How many copies or versions of one album does a man really need? Well the sensible amongst us would obviously say one. But since when is man sensible? I think this must be about the tenth copy of this album I now own. It’s fair to say I rate it, always have and always will. It’s raw and vital and for most of my life, it’s sung to me and still does. To be fair the alternative version I can do without, the live version of a few years ago I could also do without but the original and the rereleased double album along with the ‘Eponymous 81-83’ release I’d absolutely recommend. this one I have in my hands is also (no spoiler) a fuckin belter. ’68 Guns without the trumpet is raw and vibrant and a stone-cold classic. worthy of the ‘Alternative’ tag. The solo blows my mind and hearing versions of songs you’ve heard a bazillion times with different chord changes and drum parts as well as alternative lyrics is a mindfuck. It’s not necessarily the hits that were ever my favourites (Oh apart from where were you hiding) but the songs like ‘We Are The Light’ which is excellent here. I’m so used to the original production that hearing these versions is quite emotional and takes me back to a time when music was my everything and truly life changing. As I’ve gotten older and grown up with people like Mike Peters and gone somewhat on the journey with him and his music I don’t always get where he’s going but isn’t that the beauty of music its different things to different people and this was my time with the band and what I’d consider to be The Alarm.

Another of the album’s deep cuts that I always loved live has to be ‘Shout ToThe Devil’ and this version is immense from Sharpys contribution to Twist’s rhythmic beats I’m pleased I took the plunge and parted with my £50 to get hold of this and to be fair for a double album, Poster and double CD that’s a decent price for hardcore fans. I’m not sure the super deluxe version was worth the extra money but I was secretly desperate to hear these versions and the track list as it’s laid out over the two records.

The pound shop U2 and Clash tags always bugged the shit out of me sure I could see the comparisons or inspirations but ‘Declaration’ was something else and for a debut album right up there with the best of em. A blistering live rendition of ‘Tell Me’ seems out of place on ‘Alternative Declaration’ but the version of ‘The Stand’ is top tier and closing off LP one is a fresh sounding and youthful ‘Howling Wind’ without the sterile studio sheen of the original released version.

Sides three and four are more akin to that Eponymous album that came out (which is readily available on Amazon for a very reasonable price) If I’m being geeky and uber fan nerdy the ‘For Freedom’, ‘What Kind Of Hell?’,’ Up For Murder’ and ‘Unbreak The Promise’ are The Alarm in a nutshell, at their very best.

There’s a lot of music to get through (Twenty-Four tracks to be exact) with side four feeling like it has a few extras just in case you wanted to moan about VFM with a 2024 remix of ‘WWYHWTSB’ ’68 Guns having a 2023 remix complete with Trumpet and harmonica. A stonkin wander through The Whos ‘Legal MAtter’ which they always did very well to be fair. A hootin’ rootin’ tootin’ ‘Bound For Glory’. ‘Bells Of Rhymney’ always loved giving a cheers for Swansea even when it got boos in Cardiff (cheeky Sods). The album finishes with the 2013 part two piece of ’68 Guns’. Exhausted and happy an album I’ll take for a spin more than I probably should to be fair and one I’m glad I gave a chance to now for a run through the Abbey Road CDs that came with it and yet more versions of songs recorded in Dallas. what a band they were four lads who shook the world for sure.

For those not lucky enough to pick up a copy I noticed It’s got a barcode on the jacket so I presume soon enough the record will be readily available, most probably to coincide with the Autobiography that Peters has written. I’d like everyone to get a chance to hear this version of one of my favourite albums ever. When you’re young indeed, but when you’re old(er) you have all the memories and hopefully once more for the four lads from Rhyl to put a full stop on it for all those who didn’t go to Brixton or The Scala.

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Author: Dom Daley

The sun is out the sky is blue and the tunes keep spinning in the pumphouse. Today kicks off with a slice of 70s Derry and those snorkel parkered, Doc Martin wearing oiks The Undertones announce that ‘Here Comes The Summer’ their 4th single off that classic debut record.

We’ve championed The Hip Priests for well over a decade and it is drawing towards an apocalyptic ending with just one more 10″ record to go and they’re outta here so it seems fitting that we play not one but two off this kiss-off record – boy its good but you already knew that right? Right you’re last chance to see them is at these links – Tix here! London: https://www.ourblackheart.com/…/the-hip-priests-final…
Nottingham: https://www.eventbrite.co.uk/…/the-hip-priests-final…

New bands are coming through and South Wales is showing signs of leading the way. Baby Schillachi are at the sharp end and they have a brand new song out for the summer ‘tHe AnTi suNcrEAM’ Check this bad boy out or we’re sending Hotshot round to torture you.

The Mission give your ears a ‘Serpents Kiss’ and take you back to a time when they ruled the world and seeing as I’m off to see them this year I thought I give this classic a spin. RumBar Records do a sterling job dishing out ear candy on their epic label outta Boston. The Downhauls are the first of several on this week’s show. Get an earful of this belter.

Chris wedged the classic ‘Hoover Dam’ from Sugar into this week’s show and it’s a timeless classic that’s most welcome anytime.

We’ve championed the work of Jesse Malin over and over and brought you updates on his health issues and we are delighted to see he’s returning to the stage later this year for a special show in NYC. After the recent release of the live album, there is a triple album heading for release in the near future where some huge artists cover Jesse’s music from D Generation to his solo work and Bruce Springsteen to Tommy Stinson. Lucinda Williams to Billie Joe Armstrong and Rancid all play their part so we’re delighted to play ‘Black Haired Girl’ from Glitter In The Gutter as performed superbly by Billie Joe. Pre Order that album Here

Another Rum Bar coming in hot is the album from Joe Jennings MVPs and from this single ‘Doin Time On The Company Dime’ it promises to be a belter of a record and we can’t wait to play more. such a talent it’s great to see Joe team up with Rum Bar – cheers!

https://sweetgroovesrecords.bandcamp.com/…/joe-jennings…

https://takethecityrecords.bandcamp.com/…/pre-order…

Pre-orders for the CD version are available on Rum Bar Records on the link below:

https://rumbarrecords.bandcamp.com/…/nothing-wrong-with…

With his brand new video out this week Rich Ragany continues to evolve his music and the people he plays with from the core of Good Guys he has surrounded himself with he continues to turn out great music whatever the style. ‘Sierra Bonita’ is the latest laid-back offering from Rags. Head over Here for his latest music and first Solo album ‘You Can Get Dark With Me’.

Another cover for this episode is ‘Safe From Harm’ where Mike Peters teamed up with Skindreds Benji Webb for an impressive cover of the Massive Attack track. The Cretins deliver ‘Mr Popularity’ in a sprightly Ramones-influenced rocker.

Scandinavia has always delivered great Rock music and this episode we are happy to bang out something from the Hellacopters and The Flaming Sideburns back to back both bands having something of a renaissance in recent years and delivering fantastic comeback albums.

Repeat Records are causing a bit of a stir at the moment with some recent compilation albums that have the cream of the crop delivering excellent alternative music and we’re happy to play our part with ‘Supercharger’ from The Saffs. The Yum Yums are up next with a slice of summer power pop ‘Poppin Up Again’. The final Rum Bar offering is Duck and Cover with ‘Help Myself’ before we finish with an absolute banger off that new Hip Priests EP ‘Home Is Where The HAte Is’ with their finger on the pulse and the UK heading to hell on a hand cart it seems wholly appropriate for this to close out the show this week. Help us out by liking and sharing on social media and keep tuning in. Diolch people

The release of The Alarm’s brand new album FORWARDS is announced for June 2nd 2023 and is available to pre-order / pre-save now. (Click here to pre-order / pre-save Forwards now!).

The Alarm [Acoustic] UK Tour dates as follows:

May 24th LIVERPOOL Epstein TheatreTICKETS HERE
May 25th BRISTOL St. Georges TICKETS HERE
May 30th NEWCASTLE The Cluny TheatreTICKETS HERE
May 31st TRING Court Theatre TICKETS HERE
June 3rd SALE Waterside Arts CentreTICKETS HERE
June 4th STROUD Subscription Rooms TICKETS HERE
June 6th LONDON Union Chapel, Islington TICKETS HERE
June 7th PORTSMOUTH Wedgewood Rooms TICKETS HERE
June 8th YORK The Crescent TICKETS HERE
June 9th HULL The Welly TICKETS HERE

Seconds out round two Trampolene. With anew album coming out this month hit up the linktree and get on it as they release their brand new studio album the same day they release a limited edition hand stamped live album recorded on the opening night of the Swansea Arena Here

Bringing up the rear are South Wales reprobates Deathtraps with their brand new video for ‘Imitator’ lifted from their excellent album ‘Appetite For Prescription’ which you can purchase Here along with their other albums and some excellent limited edition shirts.

Just reading the news about Mike Peters’s health fight with Leukemia and his recent pneumonia after his UK tour and all the complications that came with his latest scare. It was fantastic to read that he had been let out of hospital to further his recovery from home after a stay in Hospital. RPM would like to send our good wishes to Mike and his family and praise his medical team in North Wales and wherever else they may be across this globe who’ve offered help and advice that has helped him do what he does.

We all know Mike is a fighter and continues to move forward under whatever circumstances and extreme challenges that get thrown his way. I’m sure I speak on behalf of all the writers and readers at RPM Online in sending PMA and healing vibes down the interweb and he recovers to full health in the near future. PMA Mike!

Facebook / Website / LHS UK / LHS US

When is a new album not really a new album? Um, well this one to be fair. During lockdown, Mike Peters recorded a plethora of new tunes in the wake of insurrection day in Washington DC. The album came out under the title ‘WAR’ and was pressed individually on a lathe press. Each copy came with a hand-drawn cover from Peters’ fair hand nonetheless and was the singularly most expensive record I’ve ever bought.

Since Lockdown and Insurrection Day things have improved in as much as we have the ability to attend live shows, gather and travel and back to some sort of normal (if where we are now is normal then yup normal) After witnessing an impressive show on The Alarms recent jaunt around the UK, news of the impending Alarm record was exciting and something I was looking forward to.

Maybe I didn’t read the memo or wasn’t paying attention (nothing new there then) this new album (on a rather nice splatter variant might I add)is that rather expensive ‘War’ album at a much more affordable price and an added new track. Anyway, I was impressed with that album and the story surrounding its birth into the world so when I go this new variant home (Housed in a collage of insurrection debris) the packaging is nice compared to the ‘War’ lathe cut one so that’s a bonus. Anyway onto the music.

On first spin, I can’t notice any immediate mastering wizardry from the previous recordings (although I am now aware there are special bundled versions available from the Alarm central but having just splashed out on a bunch of reissued records and the recent coloursound album I couldn’t stretch my funds just far enough to get the alternative mixes). I stand by my review for the ‘War’ record and whilst I’ve not played it for a while the songs sounded great live.

Sure it’s not groundbreaking sound-wise but the concept and way the record was grown are excellent and a sense of urgency is captured in the songs from the opening energetic rush of ‘Protect And Survive’ it’s a style Peters does very well and one I love hearing. The Alarm are a very different beast to the 68 Guns line up and have never let the grass grow around their collective feet and whilst I love hearing the classics I also love hearing new music and like it or loath it challenging himself to write new music is whats kept Peters moving forwards. It seems weird saying these songs have stood the test of time as they’re on a new album albeit 18 months old. some of the songs have certainly stood that test – still sounding fresh and energetic. The cover featuring Benji Webbe of Dub War is one of the stand-out tracks doing a sterling job covering someone else’s tune but by no means the best on offer here.

Some of the songs have jumped the queue like ‘Crush’ which are vibrant slabs of rock even with their gregorian style backing vocals. It also reminds me of the first few early poet’s singles with the use of the harmonica and aggressive rhythm. the musicianship is again of exceptional quality and Smiley does his best Moon on ‘Crush’. You can hear the energy Peters has managed to capture throughout the songs as to the mood it draws from when the attack on the Hill was taking place in real-time. ‘War (It’s Not Over Yet)’ is a fine example of what was unfolding and Peters vocals are excellent in capturing the chaos and craziness of what went on.

Side two opens with the excellent ‘Warriors’ with its skanking rhythm on the verses and great use of the one-finger piano line that flows well into the anthemic chorus. A lot of bands used to front-load their albums and put the most impactful and instantly impressive tunes early doors and keep the “album tracks” for filling out an album but not here folks this album gets stronger and stronger as it unfolds. ‘Gods And Demons’ is a bruising affair with heavy guitars hacking and slashing as Peters howls at the moon with the punchy lyrics, another excellent song, especially as it’s in deep cut territory.

Covers, love them, or loath them most bands do them, and ‘Safe From Harm’ is a good shout in the concept of this record, and getting Benji Webbe on board works perfectly on this rocked-up version of the Massive Attack song. Leaving just the one song, the new song that wasn’t on the War album – ‘Time To Start Over’ closes the album with its modern rock feel, Peters delivers a strong vocal before signing off.

I will make the exception of owning two copies of the same album but with a different title here because I love The Alarm and to be fair this is a bloody good album be it ‘WAR’ or ‘Omega’ it’s one you should really check out. not because I say so but because it’s a damn good record and has some of Mike Peters best songs for a while on it and that’s always a good thing. Hopefully, Mike Peters can get back to full health and keep on marching on and pushing himself to make new music.

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Author: Dom Daley

It’s been a long time coming but it’s good to be back. Now, where have I heard that line before? Many moons ago the good people at The Alarm HQ had a plan to celebrate 40 years of The Alarm and Mike Peters by having a couple of shows on consecutive nights in Rhyl Town Hall the birthplace of The Gathering (a yearly weekend of all things Mike Peters & the Alarm for the past twenty-Five years) sadly due to Covid and the past few years of uncertainty the celebrations were put on hold with the Rhyl shows and one at St David’s Hall Cardiff getting shelved until further notice.

Initially, these three shows which sold out in a matter of minutes were put off due to the Global Pandemic. They were rearranged but again the Cardiff celebration was put off into the distant future of 2023 but thankfully the Rhyl weekender was upon us. The Gathering has seen several venue changes over the years and after the first two were in Rhyl it grew to something altogether bigger and was decamped further up the A55 to the seaside resort of Llandudno and the spacious Venue Cymru. After a few years of being in the prisoner of war camp that is the hell hole known as Pontins Prestatyn it made a welcome return to Llandudno before returning to its spiritual roots of Rhyl Town Hall and the compact surroundings of this forgotten seaside town and Peters hometown, a stone throw from where he was brought up. We took our seats as the doors opened and the stage set on the floor of the hall rather than the traditional raised stage it was deemed more intimate for the lucky few hundred who were gathered for what promised to be a mammoth run through forty years of music from Peters. No drums, Bass, electric guitar or piano just one man a few mics and a lifetime of music. Friday night and it’s the present running backwards to 2010 and Peters looks like a man who means business and it was headlong into the music with ‘Two Rivers’ from his latest studio album ‘Sigma’. There was to be a further twenty one songs dispatched from Peters before a welcome interval and an end to the first act it was a hectic flurry of songs from the excellent ‘Heroine’ to ‘Direct Action’ via ‘Coming Backwards’ and ‘Peace Now’ there wasn’t time for any introductions or stories just on with the show with a really impressive run through some deep cuts from his most recent decade.

It was Steven Tyler who once said “Let The music do the talking” and Mike Peters was certainly on top of his memo to play as many tunes as humanly possible. I’ve seen Mike Peters play live well over a hundred times and it’s often the deep cuts that excite me the most. Sure I love ’68 Guns’ and ‘Strength’ and ‘Spirit Of 76’ and ‘New South Wales’ but I love hearing my favourite artists create new music as well and keep pushing themselves especially when I’m on board the journey and tonight is proving to be some journey.

For me the 2000’s was a prolific time for Peters when he wrote some of his finest work be it The Poppyfield collective or the 2008 Counter Attack collective. The band he was working with were pushing him to be the best writer he possibly could be and it was paying dividends and us the fans were reaping the rewards. ‘Superchannel’ whilst being such a force electrically is still a powerhouse acoustically as tonight’s audience buys into the set. ‘My Town’, ‘Edward Henry Street’ and ‘Mercenery Skank’ are given some serious attention and the floor is a shaking.

With the twenty two song second half reaching a climax with the excellent single ‘Close’ followed by the controversial ruse of ’45 RPM’ it was the end of the first night and a really excellent night’s entertainment. To hold an audience for three and a half hours on a Friday night is some achievement but tonight Mike Peters did it with consummate ease and it seemed everyone was now well up for the Saturday night and a delve further into the catalogue.

I must admit I tend to opt out of the Saturdays daytime extravaganza but if you want to immerse yourself in all things Mike Peters they opened up the Hall for a film ’50 Days In Lockdown’ and Peters had time to pose for photos and sign records before a Q&A with the man took place. The team at the MPO do give fans access that many other bands wouldn’t dream of and after all is said and done, if you’ve travelled from afar or just down the road then it’s a pretty impressive experience.

Saturday night was upon us and the fresh breeze outside was forgotten come eight PM as Peters took to the stage for 1999 to 1992 and it was the same format as the previous night where there was no interaction between songs just on with the business of the music and ‘Flesh And Blood’s ‘House Of Commons’ brought memories of being in the studio at BBC in Cardiff whilst that particular album was being made and memories certainly did come flooding back. It was now the turn of ‘Rise’ ‘Feel Free’ and the time when Peters emerged from the fall out of the Alarm split and taking the poets on an exciting journey as ‘Back Into The System’, ‘Feel Free”, ‘My Calling’ and ‘Gone Elvis’ were played. As Peters played ‘Train A Comin’ you could have heard a pin drop as the entire audience was silent with respect for the music and the journey we were on it was awe inspiring and a real moment even after all these years of watching this man play many of these songs all over the country and beyond.

As we headed into the home straight and the beautiful nineteen eighties and when many of us began our love for these works and when Mike Peters entered most of our lives and record collections it is probably many of these songs we did a lot of first to and why they are held with such high regard in our lives and soundtrack so much of who and what we’ve become. It was a privilige to be part of such a great weekend. ‘Moments In Time’ from ‘Raw’ began a whirlwind blast through the original line ups repetoir as ‘Rocking In The Free World’ took my mind back to Brixton and the tanned fringed coat there was even an out of time run through ‘Merry Xmas War Is Over’ which brought a broad grin across Peters face ‘Rivers To Cross’ was a welcome old friend as was ‘Day The Raven Left The Tower’ and the first time I heard ‘Majority’ from the Marquee club came racing back to me, so many venues, so many memories. Inside the young man I once was – was smiling that I still have the opportunity to hear these songs live and have had the pleasure of doing so on so many occasions. The fact that tonight’s performance was four hours long sounds epic because it was epic. It flew by, I honestly thought that I’d have to go into training to get through it but as the songs were unfolding I didn’t want it to end and could do it all over again on any given weekend.

The encores went right back, predominantly featuring the ‘Declaration’ period songs with ’68 Guns’, ‘Where Were You Hiding’ sung with as much verve and energy as the day they were written it seemed. Then the second encore hit us with ‘The Stand’ and ‘Marching On’ hit with the realisation that we were reaching the end of an incredible evening of music. It only left ‘Up For Murder’ before finally bowing out with a raucous ‘The Stand’. Peters took the ovation he richly deserved and a couple of hundred people filed out into the cold North Wales night with yet more memories of a Gathering that was a while in the waiting but oh so well worth it when it arrived. Bring on 2023 and back to Llandudno for another Gathering and that much overdue performance in St David Hall Cardiff. Going out in a blaze of glory our hands were held up high! Brilliant life affirming rock and roll, I love it!

Author: Dom Daley

MPO HQ Tickets

Welsh Rocker Benji Webb joins forces with Mike Peter Alarm for a romp through the Massive Attack number ‘Safe From Harm’ from the ‘War’ album reviewed on RPM Here

 

Also hot off the press is this banger from Australians Blowers  with the anthemic ‘Waste Of A Man’ which got the thumbs up on RPM Onlne when we reviewed it Here

Finally staying down under we have the new video from the excellent Civic.  Taken from their awesome new album – ‘Tell The Papers’ is the second single from ‘Future Forecast’ available NOW Here

Always being one to challenge himself and push the boundaries of what is expected of our rock and rollers and having to put up with more than his fair share of hard luck and heartache Peters cannot be killed or derailed by conventional weapons it would seem and goes from strength to strength with each passing year.

A guy who clearly has trouble sleeping and would rather be challenging himself and creating be it writing plays, film scores, albums, tours etc Peters is also unstoppable and regardless of quality in as much as the next album might not be as good as his last one, etc you cannot hold him back nor deter his infectious optimism and love for his craft.

 

Now I’ll lay my cards out on the table here and state that I’m a bit of an Alarm fanboy and have been for decades and decades and clocked up treble figures for shows attended I’ve got the books the records all the politics. I also am happy to get down off the fence with regards to what period I like the most and if I’m not so keen on a song I’m happy to say it.  Oh for the record of course the early years of train station platforms and long bus journeys and lots of hanging around are my fondest memories but I’m not one of the “the original line up is the only line up” brigade because I’m happy to say that I loved the poets and the line up of Adams, Grantley, Stevenson, Peters & Taylor were some of the best shows ever and his earlyish solo albums were awesome as were ‘Under Attack’ period (such a highly productive period) I’ve seen some amazing shows and Gatherings and I can safely say I’ve only ever seen one maybe two under par shows.

Moving onto the new album and whilst I was waiting patiently saving my pennies for the expensive new box set I got a little sidetracked and fell behind on the social media avalanche that sometimes happens from artists and wasn’t sure what was actually happening until I sat down and tried to follow and realised this wasn’t the next album but quickly became something that snowballed and superseded the new album into becoming the newer album – confused?  you might be I was. Anyway, where was I? Oh yes, ‘War’.  I guess lockdown sent some a little loopy and Peters was no exception with all live shows shelved he found himself in a situation that he hadn’t found himself in all his adult life and apart from putting the bins out (Oh I believe he wasn’t sure of what day) he decided to set himself a challenge which evolved into ‘WAR’ A new album written and recorded and released in a matter of weeks! Metallica and Def Lepard look away now.  IT couldn’t be done, could it?  Pressing plants are bogged up for months with orders?  Has Peters built a pressing plant in lockdown? Struck a deal with Old Nick?  No, he’s only gone and hand lathed copies hot off the press.  Genius! A little expensive for sure but unique and one of a kind.  I always have an internal argument with myself when I set a ceiling for how much I’m prepared to pay for my music and always disappoint myself that I have to have it – the kids won’t starve, will they? Oh well, we could all cut down a little and it’s Rock and Roll history being made.  Ten songs make up the album and I guess after waffling for the opening few paragraphs I guess it’s time to press play and hear what been cooked up.

 

The album opens with ‘Protect And Survive’ and as we build up I like it, Raw, vibrant and in your face, with no time to overproduce or use too much technology, it’s where Peters has produced some of his best work over the last few decades. It’s time to take music back to its primitive old-school ways and kick out the jams motherfuckers and this hits the spot.  Inspired by what went on in the US in January and that mad day on capitol hill its chaos and compelling moments in time are captured perfectly in the album’s exquisite opener. ‘We Got This’ follows suit with some added acoustic guitar and keyboard stabs but it’s those geetars knocking out the Riffolas that maintains the energy levels.

Maybe, without the time to procrastinate and tinker Peters has taken a brave turn – using songs he’s been working on or finished, and harnessed the urgency of the deadline he’s working towards with great effect. So far after only a handful of plays I can safely say this is the best I’ve heard The Alarm for a few albums. ‘Still Unsafe’ is more laid back and visits themes and lyrical imagery that’s been done by Peters before from day one I guess something he returns to and gets comfort from.

‘Crush’ again turns up the amps and some radio-friendly riffs fall from the speakers and another really enjoyable song burrows into my eardrum.  Now I’m not the best at following videos of recording sessions I prefer to wait until a record comes out and then if I like it I’ll revisit the videos (Yeah I know, not how they were intended to be viewed) ‘Warriors’ is uptempo with a bit of synth trickery going on between some impressive riffs that lead to a quality Smiley drum fill before the guitars get stuck in.

‘Fail’ explores a decent melody and I like the Mescaleros breakdowns and I’m sure Strummer would definitely approve and whilst I’m at it he would absolutely approve of this project and the way it was put together.  It’s exciting and worthwhile and Peters can hold his head up high and take a little break at least for ‘War’ is a triumph, it’s fresh and bursting with life and energy and most importantly it’s got some of the best work Peters has penned for years.

‘Gods And Demons’ is something of a departure and Peters challenging himself musically and showing you can teach an old dog new tricks.  Now the last time I hear Benji Webbe was on the epic Bad Sam song ‘I Love The Port’, I can’t say I ever expected him to rock up on an Alarm album but hey why not?  What a collaboration this is and one that could and possibly, no not possibly it should puncture the charts for Rock music. It should draw this album into a whole new world of curious music fans from genres Alarm fans would never have expected to be joined by.  ‘Safe From Harm’ is a banger (as the kids say).  Pop pickers out there will also notice that it’s a cover of the Massive Attack song and strangely apt for these times we find ourselves living in.

Closing off the album is ‘War (Its Not OVer Yet)’ again another twist of the melon as The band takes on lockdown and the pandemic something we can all relate to wrapped up in a twisted pop song.  Now, even though I’ve only played this album a handful of times due to its emergence and the guerilla way it was released – it’s a fantastic triumph and a really strong album full of excellent songs.  Ask me in a week what I still think of this album or in a month.  I reckon it’ll be on rotation on the RPM death decks and come the summer I’ll be buggin’ my socially distance house guests when I hold a BBQ and tell them the story of this lathe cut album and the story behind it.

The Alarm manage to stay ahead of the pack with an innovative and exciting project that happened and is bloody good to boot – how about that then? Still sticking two fingers up to the haters and penning quality tunes (and covering them) – long live the Alarm and all who play in it.

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Pre-order your limited edition and individually hand-painted, signed by Mike Peters’ Exclusively at http://thealarm.com

Author: Dom Daley

COLOURSØUND is a project created by none other than Billy Duffy of The Cult and Mike Peters of The Alarm, who first recorded under the name COLOURSØUND in 1998 /1999 when both Duffy was on extended hiatus from the Cult and Peters was going through all sorts with the use of the Alarm name.

The project was unveiled with a set at the Legendary Gathering weekend in North Wales when along with Craig Adams and Johnny Donelly it still to this day rates as one of the highlights of any Gathering and I’ve seen every single on for the last 25 plus years. There was a demo CD ep first and then the album that I’m about to review containing a remastered version with a few added bits here and there I guess but listening to it on record is a real joy.  What essentially is the best Cult album the Cult never recorded. It might well have been the catalyst to Asbury regaining his Mojo and getting back with Duffy for Cult duty but that wasn’t until I’d managed to catch a whole bunch of shows from Coloursound in sweaty venues with plenty of volume and a handle on the new material. Revisiting this once again all these years later is cool and its lost none of that rawness and joie de vivre it had back then in the late ’90s. So much so that when I heard that under lockdown they had reconvened to record another album but this time its Duffy and Peters minus the talent of Adams and Garrett.

If I’m being honest Duffy brought out the best in Peters and maybe having that creative riff machine to bounce off Peters excelled and turned in a fantastic performance and it has to be said the same vice versa.  Duff plays some of his finest licks for many a year on this album and I have even imagined how it would sound if it were Astbury singing these songs would it have been a smash hit?  I believe it would have been but them is the breaks,  I’m glad we have this album now and the best-kept secret remains in all the participant’s resumes.

‘Under the Sun’ kicks off with a classic Duffy riff – loud – distorted – loud and with plenty of punch a fantastic album opener in anyone’s book. I remember attending a Coloursound weekend in North Wales where we were played the album in its glory and asked to pick which track should go where and I think I remember correctly everyone in that room had ‘Under The Sun’ as the opener.  Still to this day a corker. Considering the album is now twenty-one years old it sounds as fresh as a daisy and the remastering has given it a new lease of life.  The record sounds bigger than the CD ever did or at least that’s what my vain brain is telling me (sonically Speaking of course). Maybe changing the tracklist for the vinyl is a time consideration for vinyl or the original running order wasn’t what it should have been (can I collect my prize now?)

I have no clue as to who brought what to the table which must be a compliment to the band seeing as they are all capable fo being involved with some of my favourite songs with their respective bands but with the distance of not having played this in some time songs like ‘State Of Independence’ take me right back to those nights in the Barfly in London and squeezing into the back room with the psychedelic lighting and the melody rattling around my head for ages and loving that bridge.  One of the albums standout tracks on an album full of stand out tracks.

For the people who aren’t keen to jump on board with Peters and his day job songwriting need to check out ‘Heavy Rain’ and then give themselves a good shake. A fantastic, vibrant and pulverising song that builds and builds with a thunderous rhythm courtesy of Adams bass thump which enables Duffy to keep it simple sure it leans on The Cult formula on the chorus and the bass distortion before that solo is still fuckin’ awesome.

‘Alive’ still has the brooding drama before the punch and who doesn’t like a trademark pause before Duffy unleashes his trademark riff and I would say solo but he does that all over this one. Sounds awesome through my speakers sir. Even if it does seem weird with it ending side one after all this time.

‘Fade In Fade Out Fade Away’ opens side two and always was a great sing-along and again time hasn’t dulled the song at all. from the moment Adams bass enters as Duffy wanders across the fretboard this song was a live favourite and the remastering hasn’t killed any of that live feel when the drums kicks in.  Peters best vocal performance on the record hands down. The original long sold out versions came with a bonus single-sided lockdown re-recording of ‘FIFOFA’ but its never going to hit the heights of the original.

I’m happy for the rejig of the running order its breathed new life into songs like ‘For The Love Of’ which might have been overshadowed on the original running order (if that makes sense?) sometimes its nice to just put on your shit kickers and do it!

The album does chill for a bit with ‘A View From A Different Window’ I always liked the rhythm and the acoustic guitar fits in nicely. I’ve no clue why but it always reminded me of Bowie maybe from his Tin Machine project but I always loved this song. with only a couple of tracks left I guess it’s fair to say I love the fact that this record finally gets a vinyl release which it most certainly deserves.  The news that it will soon be joined by Coloursound two is a beautiful thing and I’m excited to hear what they’ve come up with a couple of decades later. Now if this virus would kindly fark off maybe just maybe we could accompany the release of Coloursound two with a live show or two that would be jolly nice please Gents.

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Author: Dom Daley

‘CLANG! Smiley Drops A Few’ is the brainchild work of Steve Barnard, better known (by everyone!) as Smiley! He is best known as a drummer, songwriter, producer, and owner of his own, Sunshine Corner, studios. Smiley has, over the past 25 years, played with a plethora of the great and good (and, sometimes, not so good) of the music industry. His CV is littered with artists such as, Robbie Williams, Joe Strummer, The Mock Turtles, From The Jam, The Alarm, and, Archive; to ‘CLANG!’ just six. ​This book is packed full of stories around many years of live shows, tours, TV, Radio, festivals , pub gigs, corporate events, and, often hilariously, weddings. It gives an amusing insight to life from inside the music industry, a view from the back of the stage, but also from the next door dressing room. There are, inevitably, highs and lows; but all are approached, and told, in Smiley’s own, inimitable, way. Smiley engagingly recalls stories connected to all sorts of showbiz luminaries, from Liam & Noel, Weller, The Who, The Foo Fighters, and The Chili Peppers; right through to encounters with Sting, Zoe Ball, East 17, and Peter Andre. One of the great joys of the book is the tongue in cheek style in which these stories are recounted. It’s not in any way boastful, but chock full of showbiz inspired anecdotes; hence the title, ‘CLANG!’. Everybody loves a name drop, and this book is stacked high in funny, and off the wall, stories. If you like a good old tale about a household name (and, let’s face it, who doesn’t?) then this is definitely the book for you.

 

It almost took as long to write in the Tags for this book as it did to rip my way through the pages such is the vast collection of Clangs Smiley drops.  I wouldn’t have liked to be the person carrying the bag of Clangs or picking them up every time he dropped one. The one thing you do try to get your head around is just how varied the people Smiley has sat in with its simply a staggering amount of folk and how the guy still manages such a huge grin is amazing.

 

C’mon we all love a Clang! I know I do and knowing about the guy’s musical history and having seen him play dozen and dozens of times over the years I found I was laughing out loud with every Clang and as I turned the pages had to check nobody was watching me chuckle or I’d have been committed to a special hospital.

 

Buy ‘Clang!’ Here