RECORD REVIEWS, JANUARY - JUNE, 2023.
ARROWS. The Complete Arrows CD (Cherry Red) The Arrows formed in London during 1974 and although usually referred to as part of the ‘Glam-rock’ movement, were really more of a pop/rock’n’roll band. Their career was relatively short (1974-77) and took a rather peculiar passage. Two of the band, Alan Merrill and Jake Hooker, were Americans who sought out a drummer (Paul Varley) whilst in the UK. They had two successful UK hit singles (‘Touch Too Much’ and ‘My Last Night With You’, in 1974 and ’75 respectively, before fronting two series of a self-named TV show, broadcast by ITV/Grenada during 1976/’77. Unfortunately, due to a dispute between their manager Ian Wright and producer Mickie Most, no further records were released whilst the TV shows were being broadcast, depriving them of the chance to capitalise on the success of the series and denying them the opportunity to follow-up their previous Chart-success. But the song that really established their legacy was ‘I Love Rock’n’Roll’, which eventually became a world-wide hit for Joan Jett and is now recognised as a rock-classic. Ironically, The Arrows version had originally been released as the b-side for their single ‘Broken Down Heart’ in 1975, which had failed to chart. However, although they didn’t really make a big impact on the Charts during their original career, this retrospective, which includes all of their original recordings, does help to stake their claim as a band who really should have been a lot more successful had their opportunities not been thwarted by problems that were beyond their control. As I said above, their music was based in early rock’n’roll, and perhaps even doo-wop, but they delivered it in a way that embraced Phil Spectors’ Wall of Sound and the raunchier elements of 70’s Glam. At their best, they really weren’t a million miles away from the sound that the New York Dolls had attempted and, with a more adventurous producer, things could have been very different… Their one and only LP, ‘First Hit’, lacks the punch that it needed to make a lasting impact, but the tracks that do stand out will still send a tingle down your spine. As is usual with Cherry Red retrospectives, this collection includes everything you’d want to know and hear from the band, including a 20 page booklet featuring extensive sleeve-notes and full-colour illustrations. But it’s the music that matters, and here, alongside the original LP and singles, you also get a rare set of Mickie Most demos from 1974, as well as five tracks from 1977 re-recorded by Alan Merrill in 2004. Sadly, The Arrows were not destined to achieve wider acclaim, but they did manage to leave a credible legacy and it’s definitely still something that you should investigate and enjoy.
THE BARRACUDAS. Drop Out With The Barracudas CD boxset (Cherry Red) By 1978, Punk had kicked open the doors for a whole range of bands and music. It certainly wasn’t restricted to the three-chord mob and totally different bands found themselves quickly embraced if they had some good ideas and the right attitude. As such, The Barracudas emerged in London playing a mix of Surf music (ranging from the likes of the Beach Boys through to The Surfaris) Sixties Garage bands and punks’ DIY snarl. They released their first single, ‘I Want My Woody Back’ on the independent Cells Records in 1979 and it sold rather well, making an appearance in the indie charts and getting airplay from John Peel. ‘Surf Punk’ may have seemed an unlikely style for a London band, but they were soon attracting decent crowds including Punks, Mods and anyone else who just enjoyed their music instead of wondering what genre they belonged to. Soon enough, major labels started to show interest and they were signed by EMI Zonophone in 1980. At first, things seemed to go well, with their next single becoming a ‘Single of the Week’ on Mike Read’s Radio 1 show and reaching the UK Top 40 (earning them a memorable appearance on ‘Top of the Pops’.) They began work on their debut album, ‘Drop Out’, but as it progressed their relationship with EMI started to sour. The label wanted more songs like ‘Summer Fun’, whilst the band were recording new tracks that were moving in a more Garage/Psych direction. Ironically, at the same time the music press had decided that ‘Summer Fun’ (and therefore, the whole band) was just a novelty act. The album was released in 1980 but failed to sell as well as hoped in the UK, although unexpectedly it did do well in the rest of Europe where fans were less concerned about what the music press were saying… EMI dropped the band but they still had a loyal following and interest from other labels. Over the next few years, they released further records on different labels including two more albums on the French label ‘Closer’, but eventually broke-up in 1984. However, they have reformed several times over the years for new recordings and live appearances, maintaining their reputation and cult-following along the way. This boxset concentrates on their early years and the first disc includes the ‘Drop Out’ LP and various singles released around the same time. It’s a perfect way to reassess their early output and in retrospect it’s a lot easier to appreciate what the band were trying to do. The surf-orientated songs were great fun, but the band had no intention of sticking to that formula and quickly began to develop towards a mix of Psych-pop and harder Garage rock. It still stands up really well and proves that they were doing the right thing! The second disc features a collection of demos recorded between 1979-1981, most of which have appeared on various compilations but, if you’re not an avid fan, will probably be new to you. But it’s the third disc which is going to be the one that appeals most to long-term fans, as it includes not only the tracks from their first 7”, but also rare demos and rehearsal tapes dating back as far as 1977! Handpicked by guitarist Robin Wills, most of these are previously unreleased and in places the sound quality isn’t perfect, but these are tracks that the fans will really want to hear. Including various covers and early versions of songs that would later become much-loved releases, this disc is packed with goodies. As is usual with Cherry Red boxsets, it comes with an extensive 36 page booklet, packed with notes and photos. So if you’ve ever been interested in this band, either as an obsessive fan or a curious novice, this is something you really need to investigate.
BLUE STATUE. No/On CD (Fourth Dimension) Blue Statue are a London-based guitar band with a sound that seems to owe equal parts to the post-punk era and Nineties alt-rock, as well as bands like Mogwai, My Bloody Valentine and Sonic Youth. Actually, there are moments that remind me of many different bands, from Nirvana to Mission of Burma and also some of the more eclectic bands that Dischord were releasing during the late Eighties / early Nineties. Opening track ‘Supercilious’ is very catchy, although it’s underlying guitar noise successfully maintains its’ edge in a similar way that Senator Flux did so well. Elsewhere, the band adopt repetitive riffs and angular rhythms to create a sense of tension, while the vocals are shared between two singers, providing different tones and approaches from each individual. The musical arrangements are full of interesting ideas and although the production could have been a little more solid, this album still makes for an excellent and exciting debut. I will definitely be keeping eyes and ears open for this band, because this record really offers so much potential.
THE COVIDS. Bust to Bits LP (Wap Shoo Wap) I suppose it was inevitable that some kind of band would name themselves after the recent pandemic, so I’m just glad that this combo can live up to their sensational moniker! These guys formed a band in Amsterdam to relieve the tedium of the lockdowns and played their first gigs as soon as the local clubs began to reopen. Since then they’ve been making a name for themselves by touring across Holland and Germany, and intend to go even further afield during the next 12 months. They released their debut 7” last year and are now unleashing their first album. Musically, it’s a raucous but melodic blend of Garage-rock, punk and pop, sounding something like The Briefs over-seeing a jam session between The Cramps and the Ramones… Oh Yes! It would be totally inappropriate to use words like ‘catchy’ or ‘infectious’ to describe their songs, but it wouldn’t be far off the mark. Hopefully, they’ll be playing somewhere near your neighbourhood soon, but in the meantime be sure to play this album LOUD!
THE CRACK. S/T LP (Queen Mum) There have been more than a few bands called ‘The Crack’ over the years, but these chaps were probably one of, if not the, earliest. Formed in Hull during 1978, the line-up included former roadies of the metal band Ethel the Frog, but their own musical direction was distinctly different. They certainly had punk and powerpop elements, but to the greatest extent, they played high energy rock’n’roll that was not so far removed from Eddie & the Hot Rods. They released their one and only single ‘Make the Effort’ / ‘Easy Street’ on the JSO label in 1980, which received airplay on BBC Radio 1 and other stations, but it seems as if they didn’t get a chance to play much further afield than their hometown. (Ingeniously, they also formed a second band, The Card, and played cover versions around the local pubs and clubs to financially support their main aspirations…) This album features both songs from the original single, plus six others that were recorded between 1978-1980 and until now were never properly released. As I said, not really a ‘punk’ band (two of the band had facial hair at the time!) but they certainly had a lot in common, with plenty of attitude and loads of energy. The album is pretty limited and includes a poster and insert, so if you’re interested, get yourself a copy soon. It’s great that material like this is still appearing, because so many smaller bands never really got a chance to mark their mark back at the time, but are now getting the opportunity to stake their claim. When you hear a record as good as this, it’s certainly been worth the forty year wait!
CUT. Dead City Nights CD (Improved Sequence) Cut are based in Bologna, Italy and create a frenetic blend of different styles, but do so in a way that sets them apart from anyone else. You will quite possibly pick out moments that will have you thinking of Fugazi, Pere Ubu, Shellac and even Pavement, but these are transitory and only appear briefly before they switch direction and go off on a new tangent. Having not heard of the band before now, it’s not surprising to discover that they’ve been together for more than two decades, as their music is something that can only come together over a space of time as the individual band members learn to lock-in to what they are all playing and allow it to develop organically. Evidently, they’ve been known to tour quite heavily and again, that’s obviously a key component when it comes to the music they create. It’s complicated but also flows in a natural way which gives it a wider accessibility. If you’re intrigued by the above-comparisons, or recall the best moments from bands like Victims Family and the Rhythm Pigs, then this is something you should check out.
DEICIDE. Once Upon The Cross / Serpents of the Light, CD (Cherry Red) Featuring Deicide’s third and fourth albums, this double CD set features two of the bands definitive releases. Whilst their albums were regularly over-shadowed by the (often-courted and quite possibly tongue-in-cheek) controversy that their lyrical content provoked, there’s no denying that musically they offered a brutal way forward for the more extreme edges of metallic rock music. Glen Benton’s vocals, at the very least, were an influence for the onslaught of Black Metal bands during the 1990’s, whilst the band also produced an unrelenting and uncompromising barrage of aggressive riffs that took Metallic Rock through to a whole new level. Slayer may well have taken Metal to a new apex with ‘Reign in Blood’ (on the basis that, after that masterpiece anything that went further was creating something beyond Metal) but Deicide found another path with which to take the genre to an extreme. ’Once Upon a Cross’ featured arrangements that were both more interesting and intriguing, especially as the band members were clearly more proficient at their craft, but also because they were creating a sound that was clearly their own. According to Glen Benton, ‘Serpents of the Light’ was written about a friend who had recently died, making this a more personal album and a perfect sonic-storm of righteous retribution. Of course, it will again depend on your own assessment of the underlying intent, but there’s no denying that the sound that the band produce is incredibly powerful. These two albums are not going to appeal to everyone, but if you are interested in the more extreme edges of musical expression, then this in an album that you need to hear.
DOCTOR EXPLOSION. Superioridad Moral CD (Slovenly) Doctor Explosion are a Spanish Garage-rock band who have been together since 1989, in which time they’ve established themselves across Europe and America (North and South) through their extensive touring. Unfortunately, they’re not so well known in the UK and their last album release was back in 2011, so for many punkers this album will be like a debut from a new band. That said, it may well work in their favour as they deliver a fine album that shows that they really know what they’re doing. The songs are varied but come together as a solid album, with hints of Stooges- style hard rock (both raucous and subtle) in some places, followed just as effectively by catchy garage-pop bursts of adrenalin that would make The Hives jealous. Doctor Explosion are adept at kickin’ out the jams, but also just as able when it comes to taking things at a slower pace and in other places you’ll hear Country and Blues influences, but all done with a real sense of intent and propriety. Unfortunately, all of the songs are sung in Spanish which is something many of us Brits have a problem-with, although there are plenty of UK bands we love even though we can’t understand a word the singer is screaming… The thing is, this is great music and if you can’t feel the attitude behind the songs, you just ain’t listening properly. Spain has produced many truly great bands… Los Chicos, Suzi y Los Quattro, etc, so you really ought to be opening your ears for further offerings. This is a band who obviously dig the same music that we all love and as a result produce songs that deserve to be heard. Give this album a listen and discover what we’ve been missing.
FLASH MONGRELS. Good Time Dole Line 7” (Queen Mum) Another obscure band from Hull (see The Crack review, above) although in this case the band didn’t even make it as far as a single release back at the time. So it’s fortunate that we’re getting a chance to check them out, even if it is more than 40 years down the line. Flash Mongrels formed during 1978 and played prolifically around their hometown area, although they also gained a reputation for bad behaviour which saw them banned from many of the venues (in which case, they’d book themselves under a different name to get further gigs!) They eventually recorded five tracks at a local studio and received some attention from John Peel, but inevitably the bands’ frantic approach came to an abrupt and by 1979, they were no more. But these tracks reveal a band that had plenty of energy, some good musical ideas and witty lyrics that displayed a dry sense of humour. ‘Good Time Dole Line’ is probably the most straight forward song on this record, with a fast and chunky R’n’B sound not a million miles away from Dr Feelgood or The Pirates, while ‘Thoroughly Nice’ veers towards a quirky punk rock style that wouldn’t have been out of place on the ‘Farewell to The Roxy’ album. But it’s the final track, ‘Hat’, which is the best. It’s a bit more ambitious and recalls bands like The Shapes or The Satellites, including bouncy almost fairground-style keyboards that really add some real character to the song. Perhaps Flash Mongrels were never meant to go any further but these recordings show the potential they had and it’s great to hear them after all this time!
FORD’S FUZZ INFERNO. Death to the Fuzz Family EP (Subunderground) The songs may still be drenched in glorious Fuzz-guitars, but these new tracks are a great step forward, with catchy garage-style melodies and a punkier approach. Don’t worry, there’s still lots of distortion and fast rhythms to keep your neighbours annoyed, but this time you’re also going to catch yourself singing along and dancing around the record player! This is real, primal stuff where noise reigns supreme but the tunes will also dig through your ear-drums and remain firmly lodged in your brain. Five songs (only one, ‘My Reality’, was featured on last years’ album ‘The Book of Fuzz’) and barely eight minutes long, but this is a vital piece of plastic and you really shouldn’t go home without a copy!
GANG GREEN. We’ll Give it to You CD boxset (Cherry Red) Gang Green initially formed as a punk / hardcore band in Boston during 1980, but apart from contributions to two seminal compilations (‘This is Boston Not LA’ and ‘Unsafe at Any Speed’ in 1982) didn’t release any of their own records before splitting in 1983 (when singer Chris Doherty left to join fellow Bostonians Jerrys Kids. However, the following year they reformed and released the ‘Sold Out’ EP on Taang records, followed by their classic debut album ‘Another Wasted Night’ in 1986. By this point, the band were mixing Motorhead-style hard rock to their music and, with thrash and speedcore beginning to become popular, they came to the attention of labels who were more associated with Heavy Metal. Consequently, they were signed to the Roadrunner / Emergo label for their next four albums, which are all to be found in this boxset. Although it didn’t result in mainstream success for the band, the label certainly helped to bring them to a much wider rock audience where songs like ‘Alcohol’ and ‘Skate to Hell’ were soon embraced by the same kind of fans that bands like Suicidal Tendencies and DRI were also attracting. At the same time, though, Gang Green still remained popular with many of their older fans, as they tended to keep their hardcore energy and attitude in their music instead of going for an all-out metal sound. ‘You Got It’ was released in 1987 and was well received, even though only Chris Doherty still remained from the original band. The songs were still fast and powerful, although with a more professional production, and rather than going for the then-popular ‘crossover’ style, their new material leaned towards the likes of Motorhead and AC/DC, both bands that their punk following were happy to accept. Their next album, ‘Older…Budweiser’ was released in 1989 and again, was popular with their fans even though the production was more rock-orientated. There were more metallic riffs and guitar-breaks, but even taking that into account, it was still recognisably Gang Green and while it probably isn’t their best album, it certainly isn’t a disappointment and proved to be one of their most successful releases 1990 saw the release of the live album, ‘Can’t LIVE Without It’, which arguably captured the band in their best setting. Recorded at the Marquee in London, the band blast through their set at breakneck speed, still with some metallic rock licks but with a much more hardcore delivery. With a set taken from across their entire career, this is truly what the fans loved about them and as definitive a statement of intent that you’ll ever hear. (This reissue also includes bonus material from the ‘181B4U’ EP.) However, in 1990 further line-up changes saw the band going on hiatus once again and this time it would be nearly six years before they reappeared. Their final album for Roadrunner would be the compilation ‘King of Bands’, which featured tracks from each of their previous albums (including ‘Another Wasted Night’) plus two songs specifically recorded for this album. Together with 16 page full-colour booklet, packed with sleeve notes and photos, this is a great collection that shows why Gang Greens’ reputation is still so solid. Of course, you also need to get ‘Another Wasted Night’ (still on Taang) for the complete picture, but once the set is complete you’ll soon be loving every damn note!
GIGLINGER. Javla Nazi 7” (www.giglinger.bandcamp.com) Giglinger are a punk rock band based in Finland who have been releasing records since 1997. They don’t play gigs but record most of their songs live to ensure the energy levels are kept high. It certainly works well for this single, which features two songs packed with adrenalin and attitude. The A-side (sung in Swedish, rough translation ‘damned nazi’) is about “youth heroes who have become right-wing idiots”, while ‘Independent Action’ is a faster, brutal slice of hardcore with lyrics that talk about self-motivation and overcoming obstacles in your way. Scandinavia has a long history of great punk and hardcore bands and Giglinger seem more than able to continue that tradition. Be sure to check-out these tracks on bandcamp and then order a copy of the record!
KING AUTOMATIC. Lorraine Exotica LP (Voodoo Rhythm) This is a reissue of an album that originally appeared in 2005 and it certainly deserves to be made available once again. Think of a cross between ‘Exotica’ and Garage Punk styles, packed full of great, catchy songs, all committed to vinyl in a suitably lo-fi fashion. It’s like Billy Childish co-producing an album with Martin Denny and Esquivel, with each one of them insistent on including their trademark sounds and trying to be the loudest. It’s incredibly strange but also effectively entertaining stuff, that would ensure that any drunken party would suddenly be taken-over by hordes of wild dancers. Sounds like fun? You bet it is!
KLEISTWAHR. Mobility LP / Do Not LP (Fourth Dimension) I’m going to review these two albums together as they both feature the same artwork and were also originally released as cassettes on Gary Mundy’s seminal industrial label Broken Flag. This is the first time they’ve been officially reissued, as well as being their first appearance on vinyl. ‘Mobility’ was first released in 1983 and is the shorter of the two recordings, using-up only one side of the LP. But you can trust that the quality of the music more than makes up for its’ relative brevity. This record finds Kleistwahr aligned more with the early ‘power-electronics’ of bands like Whitehouse and Consumer Electronics, although even at this stage they were beginning to impress their own sonic-identity into the songs. The sound quality is very good, allowing the harsher noise to envelop the listener, whilst also clear enough to allow the more subtle details to remain an intrinsic part of the record. Meanwhile, vocals are almost hidden deep in the mix, creating an unsettling effect as you try to catch what they are saying. In other places, there are sounds that suggest voices but may be part of the instrumentation, creating further questions for your imagination. This may only last some 20 minutes or so, but it’s a powerful piece of work. ‘Do Not’ was released in 1986 and would prove to be the last Kleistwahr album until ‘The Return’ in 2009. There had been a three year gap since the ‘Mobility’ album and the music on this LP is quite noticeably different. Side One features sounds that are based more around rhythmic patterns, although they are recorded in highly erratic fashion which often borders on becoming jarring. Just as a recognisable beat seems to be developing, it cuts or switches to something else, often in a conflicting direction. Vocals and tape loops appear occasionally but, again, they seem to be there not to direct a narrative but to keep you on your toes. Side Two continues in a less confrontation manner, although the rhythms and sounds can be just as unharmonious at times. This is an album that, depending on your mood, could be considered exciting (if you enjoy the tense atmosphere) or frustrating (if you can’t deal with the rapid changes and irregular musical approach.) That said, this was never a genre that was meant to appeal to everyone, so you’ll have to make-up your own mind. But it’s certainly a unique album and, for anyone genuinely interested in the more extreme edges of electronic music, these are albums that you need to hear.
THE LAISSEZ FAIRS. Singing in Your Head CD (Rum Bar) This is an excellent mixture of powerpop, psychedelia and Mod melodies that will have you thinking that you’re right back in 1969 again. It makes me think of what The Monkees may have sounded like had they ever had the chance to make a record with Sky Saxon…. Musically, this is very accomplished stuff but at the same time it’s also a lot of fun and that seems to be the important factor. Although this is obviously a band who know what they’re doing, they’re not po-faced about it and clearly want to make this an entertaining album. Nostalgia, indeed, but just as valid now as it would have been then.
THE LONG RYDERS. September November CD (Cherry Red) I have to admit that it’s been a long time since I listened to this band, but even on my first listen to this LP, I’m starting to wonder why that’s been the case? Having formed in California during 1982, The Long Ryders were an integral part of the original Alt-Country scene, although they were also adept at merging elements of psychedelia, pop and even punk rock in to their songs (not a million miles away from the Replacements, although on a slightly-different tangent.) After several fine albums they originally split-up in 1987, but reformed for reunion gigs in 2004 and have continued to tour on a sporadic basis ever since. In 2019 they released ‘Psychedelic Country Soul’, their first new album in over 30 years. The positive response it received spurred them on to this, their latest offering of new material and although it’s now nearly four decades since their original heyday, I’m sure this album is going to please all of their fans, old and new alike. The key elements of their sound are still here to be heard, from their authentic Country roots through to pop melodies and a raw attitude that, when appropriate, kicks their music into high-gear. It may be true that their songs don’t have the same impact as they originally did back in the 80’s, but it’s really down to the fact that so many others have borrowed their style and direction in the intervening years, making their sound seem more familiar. But The Long Ryders have remained true to their vision and, with this record, have proved that they’ve lost none of their talent and inspiration. This is a band who can appeal to music fans right across the board, but they do so with no compromise or dilution. At the very least, you really need to check them out.
MODERN EON. Fiction Tales. CD (Cherry Red) I actually saw Modern Eon when they supported The Stranglers in 1981. Not knowing anything about them at the time, and their music being quite different to the kind of things I was listening to, I quite enjoyed their set but never got around to checking them out any further. In fact, this CD release is probably the first time I’ve heard them since then. Strangely enough, their recordings sound surprisingly similar to what I recall of the gig. Modern Eon formed in Liverpool during 1978, where their contemporaries included Teardrop Explodes and Echo and the Bunnymen. Whilst not particularly sounding like those bands, they were certainly taking a similar course in using the possibilities afforded by Punk to explore new sounds and discover their own style. In their case, they were producing atmospheric songs that were darker and more sparse, like the early Cure perhaps, and yet also quite accessible. There were also comparisons to be made with New Orders’ early records, although in this case Modern Eon were actually creating their music slightly ahead of that band. Their first recordings appeared on the ‘Street to Street’ compilation in 1978 before they self-released the ‘Pieces’ EP in 1979. ‘Euthenics’ was released as a single in 1980, before the band signed to the Virgin subsidiary Dindisc. Bizarrely, they then re-recorded ‘Euthenics’ and it was released for a second time in 1981. Two further singles appeared that year, as well as their solitary album ‘Fiction Tales’. Reviews were not as positive as they had hoped, but gradually their following increased and plans were made for a second album. However, their drummer suffered an accident which caused him to take an extended break from playing and despite demos being made towards the next LP, the band fell apart. This collection is the first time their album and various singles have been issued on CD, as well as several previously-unavailable demos from their final sessions. As such, this collection provides a great opportunity to reassess their legacy. Of course, in retrospect, it’s difficult to appreciate how different and groundbreaking their music sounded at that time, but their songs remain effective and enticing. Other bands playing with similar styles at the same time have since gone on to be hugely successful, whilst Modern Eon received much less recognition, but as this double CD set shows, they’re definitely long-overdue for a re-evaluation.
NEVERLAND RANCH DAVIDIANS. S/T LP (Heavy Medication) I haven’t been able to find many details about this band, although they seem to be based in Philadelphia (where it’s always sunny…) That said, the usual biographical details aren’t all that necessary here as this is an album really speaks for itself. It quickly grabs your attention with an almost sleazy tone and seems to revel in jumping from one style to another, almost from one track to the next. You’ll hear Punk, Garage rock, Soul, Blues and industrial noise at different times and it’s not easy for a band to mix all those kind of elements in a way that still comes across as such a solid, coherent album. You could think about the Blues Explosion mixed with early Rolling Stones and jamming with Butthole Surfers. I can’t say that everyone is going to get it, but you need to check this out because it could easily become your new favourite noise.
THE OXYS. A Date with the Oxys LP (Dead Beat) The Oxys formed in Austin, Texas soon after guitarist Jason ‘Ginchy’ Kottwitz ended his tenure as part of the Dead Boys. He assembled the new band featuring fellow musicians who had previously played with the likes of Sylvain Sylvain and Nowherebound, so they obviously aleady had similar tastes in classic Seventies punk rock’n’roll. As with many bands, their initial impetus was marred by the pandemic, but they were able to spend their time writing songs for this album even though they had to do so remotely. But despite such problems, they’ve still managed to deliver a very impressive debut record. There’s a big guitar sound, of course, and a super-tight rhythm section, all fronted by Phil Davis’ suitably sleazy vocals. The tempo is always on the upbeat and the melodies are destined to stay in your ears for weeks and months to come. If you’re a fan of early-Damned, The Heartbreakers, Alice Cooper and the Runaways, then this may well prove to be a contender for your favourite record of the year. Trust me, you won’t want to miss it.
THE PRIVATE DICKS. Live at the Wild At Heart, Berlin LP (www.privatedicks.webs.com/) The Private Dicks formed in Bristol during 1978 and released their only 7”, the highly collectable ‘She Said Go’ in 1979. Although they came out of the Punk era (and they certainly incorporated similar energy levels) their sound was more in line with powerpop or ‘new wave’ but unlike many bands who adopted that style, their songs still sound pretty fresh and unique. They mixed insistent rhythms and a strong guitar sound with catchy lyrics and vocal harmonies to create a great crossover between punk and Sixties guitar pop. Listening to their songs now, it’s not such a stretch of the imagination to say that, with the right exposure, they could have been a lot more successful. Unfortunately as with many bands of that particular time, and despite recording one BBC radio session, the opportunity never came their way and they eventually broke-up towards the end of 1980. But a bunch of recordings did survive and were eventually released as the album ‘Homelife’ in 2002 (followed by ‘Live at the Marquee 79’) which served to rekindle interest in the band and led to them reforming for occasional gigs (including dates abroad, which had never been an option back in the day.) This LP was recorded during a trip to Germany in 2015, although it was only during the Covid lockdowns that the band reviewed the tape and realised that it would make a great live album… and that’s exactly what this is. The set kicks off with a quirky intro before they launch in to ‘She Said Go’ (most bands would have kept their best known track until the end of the set, but Private Dicks play it straight away to get the audience up on their toes!) From there on, the set includes a mix of songs from their original career (‘Private Dicks’, ‘Do You Remember’ and ‘You Want it, You Got it’) plus several of their new songs (‘Exile in Neverland’, ‘Why Are You still Haunting Me’) which blend-in perfectly alongside the older material. Everything that their fans love about them is here to be heard… Plenty of energy, great tunes, unique style, catchy songs… If you’ve never heard them before, this will be a great introduction, while at the same time if you’re already a fan, you’ll love it as perfect proof of how good a live band they still are. Either way, you really ought to track this down.
RED LITE DISTRICT. Pleasureland EP (DCC Records) Red Lite District are a band who formed in Glasgow during 2016 and have been playing live on a pretty consistent basis since then. They’ve also found time to record and release five EPs of their music during that period, with this being their latest effort. Earlier recordings have been compared to classic punk bands like The Damned and Dead Kennedys, but this latest EP sees them delving into a so-called ‘post-punk’ direction… In reality, this just means that they’re becoming better musicians and deciding to add further elements and influences to their music. Which is what I hope any punk band would be doing! The thing is, Red Lite District were already a band with interesting, individual influences so it’s only natural that they should develop further. The songs on this EP are less full-on or straight-forward, which is what makes them stand-out and more interesting. At different points you may pick-out moments that remind you of Joy Division / New Order, while ‘You’ve Lost Your Mind’ will have you recalling the best moments of the Grunge scene. But it doesn’t stop there, as the band are quite adept at mixing quieter, evocative moments with louder bursts of hard-rockin’ guitars. With the right exposure, this could really take them to a higher level. Be sure to check it out!
ROGER CLARK MILLER. Eight Dream Interpretations for Solo Electric Guitar Ensemble LP (Cunieform) Roger Miller is best known as the guitarist in Mission of Burma, a band whose ideas and influence continue to make their mark. They blended abrasive riffs with insistent melodies, hypnotic repetition and avant-garde concepts to create music that was both accessible and genuinely experimental. Their original career only lasted for four years, but in retrospect it’s not far-fetched to say they paved the way for many bands such as Husker Du, REM, Sonic Youth and Pixies. Between their original split in 1983 and their reunion in 2002, Roger Miller continued to record and release music either as a solo artist or as part of the band No Man. Although Mission of Burma have taken-up much of his time in recent years, he has also continued to record and perform independently and has mostly used this option to pursue his more experimental projects. This album is certainly part of that pursuit but it’s also surprisingly accessible in its’ own way. It’s entirely instrumental and uses regular electric guitar alongside lap-steel guitars to create dramatic sounds that often evoke epic imagery. The music does at times recall legendary guitarists like Jimi Hendrix and Syd Barrett, both at the heights of their psychedelic imagination, while the use of sound loops create percussion and bass rhythms to hold things together in an almost rock-style. It’s this element that gives the listener a way in to the music which, as much as it is set far from the mainstream, also moves at an natural and insistent pace. This gives Roger the space to really explore and expand the sounds that creates with the guitars and this is what’s so impressive about this record. At the same time that it seeks to create something new and unique, it also presents the music in a way that could find itself appealing to a wider audience. It really is a fine record and whilst I know that it’s not going to appeal to everyone reading this review, I encourage you to hear it because this is an album that could quite possibly open your ears to some truly great ideas and creativity.
ROME. Hegemonikon CD (Trisol) Rome is a Luxembourg-based ‘neofolk’ project used as the primary output for singer/songwriter Jerome Reuter. The first Rome album was released in 2005 and since then Jerome has maintained a pretty prolific recording schedule (this is the 17th album to date.) ‘Neofolk’ has always been a rather vague genre, embracing both traditional folk elements, industrial music, electronica, and various often darker themes, so it does offer a lot of space for artists to develop their own style and ideas. In this case, Jerome mixes an almost crooning vocal style with both soundtrack-styles and post-punk musical leanings to create highly evocative and atmospheric sounds. Various musicians are brought in to the fold for studio and live performances, as and when required, so Jerome has been able to let his music develop and evolve at a very organic pace, ensuring that fans and listeners are able to understand and appreciate his ongoing work. For this album, he has added new elements, ranging from early new wave experimentation through to synth-pop, a combination that ensures integrity whilst also giving the album a more accessible potential. Creating music that’s genuinely experimental but also appealing to a wider audience is obviously a difficult task, but this is exactly what Rome seem to be aiming for and, on this album, they have certainly achieved it. Not that they’re likely to be storming the pop-charts (these days, who’d want to?) but ‘Hegemonikon’ is a record that I’m sure is going to continue appealing to new fans for years to come. I can’t say that it will appeal to everyone, but it is something that could easily grab your attention and keep you enthralled. At the very least, you should investigate this album for yourself.
THE SHANG HI LOS. Aces, Eights and Heartbreaks CD (Rum Bar) Imagine a mix between the best Seventies Glam-rock, Sixties Girl-bands and the more memorable moments of New Wave pop… There’s more to the recipe, of course, but I think these elements will give you a good indication of where the Shang Hi Los are going. There are certainly comparisons to be made with the first three or four Blondie albums, in the way that they could switch and embrace different styles but always end up sounding like themselves. The production is really sharp, bringing the melodies and harmonies to the forefront without losing any of the energy or momentum of the individual songs. Hand-claps and stompin’ feet add to the taste, making this an excellent treat. Don’t be silly, be sure to hear the Shang Hi Los as soon as you can!
SNAPBLADES. Cheap And Nasty EP (Vinyl Eddie) Snapblades are a two-piece punk band but I’m unable to give any more details as they are refusing to indulge in the usual social media shenanigans. I’m not even sure where they come from (although the record label is based in York, which may be a clue…) To their credit, though, they’ve taken the stance that bands who spend their time posting details on facebook, bandcamp etc are merely being co-opted into an internet popularity contest and, as they point out, that’s not a very punk rock thing to do. Instead, they want to see if people can ‘still muster the effort to find music, without it being spoon-fed to them’. I can certainly understand their position and, while I don’t entirely agree that social media is to blame, I do think that the way it has been used and manipulated in general has had many damaging effects across many different levels. So good for Snapblades in taking a stand and highlighting this issue. Now, on to their music… despite being a two-piece, Matt and Dan provide a full band sound for these recordings rather than going for the stripped-down sound that most duos seem to go for these days. The songs have plenty of energy and are played in a convincing manner, full of catchy hooks and attitude. It’s a pity that there was no lyric sheet with the promo I received, as the lines that I could pick out seem to be pretty interesting and I would have liked to know more about them. There are four originals tracks on this EP plus two rather obscure covers. The first, ‘Broken Toys’ was originally by a band called Flint who were also based in Yorkshire. Snapblades deliver a fine, enthusiastic version of a frantic but surprisingly tuneful song. ‘Anti Social’ ends the record and is apparently a track by a band called Media Control but despite there being several bands using that name around the world, I’ve been unable to find out which one wrote this song. But it is rather good, slower than the rest of the EP but done in a powerful, enticing style. And, as a bonus, there’s also a second version immediately after the first! Sounding like a live recording, it has a different vocalist and is played in a raw, noisy style that had me recalling Rema Rema at their most primal. Overall, this is a really good set of songs and, for many reasons, it deserves to be heard.
SO LONG, SPACE GIRL. Your Heroes Are All Dead (www.solongspacegirl.com) Having formed in Oxford back in 2019, So Long Space Girl started to get themselves together only to be interrupted and hindered by those fiendish lockdowns, so it’s quite impressive that they’ve managed to settle on a highly capable line-up and have also written a solid set of songs that display a focused direction and impressive song-writing talents. Their music is a catchy mix of pop-punk (think of more recent Green Day albums and Brit-bands like the Senseless Things and The Subways) and more rock-orientated ‘indie’ bands like Ash or Idlewild. They’re self-releasing this album, which is a good display of confidence, and I can only think that the more they play live and receive feedback from this record, the more they’re going to hone their own style and sound. The only thing that lets them down a bit is the production and arrangements, which tend to make the songs sound a bit too similar, but these are things that bands have to learn along the way and I’m sure they’ll get there. In the meantime, this is an album with a lot of potential on show and I’m more than happy to encourage you to investigate further.
TOILET RATS. IV LP (www.toiletrats.bandcamp.com) Toilet Rats are, in fact, a one-man operation (that man being Tommy Ratz) and are currently based in a subterranean studio somewhere in Minneapolis. From their name, I was expecting something punky but a bit more basic than this. But although they’ve obviously got plenty of energy and know how to deliver no-nonsense guitar sounds, Toilet Rats also bring keyboards and electronic drums in to their mix. The opening track, ‘Haunted Haus’, begins in a distinctly ‘new wave’ style before the guitars kick-in, at which point it hits the ground somewhere in between the Misfits and the Epoxies. It works really well as the 80’s- style ‘synth-pop’ elements are twisted and distorted in an almost Industrial manner to provide a suitable rhythm section, while the guitar and vocals provide the power and attitude. The songs are kept short and to the point, making sure that it comes across as good, noisy fun. As long as you can share the sly sense of humour, there’s no reason why you won’t find this very entertaining. And there’s even a song about ‘Nessie’, the first I’ve heard since Alex Harvey released his ‘Loch Ness Monster’ LP… after all, why shouldn’t legendary Cryptids want to rock-out as well? Yup, this is a good album – click the link and check it out!
WASTE. The Next Century is Almost Over EP (Subunderground) Waste were originally active in the early-80’s Dutch punk scene, releasing one EP (‘History Repeats’) in 1982 which is now quite collectable. Fast-forward to 2021 and original guitarist Hans establishes the Subunderground label to release an EP of rare and previously unavailable recordings by the band before concentrating on his current combo, Ford’s Fuzz Inferno. They release four EPs and an album (all highly recommended) before the label refocuses on Waste once again. This release, featuring four brand new recordings, is their first all-new material in over 40 years! I think the line-up still includes all of the original members… there’s a bit of confusion but Klaus, Fred and Hans are definitely there whilst the singer is (possibly) listed with a different nickname. But all that aside, the four new songs are great and sound totally authentic. The new songs recall the best moments of early-80’s punk rock, from Anarcho through to Oi!, and much like Ford’s Fuzz Inferno, they have a definite knack for combining loud, noisy energy with catchy melodies and insistent guitar hooks. In fact, the comparison between Waste and FFI goes even further, as Waste do a version of ‘Ups and Downs’ from the recent FFI EP. It’s delivered in a pretty different style, but works just as well as the original. I’m unsure if Waste intend to continue, but after this EP we can only keep our fingers crossed. It’s a limited edition, so be sure to get a copy soon.
WINGMEN. S/T CD (Cadiz) You may well be familiar with this album by now, or at least know who’s involved. But for those of you who haven’t heard the news, Wingmen feature an impressive cast including Baz Warne (Stranglers), Paul Gray (The Damned), Leigh Heggarty (Ruts DC) and Marty Love (Johnny Moped band.) They came together during the lockdowns, as something to do whilst their regular bands weren’t active. The songs were written and recorded in isolation, with files and ideas being shared over the internet. Not the ideal way to record an album, but the results are surprisingly solid and effectively delivered. Every member of the band produces an impressive performance and if you’re a fan of any of the individual musicians, you’re going to enjoy this record. If anything, there is probably more of a similarity to (recent) Stranglers material (I suppose with Baz handling the vocals that was inevitable) but repeated listens will allow you to pick up the many nuances from each band member. The songs bring out the best from everyone involved and the lyrics veer from personal observations to witty comments about little Britain and the farcical own-goal that was Brexit. The production perfectly captures the spirit of the songs and you would never guess that the band weren’t altogether in the same studio while the album was recorded. In fact, that’s probably the most exciting aspect of this project… now that they are playing live and getting the chance to develop their music more organically, it’s going to give them the chance to take things even further with their next record and that’s a very exciting prospect! In the meantime, you really need to hear this album. It’s not just for fans of the ‘other’ bands as it stands up in its’ own right and does so very impressively. This is certainly going to be one of the best albums of the year!
V/A. 1981 – ALL OUT ATTACK! CD boxset (Captain Oi!) By 1981, the mainstream press (and the lazier parts of the music press) were declaring that Punk was dead and buried. However, whilst self-serving pundits blagged-away, the bands were actively proving them wrong. Those from the 1976/77 era (Chelsea, the Damned, Ramones, UK Subs and The Boys) were still producing some of their best-ever material, while newer bands like Blitz, Killing Joke, Theatre of Hate and Rudi were releasing records that took Pun k to a whole new level without losing any of the attitude and energy of their predecessors. In retrospect, there are plenty of losers who want to claim that ‘post-punk’ was a separate movement and genre, but in reality punk happened quickly and also mutated rapidly, allowing different ideas and styles to develop. Joy Division, for example, were a million miles on from Warsaw, and New Order were a million miles on from Joy Division, but they were basically the same band with the same intent and Punk gave them the space to develop. Do you understand? Back to this compilation, it includes tracks that would now be called Punk Rock, Oi, Post-punk, Industrial, Anarcho-punk, Rockabilly, Hardcore and even the dreaded New Wave, But at the time, it was all part of the same scene and while you didn’t have to like everything, it was all there for you to make your own decision for yourself. In the intervening years many of these desperate-hopefuls managed to go on to bigger and better things (The Nips produced Shane MacGowan, Killing Joke remain one of the most popular live bands in the UK, while The Professionals have returned with new material and reliably great live shows.) There are many bands from this era that still remain respected (Stiff Little Fingers, TV Smith, Discharge, Chron Gen, The Business, Flux of Pink Indians, Tenpole Tudor) but many of the lesser-known bands still sound as fresh, exciting and vital as they always have been. Zoundz, Rudi, The Business, Demob, The Cravats are just a few of the examples you’ll find on this excellent compilation. Basically, can you afford to miss a collection of songs that capture the spirit of a time so perfectly? Perhaps the mainstream was full of synth-pop and new romantics, but there was also plenty of real attitude scratching their names on the walls. Perhaps you won’t like every song on this collection, but there’s plenty that will still make your blood bubble. Don’t miss the chance to mutate!
V/A. STRONTIUM 90, SHRIMPS & GUMBO – LUX & IVY DIG MOTORCYCLE BOOTS AND MUTANTS CD (Cherry Red) Another fine collection of rarities and crazy rockers from this excellent series. With many of these records now dating-back 50 or 60 years, it’s difficult to really appreciate how outlandish they would have sounded at the time of release, although some still sound way-out weird even now… check out Cliff Gleaves’ ‘Long Black Hearse’ Bobby Sue and her Freeloaders’ ‘Relief Check’, or Jimmy Lee Prows’ ‘You Tell Her I Stutter’. You’ll be completely perplexed why anyone would want to write lyrics like these, although at the same time just as glad that they did. Elsewhere, you’ll hear Sonny Adams crooning ‘I’m in Love with a Mutant’ (30 years before John Cooper Clarke declared ‘I Married a Monster from Outer Space’.) Similarly, Scatman Crothers delivers ‘A-Gruntin’ and A-Groanin’’, his primal tribute to the mayhem of the wrestling ring, decades before the Cramps paid homage with ‘The Crusher’. You also get a chance to hear Vaughan Monroe singing the tragic tale of ‘Black Denim Trousers and Motorcycle Boots’, a song often covered over subsequent years, but I think this may be the actual original… There really is so much to enjoy on this record, from Robert Parker ‘Twistin Out in Space’ and Deacons’ ‘Rockin’ on the Moon’ through to Billy Joe Royals’ ‘Dark Glasses’, The Aladdins on their ‘Magic Carpet’ and Woody Byrds’ ‘Jazz Vs Rock’n’Roll’. The album ends with ‘Fidel Castro Rock’ from Danny Williams, a song so unlikely that you really have to hear it to believe it. But that’s the true beauty of this album. You really don’t know what the next track is going to sound like, but you know it’ll be worth hearing. As a great man once said, ‘if you can’t dig this, you can’t dig nothing!’ How true that remains.