Wicked Cool Records are proud to announce the release of ‘Wasted Times’ the debut single by Ginger Wildheart & The Sinners.
“Wasted Times is pure rock n roll, peppered with country touches, while the lyrics have an honesty traditionally found in folk music and It’s just a good time song played by a killer band.” exclaims Ginger Widlheart.
Ginger Wildheart & The Sinners were formed in August 2019 when Ginger joined forces with Neil Ivison and Nick Lyndon from the band Stone Mountain Sinners. The line up was completed with drummer Shane Dixon (Tri-City Fanfare) and as Ginger explains “I actually met the band at the studio where we recorded the debut album. We hadn’t even rehearsed prior to setting up in the live room of the studio. Wasted Times was the first song we played together.” Wasted Times is taken from their forthcoming album recorded at Mwnci studios in Pembrokeshire, Wales, with Dave Draper producing.
To celebrate the release Ginger Wildheart & The Sinners play 7 UK shows in June, starting Friday 3rd at Oran Mor in Glasgow and concluding at Esquires in Bedford on Sunday 19th.
Despite the turmoil in which we find ourselves, Ginger with his Sinners gives us all hope. ‘Wasted Times’, backed with a live version of ‘The Words Are Gonna Have To Wait’, is available to stream/purchasehere
A lot has been written about this here three-LP edition of the Clash’s ‘Combat Rock’ originally released in 1982 and the last to feature the classic line up however the album whilst containing a few stand-out tracks never hit the dizzy heights of its previous releases.
With an incredible 17 show residency at New York’s Bond’s Casino in the bag, the band set about rehearsing at The People’s Hall in the Latimer Road area of London thereafter they headed to Asia for a tour where the artwork was shot by the band’s photographer Pennie Smith as it goes. This release of ‘Combat Rock’ includes unheard, rare, and early versions of tracks spread out over two albums and the original ‘Combat Rock’ however the final side is blank! Nada, nuffink not even an etching of ‘Know Your Rights’ Which left me feeling a little cheated. I might be being a bit fussy here but it could have contained a side of the best tracks from Bonds as a live side which might have been sufficient but nothing?
Anyway, I digress. Whilst having many a discussion about what constitutes a classic album and especially a classic Clash album nobody ever says ‘Combat Rock’ that I’m sure however when you drop the needle on side one and that familiar Echo of Strummers clanging reverb-laden guitar kicks in and his equally reverb-laden vocal introduces ‘Know Your Rites’ with “This is a public service…announcement – With guitars!”. I still get quite excited when the track sparks to life with Strummer’s rasping vocal as he rattles off your rites. It’s hypnotic and captivating to this day from the shots that fire off Jones’s guitar to the snap of the Heddon snare ‘Know Your Rights’ is a great tune and those rites still stand up to this day shame our government has no respect for them anymore. Strummer would spin in his grave I’m sure of that.
After the turn down leftfield, that was ‘Sandonista’ with all its headfuckery and musical veins that pumped life into a sprawling record that to this day has me scratching my head as to whether it’s a work of genius or the band is fucking with me different days offer different answers.
From the tweaks and funk of ‘Rock The Casbah’ Strummer was penning some fantastic lyrics and the band still had some fire inside them that they were able to express onto vinyl. They weren’t the same band who had led a generation into revolt at the tail end of the 70s they were indeed older and wiser. They’d seen the world and what was on offer and had soaked it up like a sponge. The dub and NYC had left a big impression on the band from hip hop to pop art and the sprawling metropolis that was Manhatten was a long way from London. ‘Red Angel Dragnet’ was all of this inspiration bleeding out onto the tape.
One of my favourite Clash songs is the magnificent ‘Straight To Hell’ from its rhythmic, atmospheric arrangement to Strummer’s vocal delivery and some brilliant lyrics it still sends chills down my spine. I always liked the bands changing image and the cool London urchins in their suits of London Calling had gone as had the Westwood fatigues of the spraypaint slogans and in were a united military mad max look and I vividly look back on seeing the ‘Rock The Casbah’ video and liking it from the great big ghetto blasters to the berets and camo fatigues and Strummers Taxi Driver haircut. The Clash were still cooler than most and that’s a fact!
‘Atom Tom’ is a great tune and even the weird dub-inspired dope-induced mish-mash of ‘Sean Flynn’ and ‘Ghetto Defendant’ are cinematic and experimental. ‘Inoculated City’ is a Big Audio Dynamite slice of pop from the guitar of Jones using the Glyn Jones samples no doubt. Not as strong a side as Side One but nevertheless a nice trip of a record I’ve not played in quite a while.
The real lure of this album probably isn’t going to be the remastered ‘Combat Rock’ but the other material not including the ‘Outside Bonds’ intro. Pfft I’m not sure why that took up five minutes of wax either. The funky ‘Radio Clash’ with alt lyrics is, however, exactly why I bought this record. Funky as fuck and from the slap bass to different lyrics its a window into a world we never thought possible.
‘Radio One’, ‘He Who Dares’, ‘Long Time Jerk’ is fascinating for Clash geeks no doubt about it. I love ‘Midnight To Stevens’ but the seven-plus minutes of ‘Sean Flynn’ almost fried my brain. All in all a right mixed bag is it worth the almost £50 price tag? Probably not it’s not in some fancy sleeve and the inner bag artwork is half decent and maybe I was expecting a bit more or a lot more I don’t know. It’s The Clash they are special and I couldn’t say no. Give it a listen on a streaming platform – you have a right. you also have a right to walk on by stay or go, but one thing you can’t deny is the Clash, as a unit, were formidable, adventurous and always up for a challenge to themselves and their fans. They follow their hearts and only dance to their own tune one thing I know for sure is there won’t be another of their kind not now not ever some have tried but all have failed.
Clash completists roll up and open your wallets this is something you must own. Oh, the poster is pretty cool as well. Buy Here
Trapped Animal Records is proud to announce the return of 90’s legends Headswim, with a reissue of their seminal psych-grunge masterpiece, ‘Flood’, on October 7th. Released on double vinyl and double CD, this deluxe re-issue will feature previously unreleased BBC sessions, studio B sides, and experiments by the band and their mad scientist friends on disc two!
To celebrate the release, Headswim’s original lineup will be performing Flood in its entirety at The Camden Underworld on Friday, October 7th. This will be the Headswim’s first performance in over two decades!
“If you’d told me 28 years ago that in 2022 Headswim would be performing the entirety of their debut LP at The Camden Underworld, I’d have eaten my hat. Pass the salt.” exclaimed Clovis Taylor.
To pre-order Flood #Reduxon three different double vinyl formats, double CD and download go to headswim.co.uk
There are also bundles available and tickets for the Underworld.
I first clapped my ears on Bob Vylan way back when a certain “Lynch your leaders” became my go to track as we worked our way through the first Covid 19 lock-down, then we got hit with “We live here” and the rest is history, I’ve watched Bob Vylan gain traction and get to the point of exploding into the general conscience, and as I type it rumours abound that this baby The Price of Life has hit the charts!!!!
Now let’s just say this in no reflects a move towards a more socially acceptable standpoint, no movement towards commerciality, and keeping it independent launched on their own Ghost Theatre Records what more could you want?
This is Brutal stuff a nihilistic expose of Tory led policies, outing the far right and the decision makers who stand in the background profiteering from the latest under the counter deal. As the LP opens you get drawn in with the “Walter Speaks” sample and then “Wicked and Bad” tears your face off social-commentary up front and centre. There’s no let up as we move into” Big Man” and “Take that” and that link between grime and punk seems more relevant than anything out there at the moment, both movements born in the underground and each movement within their individual generations ripping into that Tory led new world order, and what we have to do to survive and earn enough to live. By the time we hit “Pretty songs” your hooked and then everything moves up another gear, this is seriously good, from the punk side of things I keep being drawn back to Crass comparisons, while from the grime side I can’t help linking it to Lowkey, (check out terrorist) and some of the early Akala stuff, socially aware but not with the edge presented by this beauty. “Turn off the Radio” is fckin’ immense, this is a heavier LP than the first, at times it draws on grunge, while at other times we’re into straight out hardcore punk, while at others we link in brutal industrial, right up my street, that heavier lilt really hits you with “GDP”.
“Bait the Bear” is almost Slayer’esque how heavy is that opening riff!!! (it’s a rhetorical question, it’s heavy as fck). There really is no let up “Phone Tap(Alexa)” with a thrash drive at it’s core, just builds and builds and then we’re thrown against the wall by “Drug War” probably my favourite track on the lp, punk to the core, but the vocal lead just leaves you speechless, all too quickly we’re into last up “WHATCHAGONNADO”, again there is no let up and the lp as a whole just builds and builds finishing on a high, intense, in your face, shaking you to wake up to what’s really happening, Social commentary with an attitude born on the streets, Get this LP bought, my album of the year so far, lets get Bob Vylan to number 1 !!!!!!
Representing the Isle of Man, it’s only fitting that the “rock n roll, punk blues guys” (Iggy Pop) of Mad Daddy are releasing their ‘Road Racer’ EP to coincide with this year’s TT race. It’s the perfect combination; oil, sweat, hairpin bends and righteous rock n roll.
‘Road Racer’ opens, full throttle through the gears, like ‘Motorbikin’ on bad drugs. Slightly heavier than before, shades of the Chuck Norris Experiment. ‘It Ain’t Easy’ and ‘Be Bad’ tip a nod to the Stooges’ ability with primal riffs, while retaining their own identity, while ‘Here To Stay’ has the requisite “hey, hey, hey”s to get you hitting the repeat button.
No need to reinvent the wheel here, just enjoy the pared back appeal of Mad Daddy. And with a spanking new t shirt design to accompany the TT races, they’ve got my order come Bandcamp Friday in June. You know it makes sense.
Long EP or short album you decide. For my sixpence on The Drowns blistering slab of Rock and Roll is this. ‘Live Like Yer Dyin’ just about does exactly what it says on the tin and has a healthy dose of Rock and Roll along the lines of label mates and stalwarts The Harrington Saints. their cut from the same blue-collar roots rock n roll. With a wonderful disposition and outlook of positivity and whatever doesn’t kill you only makes you stronger. It’s a blast straight out of the traps.
The title track is less Rockin in one respect but more upbeat in other respects as it touches on the Galic vibe with shades of SLF and maybe Dropkick Murphys feel with a great walking bass line throughout get your martins on and go for it.
‘The Working Dead’ is a happy-go-lucky thumper with PMA running through its core. It’s comfortable and familiar for sure but it also comes across as fresh and full of excitement.
This is the real deal. If you want some punk rock but a band that also adds some Rock n Roll and isn’t afraid to rock out (‘She’s The Knife’) then this is a band you should get behind, Possibly my favourite track on the album for those Malcolm young rhythm riffs and DC stabs (no pun intended) it’s a top tune full of energy.
Six tracks just isn’t enough I’m sorry but I want more and I love the vibe on the acoustic ‘Look What We’ve Become’ – resisting breaking it out after the opening verse is great. More Gaslight Anthem meets Downtown Struts for sure but that’s another string to the bow. Then to wind things down with the final cut of ‘Tokyo Red Alert’ which pulls several styles together with a social Distortion meets Green Day kinda thing that really works with a country jig vibe on the melody. Just buy the record and go play it – it’ll make perfect sense and you can thank me laters.
With a howl of feedback and some inspiring floor tom thumping The Honeymoon Killers are thumping their way into my affection at a rate of knots. With levels that would give a modern sound engineer a heart attack The Honeymoon Killers’ final album gets its much-belated release on vinyl thanks to the good people at Bang!.
Noo Yawk City 91 is the place and all three Blues Explosion members join up with Jerry Teal to kick out the jams motherfuckers and what a beautiful noise they make.
From the wild and reckless ‘Guess I’m Falling In Love’ the line in the sand is drawn and the chaotic, unbridled abandon in which these Rock and Rollers create their beautiful noise is blasting through the speakers. Like the love child of The Stooges, Jesus And Mary Chain, early Damned, and a whole bunch more besides sees that Noo Yawk was still getting its groove on into the 90s. The choppy guttural punch to the throat that is ‘Love Man’ is brilliant in its simplicity and the fact that these cats just want to rock n roll and to hell with the fineries of obtaining a rounded mix – it’s all about the vibe and the moment and capturing the excitement of what’s being created and this is like lightning in a bottle.
They’ve even got time for a trashy romp through ‘Oh Oh I Love Her So’. It’s all about the love on side A and when they rip a hole right through the heart of Dead Boys classic ‘What Love Is’. IT’s a raging thumper of a track but a fine line to get it right and if you have it coursing through your veins then you’ll nail it every time and The Honeymoon Killers just gets it. ‘Love Love Love Love Love’ is pure Spencer magic. To finish up side one there’s even time for a cheeky ‘Love Is All Around’ that needs to be heard – tuning is for pussies or something like that.
Side two begins with da Blooze with a gob iron honking ‘Who’s Driving Your Plane’ that twitches and twangs like a cat on a hot tin roof. The guitar tone for ‘Dead Again’ is exceptional like a refined East Cost Brian James on a hack and slash mission to kill every other instrument other than the crisp snare.
Man, Noo Yawk City has spewed some amazing bands that didn’t get the coverage they deserved when they were taking names but thanks to labels like Bang! we can pick up some of those recordings for less than a mortgage on a house. This record crosses the T’s and dots the i’s on a top turn. Get on cool kids you wont regret it!
The Shits resumed live duties pre-pandemic when original member Pete Makowski decided to have another crack at playing with the Shits and they managed a few choice performances like Rebellion and support to Johnny Moped for Damaged Goods birthday bash. They managed one original album ‘I Can’t Come’ which was put out by Damaged Goods way back at the tail end of the eighties. but every band deserves a live album don’t they? Well, maybe not but the shits have a number two in them and here it is! ‘Shits Alive!’
Tom Crossley was persuaded to join the band on vocals who happened to be in Giovanni’s second band Famous Monsters after The Shits burned out the first time around. Pete roped in his mate James on the drums and Snivelling Shits mark two is all systems go. This record you could be lucky enough to hold in your sticky mitts was recorded when Damaged Goods got the tape machine rolling at their 30th Anniversary show at the Lexington and The Snivelling Shits were duly roped in to play. After playing a wonderfully chaotic show at Rebellion in 2019 the bloody pandemic stepped in to derail what was blossoming into something quite beautiful until sadly Pete passed away late on in 2021.
With all that’s gone on and circumstances conspiring against this record hitting the shelves what with Brexshit, vinyl shortage, pandemic and death etc. This record is a fitting tribute to Pete who oversaw the artwork and tape recordings, as well as all original members its a small peek into what a great band they were/are. Also it brings two demos from the original lineup that was briefly available at that Rebellion show (long gone now sorry) (on Brown Vinyl). It was also a fact that Pete wanted this recording also pressed on Brown Vinyl but with all, that’s going on Brown wasn’t available so all the colours of the rainbow would be the fitting alternative I’m sure Pete would approve. The record kicks off with ‘Terminal Stupid’ which is a punchy romp Buzzcocks style and Tom’s vocals are the perfect fit. The mid-song banter from Tom is quality as the band launch into ‘Only 13’ with that Steve Jones snarling riff it’s toe-tap-tastic. ‘Bring Me The Head Of Yokio Mishima’ is a belter of a tune be it live or the demo mix that’s included here on this record a real highlight. I did have a giggle at ‘Crossroads’ and I’m sure Benny would approve with its Lower East Side sleaze and snarl and that Lou Reid chug.
It’s not all fun and games they also ponder serious questions like ‘Isgodaman’ with its loose riff being punched down the line by James Sherry’s solid beat it happens to be a thumping good tune. The live songs are brought to a crushing end with the ode to pens everywhere with ‘I Wanna Be Your Byro’.
This only leaves room for the demos ‘Bring Me The Head’ and ‘Et Mo, Et Moi, Et Moi’ which is a fitting way to put a full stop on the magnificent Snivelling Shits. So if you want to join the cool kids then what are you waiting for? ‘Shits Alive!’ is a blast, a lot of fun and some top tunes, no seriously these tunes are where it’s at in 2022 and God bless Damaged Goods for getting to release it for our listening pleasure. If only they were flushed with success
You can pre-order the new album ‘I Live Too Fast To Die Young’ and assorted goodies from Here. The album comes out on June 10th and is the first new music from the band since 2019 ‘One Man Gang’.
“It’s an ode to our wives and loved ones who have stuck by our sides through years of playing music and touring the world,” offers Monroe on the new single. “But this can also apply to any person working hard, away from home a lot of the time, who is lucky enough to have a loved one sticking by their side through thick and thin. So, it’s a celebratory song to our nearest and dearest who are always there for us.”
“It’s a big, 1970’s Slade-inspired glam stomper,” adds Rich Jones, “It celebrates our loved ones who support us through the ups and downs of being a touring musician”.
Throughout his latest (and greatest) venture I Live Too Fast To Die Young, Monroe tells tales of glory and observed stories, some pretty, some shitty, but all through a lens of eventual optimism, hope and a sense of dirty, cheeky late-night fun. Monroe’s lens has always been directed towards the upside, even after the greatest downs a man can suffer, and the sheer power of his positive energy infuses everything he comes into contact with.
The eleven lean, mean, raw power rock ‘n’ roll songs which make up I Live Too Fast To Die Young see Monroe swagger the streets like a rock-punk poet, a storyteller who’s seen it all from the hellholes of Helsinki to the late-nights in London’s St. Moritz with some trashy times in Tokyo to boot. Warm, funny, occasionally sad but ultimately upbeat, I Live Too Fast To Die Young brings the listener into the heart and soul of its creator.
The title track, ‘I Live Too Fast To Die Young’, is quintessential Monroe, playing with words and concepts in a playfully irreverent way and wrapping it all up in some proper ‘fuck you’ rock ‘n’ roll. A close friend of Monroe’s, Slash from Guns N’ Roses, throws down some lead guitar on the track.
Recorded at Inkfish Studios in Helsinki, Finland between November and December 2021 and produced by the band with engineer Erno Laitinen, the album features Monroe on lead vocals and harmonica, Steve Conte (guitars and vocals), Rich Jones (guitar, vocals), Karl Rockfist (drums) and Sami Yaffa (bass/vocals/guitar). With I Live Too Fast To Die Young, it is clear Michael Monroe is striding into the summer with a triumphant -and perhaps most importantly, defiant- roar to offer you a chance to let your hair down (or up!) and to once again enjoy the freedom of joyous celebration and expression.
The band is due to appear at a string of summer festival shows and will be touring in support of the album on the following dates:
04 Jun – ROCK HARD FESTIVAL, Gelsenkirchen (DE)
06 Jun – K.B. Hallen, Copenhagen (DK)*
9-11 Jun – SAARISTO OPEN AIR, Kaarina (FI)
10 Jun – ROCK IN THE CITY, Kuopio (FI)
11 Jun – SWEDEN ROCK, Sölvesborg (SE)
15 Jun – Dolina Charlotty, Charlotta (PL)*
17 Jun – Stadthalle, Zwickau (DE) *
18 Jun – AZKENA FESTIVAL, Vitoria-Gasteiz (ES)
21 Jun – Mitsubishi Electric Halle, Dusseldorf (DE)*
After not being able to go to see The Alarm on their 40th Anniversary UK Tour apart from the recent Gathering weekend in Rhyl it was Bristol that got canceled after the band was caught in a police incident on the M4 on the way to the venue that led to a last-minute rearrangement and then the date was arranged for the final night of the tour on Easter Sunday – Hooray! a date I can go to never mind eating chocolate fire up the batmobile and all roads lead to Bristol.
On arrival at the O2 Mr sharp was already on stage running through his fine selection of warm honest folk songs with the odd Alarm classic thrown in for good measure. When the final knockings of the original lineup (many moons ago) were being played out Mr. Sharp released an exceptional album in the shape of ‘Hard Travellin’ (surely its time this classic got a release on wax Mr. Sharp? Pretty Please. He followed it up with 1996’s ‘Downtown America’ which also could do with a rerelease on vinyl, thanks. In a venue like the O2 a minstrel and his weapon of choice alone on the stage maybe needs a band to shift some gears rather than a balladeer set but that’s just my observation tonight. I do always enjoy hearing his raspy voice on these songs but maybe next time it’ll be electric with a band.
As for the Alarm 2022 it’s an altogether different beast to the older traditional setup with Peters patrolling the stage moving between three mics at the stage front flanked by Mrs. Peters on keys to one side and the very talented Mr. James Stevenson on guitar to the other flank. I do find his skills on the six-string a much better form on the songs of The Alarm both older and new rather than on previous tours when he switched between the bass and a bit of guitar. Also in the engine room, the ever-beaming Smiley hits the drums with vigour and purpose that really drives the songs.
It takes me a wee bit to get my head around the using of bass tracks rather than a bass player but to be fair it doesn’t take anything away from the music other than another body on stage I guess. It is what it is and we move on no doubt something for the faithful to debate because the Alarm family likes nothing more than a good old lineup debate.
As for tonight’s setlist, I must admit I’m a sucker for deep cuts setlists, having seen the band (cough cough) play well into three figures its fair to say I like the music old, new borrowed and blue. Tonight Bristol being the final night of the tour began with a sprightly ‘Protect And Survive’ it was Peter on a mission with little crowd interaction but a hell of a lot of music to throw our way. ‘Absolute Reality’ sounded fresh and then it was ’45 RPM’ to lift the energy levels one last time over the last twenty-plus dates before we got the first new song ‘Fail’ from the summer’s new records that is done and dusted. It was a bruising ‘Superchannel’ before we got ‘Wars’ Cover ‘Safe From Harm’ minus the Benji Webb vocal.
Peters found himself center stage for ‘Coming Home’ and a bluesy ‘Sold Me Down The River’. The band returns for a sort of medley of ‘In The Poppyfield’ that saw the band blitz through songs from all corners of the band’s catalogue from the ‘Stand’ through Everythings Beautiful via the much underrated ‘Shout To The Devil’, ‘For Freedom’ and ‘where Were You Hiding’ it was also peppered with Peters solo music in the shape of the rousing ‘Closer’ and a modern classic of ‘My Town’ it was a breathless and pulsating set with no time for messing about or end of tour dismantling equipment or goofing around it was crowd-pleasing singles ’68 Guns’, ‘Spirit of 76’, ‘Rescue Me’ and ‘Blaze Of Glory’ before dropping back into ‘Poppyfield’ and the main set was brought to a sweaty close.
There was still time for a deserved encore of ‘Breathe’ and for the first time, Peters spoke offering up the song ‘Psalms’ for the people of Ukraine and an end to the Russian invasion which was heartfelt and touching. There was still time for one more track to wrap up the tour and this evening’s epic performance as new song ‘Frontline Warriors’ saw the curtain brought down on this leg of their 40th-anniversary tour but there is more to come for the good people of the UK when they see the return of the Gathering 2023 when there will be another addition to the Alarm catalogue oh and the much rearranged St Davids Hall show still to come.
What a Brucie bonus of an evening out with The Alarm, when can we do it again?
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