but maybe that will change when these sell out. Trust me when I say these 10″ double albums are the dog’s bollocks and well worth getting your hands on.
Never loved Elvis? Me neither. The Stuffies have been threatening to hit the stages for several years but something happened and the anniversary tour hit the buffers a few times before it became the ‘Never Loved Elvis 31-year anniversary Tour’ Not quite the same ring to it but hey, what can you do about it other than get the pencil out and reschedule again.
With an early start due to the fact that Milo and the Stuffies wanted to give fans who’ve remained patient and loyal some bang for their buck this one kicked off at just twenty past eight! Playing the entire Number Three in the chart bothering mid-heyday album ‘Never Loved Elvis’ in its track listed entirety before then indulging in an epic greatest hits romp through an inspired back catalogue.
Tonight was one of those special performances, one that pops up for regular gig-goers every now and then and for many reasons it inspires, it confirms why we do this and tonight The Wonder Stuff was that performance. Now, I’ve seen the band many many times over the years in many places from football stadiums to festivals to nice-sized venues Like Tramshed. I’ve also seen several acoustic shows from Milo and Erica which were eventful and often fantastic but tonight the ‘Never Loved Elvis’ set was inspired. Sure they’ve done sets before that have been epic but this one was special. I pretty much love every album and have played them a bazillion times over the years and I have never been able to decide which is my favourite which is a good thing – it keeps listening healthy but from the opening shaker shake of Mission Drive to the sign off of ’38 Line Poem’ ‘Never Loved Elvis’ sounded incredible. The new (happy-go-lucky smiling) Milo is a revelation even finding time to reflect on his previous persona which made plenty giggle but it’s good, I like both. We’d never have had ‘Cartoon Boyfriend’, ‘Play’, On The Ropes’ had he been smiling and happy all the time.
The rehearsals had paid off and the band sounded tight and playing at a fantastically loud volume seemed to add an edge – a vitality to proceedings that was very much appreciated. ‘Never Loved Elvis’ was played as promised with nothing missing or reshuffled and it sounded awesome! Milo enquired why didn’t he write more ballads and why were the band in such a rush back in the day? After the thirteen-song opening salvo, the band retreated for a short interval before returning to the stage to plough through another nineteen songs from all corners of the band’s catalogue.
‘It was ‘Hups’ ’30 years In The Bathroom’ that kicked off the second half as the band sped from early songs (Eight Legged Groove Machines) ‘Red Berry’ to (Constructions) ‘On The Ropes’. I love the “hits” but I also love hearing new songs and ones from the more recent records so it was great to get ‘Feet To The Flames’ and ‘Don’t Anyone Dare Give A Damn’ off the most recent LP. It was then time to take in a sharp breath and race to the finish line. ‘Circlesquare’, ‘Radio Ass Kiss’ ‘Don’t Let Me Down’ and ‘Ten Trenches’ all flew by in an exhilarating set before leaving the sweat-soaked stage for a final encore and it was ‘Unbearable’, ‘Give Give Give Me More More More’ before shutting this incredible performance down with the headfuck of ‘Goodnight Though’ simply my favourite end of the show song ever! Take a breath, have a stretch and off into the cool night air we fled, grinning like Cheshire cats knowing we’d just seen one hell of a performance from a superb band who still cut the mustard. Oh and it was reassuringly loud which was nice, and I mean LOUD!
Can we do this again for the ‘Construction For The Modern Idiot’ 30th anniversary please Milo? Bring the new album as well, thanks. Epic!
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