RECORD REVIEWS, JULY-DECEMBER, 2023.

RECORD REVIEWS, JULY-DECEMBER, 2023.

ANTILLECTUAL. Together CD (Engineer) Antillectual are a three-piece Dutch punk rock band who have been around for some time, although I’ve only heard one previous release (an EP that featured four cover versions.) This album features ten original songs and so, presumably, will give a better indication of what the band are all about. Their music recalls late Eighties melodic punk (think of bands like Moving Targets, Big Drill Car and maybe even the early Lemonheads albums) while their lyrics are thoughtful and enticing, combining both personal and political observations to give you plenty to think about. The songs vary in tone and tempo, but flow together well as a complete album, while the production and arrangements bring out the very best from the individual tracks. Plenty of melodic hooks that seem destined to stick in your ears, and the band are unafraid to bring-in additional vocals and instrumentation to ensure the best delivery. This is fine music indeed.

APB. Three CD (Liberation Hall) Originally forming in Aberdeenshire during 1979, APB were initially inspired by the DIY Punk ethic, but soon began to develop a more eclectic sound. Combining a strong rhythmic foundation with catchy melodic hooks, they created an original post-punk style that really should have been more successful and quite certainly would have had they been based in London etc. Bizarrely, some of their early singles made their way to New York where they became popular on the early-Eighties club scene. This led to numerous tours in America, even though they were still having difficulty making a mark in the UK. Since the Eighties, the band has continued to play live on a more occasional basis and have also continued to release further records, including both new and archival material. ‘Three’ was originally issued in 2006, but has been out-of-print for many years, making this reissue a timely and worthwhile endeavour. Similar in some ways to Gang of Four’s ‘Songs of the Free’ album, the album maintains the bands’ edge but also delivers a sound that, had it been given the right exposure, could have seen them break through to a much wider audience. This album, in particular, sounds as if it could have been written and recorded within the last year or so, but that’s just testament to the many bands that continue to be inspired by APB, from Franz Ferdinand through to Bloc Party. This is definitely a good time to hear this album and appreciate what this band created and achieved.

ASHTRAY NAVIGATIONS. One From Then Another CD (Fourth Dimension) Originally based in Stoke-on-Trent (possibly now in Leeds, depending on which website you read) and having been around since 1991, Ashtray Navigations have already been responsible for numerous releases on various different formats. I’m not familiar with their previous work but on this album their music recalls Post-punk electronica mixed with the more experimental moments of early-Seventies Prog-rock and at times an almost Jazz-fusion influence. There are also filmic qualities throughout the album, suggestive of late-Sixties Sci-fi movies or the more ambient soundtrack releases. But I have to say, after a few listens I’m still not sure what to think about it. I’m unable to find any particular musical themes to latch on to, which is usually a good way to get into something of a more experimental nature. It has a fairly repetitive manner which, without noticeable movement, tends to let the music fall towards the background. Perhaps that’s the aim of this record and, again, it doesn’t mean that I dislike it, but I’m afraid it’s something that you’ll have to hear and decide about for yourself.

BAD MANNERS. The Singles 1980-89 CD (Pressure Drop) The UK has had an affinity with the original Reggae and Ska sounds of Jamaica since the Sixties, but it wasn’t until the late Seventies that a UK-based style made a major mark. It wasn’t a revival, as such, because the music had always been there but, spearheaded by The Specials and Two-Tone records, a vibrant and exciting new scene emerged and was soon storming the National Charts. Many of the bands were multi-racial, some addressed politics and others were simply there for a good time, playing upbeat music with an almost music-hall sense of entertainment. Of these, Madness were undoubtedly the most successful and enduring, but hot on their heels were their fellow North Londoners, Bad Manners. They had been playing together since meeting-up at school in 1976, but it was after they were signed by Magnet records in 1980 that their string of hits began. Fronted by the charismatic Buster Bloodvessel, their early albums ‘Ska’n’B’, ‘Looney Tunes’ and ‘Gosh, it’s…’ all sold well, but it was their singles that were really made an impression, with four of them hitting the Top Ten. Bad Manners had the knack of recording songs that, had other bands released them, would have been considered novelty pop. But with their undoubted musicianship and high-energy performances, no-one was going to consider Bad Manners as a mere gimmick band. Early singles like ‘Ne-Ne-Na-Na-Na-Na-Nu-Nu’ and ‘Lip Up Fatty’ quickly established them across the UK, while the likes of ‘Special Brew’ and ‘Can Can’ became massive hits. They enjoyed three years of major success before leaving Magnet Records in 1983, after which they failed to hit the charts again, but continued to tour all around the world before splitting in 1987. However, this proved to be short-lived and the following year a slightly revamped line-up began touring once again. Since then there have been numerous line-up changes (currently, only Buster remains from the original band) but they have continued to be a very popular live attraction and have released new albums sporadically. This 3-CD collection gathers all of the singles from their most successful years, as well as the numerous 12” (extended) versions that were also available for many of their hits. I can’t say that I’ve ever been an avid fan of the band, but when you hear all of these songs together, you really can’t fail to have a smile on your face and an itch in your dancin’ boots. Authentic UK Ska with a chunk of classic pop… you can’t go wrong!

BARBED WIRE. The Sun Sets in the Wrong Place CD (Engineer) Barbed Wire are a trio based in Rome, playing a varied style with influences ranging from hardcore and grunge through to late Eighties DC ‘emo’, mixed with post-punks willingness to experiment with different tones and tempos. I haven’t been able to gather much information about the band (apart from discovering how many other bands have the same name) but there’s a few details on their bandcamp page. Musically, they’re pretty creative and accomplished, using a well-focused production to make the most of their atmospheric melodies and intriguing arrangements. The songs work well together and it’s an album that you’ll want to hear all the way through each time, rather than just selecting individual tracks. There may only be eight songs (in just under 30 minutes) but this is a very solid record and you really ought to give it a listen.

THE CORNFED PROJECT, S/T CD (TCP) I tried to find some info about this band, but even their own website and facebook page gives little away. I couldn’t even find out where they’re based, which gives them an air of mystery aura, even though I can’t imagine why they’d want it. However, as usual it’s the music that’s the important thing and these guys are certainly rockin’ in the right direction! On first listen, I was immediately thinking of the Supersuckers, and they’re definitely in the same rock-space, although as you continue through the tracks you’ll probably also hear hints of Turbonegro, The Hellacoptors and older bands like AC/DC, Lynyrd Skynyrd and the MC5. This is a band who aren’t afraid to make the most of their influences, be they Hard rock, Country or Blues, and whilst the results lean towards the heavier side of music, they’re not afraid to add some truly infectious melodies along the way. With an impressive, loud production, this set of songs come across like fist-waving stadium-anthems, but you know their true home is in a sweaty, beer-soaked bar. Let’s hope we get a chance to see them in an appropriate venue soon.

THE DICKIES. Blink 183 7” (Cleopatra) I’m a little bit late with this review, but I had to wait for the imports to turn up and apparently it was sent via Kon-Tiki deliveries… But it arrived, it’s The Dickies and it’s great! I’ve loved this band ever since I heard John Peel play ‘Eve of Destruction’ on the radio. At that point in time, I thought it was the fastest song ever, but it was also the bands’ witty lyrics and melodic abilities that drew me in. How could anyone not love The Dickies? Of course, over the years, their fortunes floundered but I can honestly say that they’ve never released a record that I haven’t enjoyed and I’ve never seen them play a bad gig. They deserve so much more credit… I mean, both Joey and Johnny Ramone were big fans of The Dickies, one of the few things they ever agreed on! Anyway….the two tracks featured on this green-vinyl-frisbee (‘Clean Money’ on the b-side) are both previously unreleased. ‘Blink 183’ was originally intended for a compilation album on Fat records but Fat ’Phoney’ Mike didn’t have a sense of humour, while ‘Clean Money’ (an Elvis Costello tune) was tentatively recorded for the ‘All This and Puppet Stew’ LP but didn’t make the final cut. Both songs sound great to me and I’m sure any Dickies fan will love ‘em. Perhaps we’ll even hear them live, one day…

DOUBLE FISTED. Six Sick Six Pack of Slimy Southern Fried Sorry Assed Sickness CD (Records With Attitude) Double Fisted are a two-piece band from Arizona who have individually been involved with punk rock for some time. They somehow manage to deliver a full guitar / bass / drums set-up through some sort of technical-trickery (an octave-splitter?) Whatever that is, it works really well, as this release attests. They play loud, fast punk with some metallic / rock undertones, but all done with the right attitude, eg, noise before pretence! It’s all about the energy, you see, and these guys have plenty of it. That’s not to say that they’re not talented, but they just don’t bother with anything that doesn’t need to be there. This mini-album (six tracks) delivers everything you need to know about them. Play it loud and…ahh, just play it loud, that’ll be enough!

DRAGGED UP. Hex Domestic EP (Cruel Nature) This is the first time I’ve heard this Glaswegian band and it’s a pretty interesting introduction. My initial impression had me recalling bands from the Eighties like the Folk Devils and The Creepers, although there seems to be some Sixties Garage and maybe even some hints of stripped-down Country music. After a few more listens I also started to think of The Raincoats, so you should get an idea of the range of influences that this band are delving in to. Just as you’re getting to grips with their unconventional style, the final track, ‘Blaming the Weather’, takes an even more unexpected turn, delivering a spoken narrative recorded over a soundtrack-like musical backing. It works well, adding further dimension to the EP and adding to the intrigue. The more you hear these songs, the more you get drawn-in. I will definitely be looking-out for more releases from this band.

ELLI de MON. Pagan Blues CD (Area Pirata) Based in Vicenza (Northern Italy), Elli de Mon made a notable mark on the international Blues/Rock scene with her first album on Area Pirata, ‘Countin’ the Blues’, including an invite to record a session for BBC Radio. ‘Pagan Blues’ is her follow-up and as soon as you hear the first notes, you’ll know that it more than meets the expectations set by the previous LP. This is a powerful, dynamic album, delving deep into the darker side of the Blues and wallowing in the realms of swamp rock. For comparison, think of The Gun Club or The Scientists in their more sinister, atmospheric moments, or even Nick Cave’s early albums with the Bad Seeds. Perhaps even a few hints of PJ Harvey? The main thing is, instead of laboriously replicating Blues styles (there’s already plenty of others doing that) Elli de Mon makes this music her own, obviously possessing a deep knowledge of original Blues but also unafraid to break with traditions to create her own sounds. The music is truly remarkable, and all the more so when you discover that Elli plays all of the instruments on the album (including several that are not usually associated with this genre.) It’s like Blues reinterpreted via Krautrock and played by a loud, snotty Garage band. Seriously, this is an incredible record and you must hear it. Make an effort to do so as soon as you can!

ERRTH. Control (digital single) https://errthisaband.bandcamp.com/album/control-sleep-all-day New band based in Philadelphia, although the various members have all been busy in the local punk scene before now. They play a raw but melodic, fast but not thrashy, style of punk that immediately had me thinking of West Coast bands like Crimpshrine and JChurch, along with the likes of Dillinger Four and perhaps even some Superchunk. Lots of energy, with two contrasting vocalists working to great effect (especially on the ‘b-side- track, ‘Sleep All Day’.) These are the first songs they’ve released and certainly seem to show a band with lots of potential. Go on, give it a listen!

FAITH NO MORE. Diggin’ the Grave LP (TV Party) Not many Faith No More bootlegs (or official releases, come to that) these days, so this looked interesting. Nice cover featuring the 1995 line-up and subtitled ‘Rare Tracks 1990-95’, so it sounds as if it should be interesting but what you get are various live tracks recorded for TV stations around the world, most of which are probably available on Youtube, meaning that many fans are already going to be familiar with them. That said, the sound quality is generally pretty good and it doesn’t just include ‘the hits’, so it is a pretty enjoyable listen. Just don’t expect it to be full of material that you’ve never heard (or seen) before.

FORD’S FUZZ INFERNO. War, Peace & Fuzz EP (Subunderground) There are very few current bands that are making consistently great records, but Ford’s Fuzz Inferno are here to show that it can be done. Like the early releases from The Briefs, this is a band that seem to be taking influences from so many different directions to create something that’s totally their own. But don’t worry, they’re also intent on sharing their noise with everyone else and it’s genuinely uplifting stuff! This latest EP delivers another four songs that will knock you down faster than Muhammed Ali’s phantom punch. As with their last EP, the style of the new songs is definitely taking a more melodic route, but only in punk rock terms. Think about the chainsaw sound of early Buzzcocks or Swell Maps… great tunes but still too noisy for the average pleb! But that’s what we love, eh kids? We know that the best raw power has refrains you can sing along to. As Ford’s Fuzz Inferno continue to evolve, they’re staying true to their noise-punk roots but are also unafraid to throw some catchy hooks into the chaos. And they’re very good at it! I've heard a rumour that these guys may even be visiting British shores in the near future… If it’s true, do not miss the opportunity to see them. In the meantime, buy all of their records and rediscover the joys of annoying your neighbours !

FRENCH BOUTIK. Ce Je Ne Sais Quoi CD (Static Wax) This is the third album from French Boutik and it’s a highly enjoyable mixture of Sixties-style Mod and Pop, combined with hints of psychedelia and nods towards some of the more stylish movie soundtracks of that era. However, instead of merely embracing nostalgia, French Boutik have a way of bringing it all in to the present day. The band features a mainly French membership, with Anglo-American additions, so most of the songs are sung in French, but when you hear the music it just seems appropriate. They also switch between male and female vocals, which adds to the natural drive of the record, while musically the songs vary from twee, mellow moments to faster, more boisterous numbers that give the album a lively, enjoyable momentum. They also include several cover versions (Roxy Music’s ‘More Than This’, Slade’s ‘Mama Weer All Crazee Now’ and The Kinks’ ‘Tired of Waiting For You’) but treat them in a way that effectively claim them as their own. The Slade song, in particular, drops the stompin’ glam sound of the original in favour of an upbeat, almost jazzy lounge style. I know this isn’t going to appeal to everyone, but play it in the right place at the right time and I’m sure you’ll end up with a smile on your face.

GELTAB. GelTab LP (CIA Records) GelTab is a Houston based project and apart from occasional vocals (courtesy of Erin Dance) is entirely put together by Scott Ayers. He was previously a member of the highly-regarded band Pain Teens and more recently has been involved with Anarchitex (also on the CIA label.) What makes this album so intriguing is that Scott has a grasp of both primal musical energy and technical ability. As such, the music on this album easily veers between styles, from hard industrial rhythms through to space-rock / psychedelic freak-outs and even slower soundtrack-like atmospherics. The addition of Erin’s vocals on three of the tracks provides an almost Cocteau Twins sound to the proceedings, but the remarkable thing is the way that the song all complement each other in such an effective, organic way. As I’ve previously said, it’s easy to make ‘extreme’ or ‘avant garde’ music that will only ever appeal to a handful of people, but to create something that’s genuinely experimental and could also appeal to a much wider audience is rather more difficult. Not that I’m saying this album is going to be embraced by the mainstream, but the variety of styles and sounds on this record could certainly pique the interest of a lot more people than you might initially think. It’s a interesting and enjoyable record and deserves to be heard.

GREAT FALLS. Objects Without Pain. CD (Neurot) Great Falls come from Seattle but have little in common with the kind of sounds that their hometown is most famous for. If anything, they’re more in line with the sort of bands that used to be released on the Amphetamine Reptile label. Great Falls specialise in huge, aggressive slabs of guitar based noise, with the drumbeats fighting to be maintain their place and the vocals screamed like a man desperately trying to keep his head above water. As you can probably imagine, this ain’t easy listening! Apart from gentler sounds in between the tracks (which actually have a rather sinister effect) this is a pretty relentless assault on the senses, recalling Swans (‘Cop’ era) The Melvins and maybe even No Trend. It’s very powerful, although at the same time I can’t imagine anyone wanting to listen to this on a regular basis. But if you’re genuinely interested in the more extreme edges of music, this is something you will need to hear.

THE GREAT LIE. Vertigo EP (https://thegreatlie.bandcamp.com/album/vertigo) Featuring former members of Madball and Mind Over Matter, this new band delve back into the early days of New York Hardcore, rather than the more metal-influenced bands that you usually find these days. It’s fast- paced but not afraid to switch tempo’s around for a for more effective result. Funnily enough, I can hear some hints of Voivod in their sound, when that band moved away from their early metal style into a more experimental, psych-influenced zone. This EP delivers six tracks and whilst they never lose the brutal intensity of classic NYHC, the production and arrangements offer so much more to the listener. This is an impressive debut and, if it’s an indication of what’s still to come, I think we can expect great things from this band.

THE HEAT INC. Asleep in the Ejector Seat CD (Punk Fox) Sometimes, coincidences just kind of happen. A few weeks ago I saw Generation Sex, who feature two of the Sex Pistols (Cook & Jones) and two of Generation X (Idol and James) in their ranks. Around the same time I also heard this album for the first time and my initial thoughts were that, musically, it reminds me of The Professionals with a harder rock production, whilst singer Jon Dodd has a vocal style that recalls Billy Idol at that crossover point between Gen X and his solo career. I don’t mean that he particularly sounds like Billy, but that he has a similar way of phrasing his vocals, which works pretty well for him. Overall, this is a band that are mostly going to appeal to hard rock fans (it’s not really metal) but at the same they have an anthemic Punk sound that will have audiences punching their fists in the air, while they also have a strong sense of melody in their riffs that’s not too far removed from the more boisterous purveyors of powerpop. It’s this which give their songs a great catchy style that would not sound out of place on the radio waves. The production sounds huge, loud guitars and drums dominating, but there’s also plenty of space and clarity for the vocals. If they get the right exposure to the more discerning ears of the nation, it’s really not too far-fetched to say that they could soon become a big-draw on the live circuit, with the record charts theirs for the taking. Be sure to hear this album sure, as close to maximum volume as is possible.

JJ & THE REAL JERKS. Lost Souls Pub CD (Rum Bar) Based in Los Angeles, this band have been around since 2009 and have released various albums and singles on numerous labels. This collection of songs serves as a great introduction to their raucous punk rock’n’roll power pop, presenting insistent tracks from previous albums ‘Mess You Up’ and ‘Back to the Bottom’ and other sources There’s a real swagger to the tunes, hurtling through you Hi-fi with equal parts New York Dolls, MC5, Dead Boys and more than a fewhints of Turbonegro (‘Apocalypse Dudes’ era) along the way. If this sampler doesn’t pique your interest in this band, then you just haven’t been listening properly. Scrub out your ears and play it louder. No excuses, play it again and love it to death!

JJ & THE REAL JERKS. Rat Beach CD (Rum Bar) Brand new album from this LA-based band, delivering a great, raucous guitar sound. This is a rock’n’roll band in the same spirit as original Australian punks like Radio Birdman and The Saints, American bands like the Weirdos or Dead Boys, plus a big chunk of UK77 punk for good measure. But the thing that really makes it work are the catchy hooks and melodies that, like the Ramones and Buzzcocks before them, demand your attention without dampening the raw energy and attitude of the music. If the world was a better place, bands like these would be on the radio day and night. Unfortunately, that ain’t the case, so track down this album and play it for yourself.

JOHNNY MOPED. Hard Lovin’ Man (live) 7” (Damaged Goods) The announcement of Jordan Mooney’s passing in early 2022 came as a surprise to many. As well as being a true icon of the Punk scene, she was also a lovely person and someone that will be greatly missed. A few months later, a Memorial concert was held in Brighton, featuring many of the bands that she enjoyed, both young and old. It’s also fitting that this single, featuring her friends from the Johnny Moped band, has been released as a further tribute, with proceeds being donated to one of her favourite charities. Purely from a musical level, the record features blistering live versions of ‘Hard Lovin’ Man’ and ‘Something Else’, with Captain Sensible rejoining the band on guitar. Just like the Memorial gig itself, you know this is going to be great fun and it’s the best way to honour a true legend. So raise your glasses… Good on you, Jordan!

JONATHAN POSTAL. All the Boys on St. Marks Place CD (Liberation Hall) Having grown-up in New York, Jonathan Postal relocated to San Francisco in the late Seventies to study photography. However, he also became involved with the local music scene, fronting a band called The Readymades. They released two singles during their career and earned a loyal following in San Francisco but never managed to develop interest further afield. In 2021, Liberation Hall released ‘More Live Than Not’, a collection of their songs that included the original singles as well as previously unreleased live recordings. Interest was piqued and led to this second collection, which features the remaining studio recordings by The Readymades plus tracks recorded by Jonathan after he returned to New York and formed his subsequent bands, The Odds and The Gift. The musical style, a mix of West Coast powerpop and New York new wave, remains pretty consistent through-out the album (Jonathan was the sole songwriter in all three bands) so this compilation works well as a solid album, despite the recordings being made at different times with different line-ups. If you were ever a fan of The Nerves, The Modern Lovers or early Television, then this is an album that you really ought to check-out.

THE KINGSNAKES. Live at the Old Waldorf CD (Liberation Hall) Although described as a rockabilly band (and undoubtedly highly adept in that genre) The Kingsnakes also delved into Blues and R’n’B, making them an all-round rockin’ band. In fact, had they been in and around London five years earlier, I’m sure they would have been a major draw on the Pub Rock circuit. Instead, they were formed in San Francisco during the late Seventies by a French immigrant who worked as a roadie for the Flamin’ Groovies. Hooking up with the Groovies former drummer, Danny Mihm, they decided that they wanted a band that would be inspired by the roots of rock’n’roll. Pursuing their vision with a reckless, punk attitude, they quickly got themselves banned from various clubs, although many changed their minds when they realised how popular the band was becoming, In 1982, they relocated to Europe and released their first album on New Rose records. It was met with a positive response and they went on to record a second LP, ‘Roundtrip Ticket’ in 1985, but by then the personnel of the band had changed considerably. They would continue for some time after this and release further albums, but this album captures the original band in their early days, combining their influences to create an authentic rockin’ sound which would have stolen the show had it been featured on the Blues Brothers soundtrack. The live show is obviously the thing that they were most focused upon, but just as a bonus, the end of the album features two previously unreleased studio tracks from 1988 and 2011. This album will be a treat for any old fans and an eye-opener for new listeners intrigued with bands that were able to hold their own alongside the punks!

KLEISTWAHR. Don’t Let Go CD (Fourth Dimension) Subtitled ‘Complete Kleistwahr 1982-1986’, this is exactly what you get! When Gary Mundy first established the legendary ‘Broken Flag’ label, he wanted to release several cassettes in quick succession to establish the name. As a member of Ramleh he had recently completed work on their first cassette release and decided to use the same equipment and recording gear to produce his first solo project. The ensuing debut, ‘Myth’, was released in 1982 and presented genuinely startling results. Heard in retrospect, this is vintage power electronics, using noise and distortion to create an arrhythmic wall of sound which resonates through your body, both physically and emotionally. The second cassette, ‘Arsonicide’, appeared later in the same year and featured a sparser sound, perhaps more in line with early Whitehouse, but still very powerful. Vocals were also more prominent, albeit distorted to near incomprehension. The second disk in this set contains the tracks from the ‘Mobility’(1983) and ‘Do Not’ (1986) cassettes (both of which were recently reissued on vinyl for the first time.) ‘Mobility’, whilst still rooted in the power-electronics scene, is a step forward from its’ predecessors, still featuring distortion and feedback but also using more complex manipulation and arrangement of sounds There was an almost three year gap before ‘Do Not’ appeared but in many ways it was a natural follow-on from ‘Mobility’, making much more use of found-sounds and tape loops to create an effective and unsettling soundscape. In many ways, this album pointed the way towards the future use of samplers, even though in the vast majority of cases they’d be used for much less interesting purposes. Overall, this CD presents the early years of Kleistwahr, from their more primitive inception through to the development and expansion of ideas that would eventually culminate in the re-establishment of the project in 2009. If you’re interested in the original industrial / electronic scene, or if you’re a fan of the more recent Kleistwahr albums, then this CD collection is something that you really need to investigate.

THE LEMON DROP GANG. Johnny is a Jerk EP (Rum Bar) All the way from the sunny climes of Tuscon, Arizona, The Lemon Drop Gang are certainly more on the ‘pop’ side of powerpop, but when they’ve got songs as cute’n’catchy as this, it isn’t going to be a problem. Think of The Bangles (when they were still ‘The Bangs’) early Pandora’s or maybe even Josie Cotton. Steph O’Halloran’s vocals have the perfect tough / sweet balance, recalling the legendary Ronnie Spector and other greats from the Sixties girl bands, while the band deliver some infectious jangling guiter sounds. It’s totally credible and highly entertaining at the same time. Don’t miss it!

THE LLOYDS. Attitude Check CD (Liberation Hall) The Lloyds were a San Francisco based New Wave / Powerpop band who were active between 1979-84. Fronted by the talented Lulu Lewis, the band specialised in catchy, uncomplicated songs like ‘And That’s Why I Don’t Like You’ and ‘Lovesick’, with witty lyrics that wouldn’t have been out of place on the first two GoGo’s albums. Lulu’s voice had a range somewhere in between Ronnie Spector and Josie Cotton, which really adds character to the songs in a way which would have made them perfect for inclusion on the soundtrack of a John Hughes movie. Songs like ‘Nothing in Return’ recall early Blondie, ‘Boy’s Life’ sounds like Bowwowwow in their more radio-friendly moments, while ‘Rock’n’Roll Made Me What I Am Today’ is a great pop-rocker (and was later recorded by Lita Ford, among others…) Unsurprisingly, they quickly built-up a strong following in their hometown and elsewhere on the West Coast, but a suitable record deal never came their way (in fact, they only released one record during their career, the ‘Attitude Check’ EP in 1984.) This CD is based on a previous vinyl-only compilation (‘Let’s Go Lloyds’) which appeared a couple of years ago, but now includes an additional seven previously-unreleased tracks recorded at the Old Waldorf in San Francisco in 1980. It’s great fun (I mean, who can resist a smile for a song called ‘The Tallahassee Vacuum Cleaner Massacre’ ?) and when you hear these songs you really will be stunned that the band never achieved a major record deal. At least this collection will help to ensure that their legacy will remain for future fans. Enjoy it now!

MARTIN DENNY. Deep Exotica CD (Righteous) Hot on the heels of the excellent compilation of Arthur Lyman’s music comes this collection of tracks by the equally-entertaining Martin Denny. Originally trained as a classical pianist, he became part of the Don Dean Orchestra but it wasn’t until the 1930’s when he first became infatuated with Latin rhythms. He began to collect ethnic instruments from around the world, and after World War Two got the opportunity to form his own group in Honolulu. It was this move that was really the birth of ‘exotica’ music, as Denny toured around mainland USA and made his home in Hawaii. Arthur Lyman was also an integral part of Denny’s early combo, although he would leave to pursue his own musical ideas after a short time (following this, Denny and Lyman refused to speak to each other for many years, but eventually made-up and even played together again during the Nineties.) The music was highly popular for some time in America, combining Latin, Polynesian and Lounge styles, as well as incorporating animal and bird calls to replicate tropical beach atmosphere. In more recent times, his music has been embraced by fans of retro Tiki culture, which in turn has crossed over to fans of Rockabilly, Lounge, Jazz and even experimental music genres. Denny was a prolific artist and a master of intriguing arrangements, which seemingly sit in the background but also have so much going on to ensure that your attention never strays. This double CD set features four of his original albums (the first three volumes of ‘Exotica’ and ‘Quiet Village’) additional bonus tracks and an appropriately colourful booklet featuring sleeve notes and track details. It looks good and sounds even better! Thoroughly enjoyable… check this out as soon as you can!

THE MELVINS. At The Stake CD boxset (Cherry Red) There’s really no excuse if you haven’t heard The Melvins by this point. Not only do they tour around the world on a fairly regular basis, their record release schedule can only be described as prolific, with new product appearing pretty much every time you check your local record shop. This boxset features the three albums they released between 1993-96 on the Atlantic label, ‘Houdini’, ‘Stoner Witch’ and ‘Stag’. Having been an established band on the independent scene, it came as a surprise to some fans when The Melvins signed to such a big label, but in many ways it made sense. The ‘grunge’ scene was very popular at the time and The Melvins were one of the bands most regularly cited as a major influence, so it’s not so unlikely that major labels would start waving their cheque-books. At the same time, the band had never professed undying loyalty to the indie-scene, so it wasn’t as if they were going back on their word when they signed the new contract. To be honest, the move to Atlantic seemed to suit them. A bigger budget allowed them to produce albums that sounded great and at the same time, maintained their spirit of experimentation within the hard rock genre. None of these albums could be accused of ‘selling-out’ or being watered-down for a mainstream audience and, in fact, many fans consider these albums to be amongst their best. ‘Houdini’ and ‘Stag’ even reached the Billboard charts, which had not previously been a real possibility Despite this, the band were dropped by Atlantic, but I doubt they lost too much sleep over it and just continued being The Melvins. Whether you’re a dedicated fan or follow the band on a less fanatical basis, this boxset is something that you ought to be checking out. It includes a full-colour 16 page booklet, containing sleeve notes and artwork, whilst the individual albums also feature bonus tracks from the same era. In particular, ‘Houdini’ includes covers of the MC5’s ‘Rocket Reducer’ and The Germs’ ‘Lexicon Devil’, while ‘Stag’ has a cover of ‘Interstellar Overdrive’. The Melvins have taken the spirit of early Seventies hard rock and found a way to keep it moving forward. Listen to this set and hear the sound of a band making the most of their surroundings.

NAILBOMB. 1000% Hate. Deluxe CD (Dissonance) Nailbomb was a short-lived buthighly-popular side-project formed by Max Cavalera (Sepultura etc) and Alex Newport (Fudge Tunnel) in 1994. Based on their mutual admiration of bands like Killing Joke, Godflesh and Ministry, the resulting album was a brutal piece of Hard Rock infused with the attitude and approach of Punk’s most apocalyptic visionaries (Discharge, Antisect, Crucifix.) To complete the album they drafted-in additional members of Sepultura and Fear Factory, a combination that would deliver an incredibly powerful recording. Interest in the band quickly grew and led to their appearance at the 1995 Dynamo Festival in Holland. It’s the recording of this legendary set that forms the second disc in this set, aptly named ‘Proud to Commit Commercial Suicide’. As you’ll hear, their live appearance, which featured guest musicians Rhys Fulber (Frontline Assembly) Evan Seinfeld (Biohazard) and DH Peligro (Dead Kennedys) was another blistering success which proved that Nailbomb was no mere studio-project (they even included covers of songs by the Dead Kennedys and Doom as a special treat!) But, in much the same way that Howard Hughes flew his infamous ‘Spruce Goose’ only once to prove his point, Nailbomb played this monumental set to rapturous applause and then immediately disbanded. Many groups reach a mythical status by making great records and then ending their career early, so that future fans never get a chance to see them. But how many of those reputations are only ‘myths’? At least with this reissue, you can hear that Nailbomb totally live-up to expectations. Trust me, this is a record that demands to be heard!

NO ALTERNATIVE. Live at Mabuhay Gardens. CD (Liberation Hall) Formed in San Francisco during 1978, No Alternative were a groundbreaking band who combined early punk rock with occasional rockabilly rhythms to forge their own sound. The original band only lasted as far as 1982, playing alongside the likes of The Germs, Flipper, DOA and Black Flag during that time as well as building-up a following of their own. However, they only managed to record and release a handful of tracks before splitting (The ‘Backtracks’ 7” and one track of the ‘SF Underground’ EP) so fans of the early SF punk scene have had to be content with the retrospective collections which have appeared over the years. This latest offering is mostly made-up from a live recording made in 1980, although it also includes two previously unreleased studio recordings recorded in 1980 and 1982. The sound quality is good throughout and the live material really picks up the energy and momentum of the band as they hurl themselves through their set. The songs are mostly originals, although they do include a frantic cover of the Johnny Cash classic ‘Folsom Prison Blues’ and a version of ‘Be Bop a Lula’ that seems to borrow elements from ‘Human Fly’! Of the studio tracks, ‘Witch Doctor’ is a slow-paced, almost menacing rockabilly number (another nod towards The Cramps, I’d say) while ‘Working Class Boy’ is a fast, feisty punk rocker that wouldn’t have been out of place on early Social Distortion records. The good news is that, after occasional reunions over the decades, the band are together again and playing a few gigs this year, so perhaps we’ll get a chance to see them live? In the meantime, this album will give you a good idea of what we’ve been missing.

THE OXYS. Generation Irrelevant LP (Dead Beat) Less than a year since their debut album, ‘A Date with The Oxys’, nearly blew my head off, this Austin, Texas band are back with another record that takes their musical character even further, blasting its’ way through your speakers like an ape with a shotgun! Featuring musicians who have previously played with Cheetah Chrome, the Dead Boys and Sylvain Sylvain, this is a band that isn’t messing around. The songs are short, sharp and rockin’, with a huge sound that cuts out anything unnecessary but turns-up the volume on every hard-hitting chord and beat. It’s like the New York Dolls on an adrenaline-overdose, or Iggy & the Stooges borrowing melodic hooks from The Ramones. Yup, it really is that good! This is a band formed around the very best rock’n’roll influences, with a real knack of putting it all together in their very own way. They keep up a furious, insistent pace all through the album until the final track, ‘Screaming in Silence’, which ends the album at a slower tempo but maintains the power-levels with a sound that recalls the Alice Cooper band at their best. You really won’t want to miss this album and I can pretty-much guarantee that just one play will have you hooked. I’m just hoping we get a chance to see this band live!

THE POPEBOY COLLECTIVE. Hive Mind CD (CIA Records) This is the second album from The Popeboy Collective, an experimental group who include (amongst others) former members of Culturcide and Really Red. I enjoyed their first album (‘Cautionary Tales’) but this one seems to be more focused and purposeful. It’s not exactly a ‘concept album’ but musically and lyrically the individual tracks seem to come together as one solid piece. The songs often have a dark, brooding atmosphere and the overall sound is often quite unsettling, but there are also steady rhythms and melodic hooks that will draw you into the music. Mary McGee’s vocals add a real sense of character to the proceeding in the way that she delivers the different lyrics from song-to-song, as befits the subjects. On ‘Metaphor of Love’, the blunt lyrical themes are presented in a rant-like style reminiscent of Lydia Lunch’s more aggressive spoken word performances, before it transforms into a distorted, almost Resident-like style. The following track, ‘Bad Seed’ is sung in a more conventional, Bluesy manner, while the next song, ‘Aura’, is spoken in a calm, narrative fashion. This is a great album but it’s not for the faint-hearted or those without an open-mind. If you’re someone who is happy to hear creative but also quite challenging music, then this is something you’re highly likely to enjoy.

POPINCOURT. We Were Bound to Meet CD (Milano) I was sent a download of this album and wasn’t really sure what to expect, but I soon found myself enjoying it. Popincourt delivers a set of Sixties-style French pop songs, full of catchy melodies, uplifting harmonies and understated drama. The production is exactly what these songs deserve, with daydreams on a warm Summers’ day. Although the music seems to directed mainly by Popincourt himself, other contributors also make their mark on the album, most notably Gabriela Giacoman (from the band ‘French Boutik’) who provides perfect backing vocals throughout the album. The songs include hints of Jazz, Soul and Lounge music, like a soundtrack for some long-lost romantic art-house movie. I can’t say this will appeal to everyone, but if you’re a fan of the original Mod scene and find yourself in a mellow mood, then this is probably the album you should be listening to.

POUND-LAND. Violence cassette/digital (Cruel Nature) Manchester-based noise-band who specialise in effective repetitive rhythms, over which the vocals are either screamed or snarled. The lyrics seem to cover a similar area as Sleaford Mods, documenting the decline and fall of the UK at the hands of the rich, greedy and self-entitled. It’s good to hear such anger and vitriol coming from a young band, because it’s their future that’s being destroyed. The sound they create is like Flipper at their darkest, mixed with the most discordant moments from the Crass archives and legendary DIY stalwarts like Headbutt and The London Dirthole Company. The overall effect is rather relentless but if you focus-in to the grooves, you’ll soon find yourself hooked on the delivery. It’s not for everyone, but as a response to the world around us, this is perfect.

REASON TO LEAVE, Rise and Grind EP (Horn and Hoof) This is good! A six-track EP (available digitally or on CD) by a relatively new band that hail from the unlikely location of Bolton. They play late-Eighties / early Nineties style Skate Punk (think of bands like SNFU or RKL) that’s fast and energetic, but never veering into thrash-territory and never short of a catchy melody. There are a few metallic ingredients involved in the mix but the band don’t allow them to dominate proceedings and balance them well with vocal harmonies and insistent musical hooks. The songs are also arranged in a continuous style, with occasional links between them, making it something that you’ll want to hear all the way through rather than just picking individual tracks. Definitely a band to watch-out for… https://hornhoofrecords.bandcamp.com/album/rise-and-grind

THE RESIDENTS. Not Available (pREServed) LP (Cherry Red / Ralph) The tale behind this album is an odd one, even by The Residents’ standards. According to the Official History (which is the 0only one we should believe) it was recorded in 1974 (which would have made it their second album) but, as they were adhering to the Theory of Obscurity (as established by their friend and mentor, the Mysterious N Senada) it could not be made public until the band had completely forgotten about it. The concept was that, with no pressure or expectations from a potential audience, an artist would be able to create something entirely true to their personal vision. Of course, adding to the mythology of this album, others have suggested different reasons as to why the album remained unreleased until 1978, but the Official History is the only one we should really consider. Musically, the album has a more regular structure (again, by Residents’ standards) similar to a film noir soundtrack (indeed some of this was used for their unfinished ‘Vileness Fats’ movie) rather than either ‘Meet the Residents’ or ‘Third Reich’n’Roll’, so it probably sits more comfortably between the later albums ‘Fingerprince’ and ‘Eskimo’. Tracks like ‘Edweena’ and ‘Ship’s a-Going Down’ are thoughtful and emotive, suggesting more personal involvement from the individual eyeballs, perhaps, while the overall effect has intriguing filmic qualities. For this pREServed edition, a second album has been included featuring ‘X is for Xtra – A Conclusion’ (apparently the original working title for the album.) This features the original, bare bones recordings from 1974 which were the basis for the completed album, offering a glimpse in to The Residents’ constructive processes at that time. Additionally, there’s also a large 4-page booklet featuring artwork and sleeve-notes to further enhance your experience of the record. ‘Not Available’ remains one of the most notable albums in the Residents’ back catalogue and, whilst hardly mainstream material, remains surprisingly accessible. Not only is it Buy or Die, but also Buy & Enjoy!

REVEREND BEAT-MAN & IZOBEL GARCIA. Baile Bruja Muerte LP (Voodoo Rhythm) Originally released in 2019, this album is now up to its’ third repress, having already proved itself popular with punters of discerning taste. You know all those boy-girl duos that have been making a mark in recent times (from White Stripes through to The Courettes?) Well, not to knock what they’ve been doing, but this album just blows them away! With plenty of fuzzed-up guitar and stripped-down beats from The Rev, this sounds like the kind of crazed-album that Lux & Ivy would’ve put together had they ever decided to dispense with the rest of the band and headed into a studio with a healthy stock of tequila. There’s a well-balanced share of the vocals between Izobel’s sultry voice and The Rev’s more demented delivery, whilst squeaky keyboards sneak in to the mix at appropriate times. Whilst most of the songs are originals, there are a few covers included, like The Doors’ ‘Love Me Two Times’. But the real moment of genius comes with the raw, nightmarish Blues version of the Venom classic, ‘Black Metal’. I love the original and would have hated to hear a bad version or, worst still, a novelty version, but the way The Rev handles this works perfectly, taking it all back to the music and legend of Robert Johnson. It’s almost worth hearing this album just for this track, but truth is, it’s all great and you won’t want to miss a single track. Get yourself a copy from this latest repress and prepare to be impressed!

RITES. No Change Without Me CD (Engineer) Rites are a five piece band from the Netherlands. They play a strong style of punk/hardcore fronted by powerful female vocals. Their songs are uptempo without getting thrashy, which allows plenty of room for melodic hooks and catchy tunes without losing any of their energy. I’d guess that they have a really broad range of influences and are not interested in sticking to any already-established style or genre, instead opting for their own sound. Whatever the case, it works really well and this is a really enthralling album. The production is loud but also has plenty of clarity so that you can pick out the more subtle elements within their music. The lyrics deal with many different subjects, some more direct than others but always avoiding mere sloganeering, giving the listeners a chance to address the issues for themselves. I wasn’t able to find much information about the band, online or elsewhere, but I will be keeping my eyes and ears open for future releases and my fingers crossed that they come to play in the UK soon!

RIVERSIDE ODDS. Punching Above Our Weight CD (https://riversideodds.bandcamp.com/) Pennsylvanian band delivering an album of abrasive, edgy songs that mix mid-paced punk with snarling, hard rock’n’roll and the nastier end of pub rock… Consider what would have happened had Lemmy joined Dr Feelgood back in 1975? More than a few comparisons with the early (Bon Scott era) AC/DC, plus nods towards the likes of The Mentors (without the dumb-ass lyrics) and Antiseen. Or perhaps imagine the Supersuckers with less Country and more Motorhead? Not bad at all… and I’d bet they’re even better live!

SID VICIOUS. My Way 7” (Cleopatra) Hmm… This was advertised as a recording of Sid with Rat Scabies, also including an unreleased track called ‘It’s Shit’ on the b-side. As you probably already know, Rat played a one-off gig with Sid, alongside Glen Matlock and Steve New) as part of the Vicious White Kids, so the advert (not by Cleopatra) seemed to suggest this was something recorded during the rehearsals for that gig. It isn’t. The a-side is Rat playing with a different guitarist and bassist, presumably quite recently, mixed with an original vocal track by Sid. No info on the single where Sid’s vocals were recorded, but certainly not with the backing band featured here. The b-side features Rat, the same guitarist and a different bass player, but in this instance, Sid’s vocals are basically sound-bytes taken from an interview… With all that said, this isn’t a terrible record. The a-side features a more-than competent band and a vocal from Sid that shows that he could actually handle the vocals pretty well (certainly better than playing the bass) and if it had been made clear where the recordings were made, I would’ve had no objections, but considering the cost of this import, just be careful of what you’re buying.

SLIP-ONS. Havy Machinery EP (https://slip-ons.bandcamp.com/album/heavy-machinery-ep) Featuring Brock Pytel, formerly of the Doughboys (switching from drums to guitar) and Brian Minato, who previously played bass with Sarah McLachlan, this is a relatively new band in itself and they seem to be going for a sound that recalls the highlights of Soul Asylum, Husker Du, Replacements and maybe even hints of the Afghan Whigs. Evidently, the recording of the EP coincided with several tragic incidents including the loss of friends and collaborators. While this didn’t have a direct impact on the results, it certainly feels as if there was something in the air to bring out the emotions and intent of the songs. No idea if the band have any plans to tour the UK/Europe, but I’d certainly like to see them live. In the meantime, be sure to hear this record.

THE STRANGLERS. Live in Cleveland (Skytrips) Recorded in America around the time that ‘Black & White’ was released, this captures the Stranglers at their best, with the primal energy of their early albums still intact but with the more creative ideas of the ensuing albums now coming into play. This recording comes from a WMMS Radio broadcast and has been available on CD before now, although this version has a different setlist, suggesting a different source for this particular bootleg. The sound quality is a bit rough’n’ready at times, but it actually suits the Stranglers’ music, giving you an idea of what it was like at one of their gigs in 1978. Superb versions of ‘Nice’n’Sleazy’, ‘Threatened’, ‘Straighten Out’, ‘Five Minutes’ and ‘Down in the Sewer’ (which sadly fades out at the end…) This is one for the fans, really, but if you’re one of them, you’re going to love it!

TAV FALCO’S PANTHER BURNS. Nashville Sessions LP (ORG Music) Tav Falco originally formed Panther Burns 1979 alongside Alex Chilton, describing their music as ‘art damage’. As it’s developed over the years, it could possibly be compared to a cross between The Gun Club and the Replacements, with a sense of playfulness but also plenty of real intent. They play authentic rock’n’roll with genuine style and swagger, whilst unafraid to delve into other vintage sounds like Blues, Lounge and Jazz. This album was recorded live at Bridgestone Arena Studios for a Sirius XM radio broadcast and features, alongside their own songs, a bunch of well-chosen covers from the likes of the aforementioned Alex Chilton, Jim Reeves and the Honeycombs. The tracks work really well together, presenting a solid, well balanced set which will give you an idea of the range of influences that this combo bring into their own music, from dirty Cramps style rockabilly through to emotive crooning. I can’t claim to be a Tav Falco aficionado, but what I have heard I’ve enjoyed. This album as a great addition to their legacy and may well serve as a good introduction if you have not yet heard them.

TOM ROBINSON BAND. The Albums 1978-79 CD (Anagram) The Tom Robinson Band were not a punk band but shared the same zeitgeist of the era, which bought them to the attention of both mainstream and alternative audiences. This excellent collection gathers together not just their two original albums (‘Power in the Darkness’ and ‘TRB Two’) but also includes all of the non-album singles, demos and live tracks, making it a thorough overview of the bands output. ‘2-4-6-8 Motorway’ was a perfect debut from the band, catchy enough to be played on the radio but also raw enough to appeal to the punks. But as their career moved-on they began to be seen as more of a middle-class ‘student’ band. Their support for Rock Against Racism and other left-wing causes was deemed a bit too trendy and when their second release, the ‘Rising Free’ EP, included the song ‘Glad to be Gay’, it was all a bit too much for many working class kids (even though ‘punk’ was supposed to support individuality and oppose bigotry…) Of course, in hindsight it’s easier to appreciate what the band were doing and although their punk rock credentials weren’t as down-to-earth as some other bands, they were clearly producing songs that they believed-in and, with the single ‘Up Against the Wall’, they released a record that had all the energy and attitude of the very best punk rock anthems (the b-side, ‘I’m Alright Jack’ is another fine song, with lyrics that remain surprisingly relevant…) Their first album, produced by Chris Thomas, had a suitably spiky sound and proved to be a big success, but inevitably this put pressure on the band to follow-up quickly with a second LP. But, as was the case with many other bands at the time, they had been touring continuously and not had sufficient time to write and rehearse new material. On top of this, Chris Thomas was not available for the recordings, so someone made the surprise choice of Todd Rundgren as producer. The results were not ideal, with an overall sound that lacked the energy and momentum of its’ predecessor. Additionally, there were no particularly outstanding songs which would guarantee radio-play, while songwriting contributions from the likes of Peter Gabriel and Elton John didn’t really help their credibility. It wasn’t a bad album and still reached the Top Twenty, but it just didn’t live up to the high expectations that fans had after their debut. Tensions within the band began to boil-over and they split-up soon after the albums’ release What this new collection provides is a perfect way to reassess the band and it’s music. Both albums have been remastered and sound all the better for it. ‘Power in the Darkness’ contains plenty of genuinely great songs and sounds surprisingly powerful, while ‘TRB Two’ also stands up well, especially considering the circumstances in which it was made. For a band that were comparatively short-lived, TRB left a pretty impressive legacy behind that still deserves to be appreciated. If you’ve never heard these records, or haven’t done so for a long time, this is a perfect chance to do so.

U.K.SUBS. The Jet Age 2006-2016 CD boxset (Cherry Red) Celebrating one of the best and most popular line-ups in recent times, this collection gathers together the albums made while Jet Taniguchi was responsible for the guitars, alongside Charlie Harper, Alvin Gibbs and Jamie Oliver. Anyone who saw the band during this period will undoubtedly agree that they were revitalised and just as powerful, if not more so, than any of their earlier line-ups. Jet’s enthusiasm and guitar-style were undeniably a major part of this and, not to put down the band since his departure, he still remains a favourite amongst the fans. ‘Work in Progress’ was released in 2010 and featured a great set of Subs’ songs (‘This Chaos’, co-written by Charlie and Lars Frederickson, is a particular highpoint) and a terrific cover of The Sonics’ ‘Strychnine’. ‘XXIV’, released in 2013, continued in a similar, hard-hitting style, with Alvins’ ‘Coalition Government Blues’ criticising Nick Clegg’s despicable sell-out deal with the Tories (although many of the sentiments remain relevant to our current situation) while ‘Wreckin’ Ball’ delves back into Charlies’ musical roots complete with Bo Diddley-style guitar-twang and some fine harmonica play. ‘Yellow Leader’, from 2015, is the extended version with four extra tracks that were missing from the original release. It veered away from the previous albums, with a slightly cleaner production sound and a more varied selection of songs, but still captures the attitude and intent that are always a part of the bands’ best music. ‘Ziezo’ appeared in 2016 and, as it also marked the bands completion of the alphabet (26 albums titled from A-Z) was meant to be their final recordings. At the time, it certainly seemed to be the band going out with a bang, although further new records have continued to appear occasionally. In any case, ‘Ziezo’ was another fine record and featured an even more varied selection of musical styles and subject matter. Finally, the fifth disk in this set features ‘XXIV Acoustic’, an acoustic set of material that was originally only available with the limited edition version of ‘XXIV’ but features an entirely different selection of songs, including covers of ‘Angel of Eighth Avenue’(Mott the Hoople) and ‘Four Strong Winds’ (a Sixties song later covered by Neil Young.) Again, it’s a great way to hear more of the styles that originally influenced Charlies’ music. Complete with an informative 24 page booklet of sleeve-notes and artwork, this is a perfect collection for anyone who hasn’t heard the Subs in recent times. Play it loud, stand back, and be impressed!

V/A. COMPULSIVE AGITATION EP (Subunderground) Celebrating their tenth release, the excellent Subunderground label unleash an EP featuring not only their own bands (Ford’s Fuzz Inferno and original Dutch punks Waste) but also a trio of contemporary, Dutch/UK punk acts, Rhi & the Relics, Krust Worthy and Scoundrels. The first band (and the only ones to have two songs on this EP) are Krust Worthy, who give us a new track ‘Protect & Serve’ alongside ‘Sab the Hunters’,which has previously appeared on a Hunt Sabs benefit album . ‘Everything is Grey’ by Waste is taken from their excellent ‘The Next Century is Almost Over’ EP and fits perfectly alongside the filth, fury and fun of all the other bands. Scoundrels are a band that were originally active during the Eighties but reformed in 2022 when they realised that their sound and message is vital and valid again. Refer to bands like (early) UK Subs and Anti Pasti for a good comparison. Ford’s Fuzz Inferno (the combo behind this label) deliver a previously unreleased track, ‘A Messed Up Situation’, which will have you thinking ‘why did we have to wait this long to hear such a wonderful / brutal slice of pun k rock noise?’ Rhi & the Relics give us female-fronted punk rock that recalls the best moments of the UK82 scene (think Action Pact and The Violators.) If you want to check out bands that are playing vibrant, real punk rock for all the right reasons, then this EP is going to point you in the right direction. Buy it, play it loud and love it!

V/A. ENGLAND SWINGS (LUX AND IVY DIG THAT UK SOUND) CD (Righteous) The latest in this excellent series of compilations, detailing the different scenes and sounds that informed Lux and Ivy during their tour of duty with The Cramps. As you may gather from the title, this album gathers together some of the more bizarre moments that came out of British pop music during the Fifties and Sixties. There are plenty of well-known names included, alongside the usual selection of worthy obscurities, but we’re still talking about genuinely-intriguing songs rather than just the hits. The album kicks-off with Burt Weedon and although he’s hardly the hippest golden-oldie, his track ‘Fury’ is a fine piece of instrumental proto-Surf rock’n’roll. With that (good) surprise out of the way, you’ll also find plenty of genuinely-decent offerings from the likes of Adam Faith (‘Carve-Up’, which glorifies teenage street-violence years before skinheads or gangster rap even existed…) Alma Cogan, the legendary Joe Meek (a rare ‘solo’ track) The Tornados (a rockin’ instrumental called ‘Jungle Fever’), Dave Clark Five, the Dudley Moore Trio and even The Goons! Trust me, with a selection like this, it’s an album that’s going to keep you hooked! Dudley Moore, apart from being half of the greatest comedy duo of all-time (Derek & Clive!) was also a renowned jazz musician, represented here with the lounge-like ‘Strictly for the Birds’. Elsewhere, the obscurities offer-up goodies like ‘Payroll’ by Reg Owen (somewhere in the realm of ‘Peter Gunn’) ‘Death Valley’ by Charles Blackwell (a fine, moody instrumental) and The Southlanders quirky-pop (‘The Mole in the Hole’) before everything comes to an end with Spike Milligan’s comic-insanity let loose on two Goons-related tracks, ‘My September Love’ and ‘You Gotta Go Oww!’. There’s some truly wonderful music on this album and only the most die-hard cynics or contrarians would try to say otherwise. This is a genuine treat for for your ear-drums!

V/A. FAKES – VOLUME TWO cassette (Drunk Dial) A compilation of real bands playing songs created for fake bands… That is, bands that only existed in movies or TV shows but were ‘responsible’ for some pretty good songs in their own right. Well, the Drunk Dial label has managed to compile 12 bands here, each playing a song from a band that only (originally) existed in a fictional setting. Some of them you’ll recognise, others you won’t, but there’s a lot of fun to be found in these tracks. Of particular note are two songs from The Rutles (‘Cheese and Onion’ by Half Catholic and ‘Number One’ by Matt K.Shrugg) the hardcore classic ‘Fist Fight’ by Crisis of Conformity (recorded by the Lo Fives) and ‘Join the Professionals’ by The Looters (covered by The Dumpies.) It’s also worth noting that, much like Spinal Tap, fictional bands sometimes create such good songs that they eventually become real, as was the case with The Rutles and The Looters (featuring Steve Jones, Paul Cook and Paul Simonon in the film ‘The Fabulous Stains’) who eventually morphed into The Professionals! It all adds to the fun and makes this a worthwhile compilation, so try to check it out.

V/A. GREETINGS FROM DEATH ROW CD (Righteous) Here’s the latest selection of obscure Fifties/Sixties music from the Righteous people, much of which you are unlikely to have heard before. Despite the title, Death Row and Penitentiaries aren’t the presiding theme for these songs, although lyrical they do tend to veer more towards the trashy, B-movie culture of the times (of which, tales of Death Row were an integral part.) Musically, there’s a variety of styles, from primal rock’n’roll through to Country, Blues and novelty pop, but the album actually kicks off with Gene Vincent performing ‘Say Mama’, which sets a high standard for the rest of the collection to aspire to. Fortunately, whoever chose the tracks clearly has good taste, because there’s not a disappointing song on here. Despite the differing styles, the track-list has also been arranged in a way that the songs really compliment each other, making this a great set that you’ll want to hear all the way through. For me, it’s tracks like ‘Live Fast, Love Hard and Die Young’ by Faron Young, ‘Dingy Dong’ by Ed Corey and ‘You’re Gone, I’m Left’ by Tyrone Schmiding that are the real treat, hearing them for the first time and thinking, Why aren’t these songs known by everyone? I’m sure you’ll feel the same way when you hear them. This is a damn fine compilation that deserves your immediate attention.

V/A. MANIFESTATION X (CIA / AWE Records) This compilation is the result of a collaboration between the CIA label (Houston) and AWE records (Portland) featuring artists from as far afield as Australia, London, Berlin and the USA. Some of the contributors are solo artists while others are full groups, providing a wide range of sounds that will certainly keep you interested. Pressed on translucent orange vinyl and housed in a striking gatefold sleeve, it also includes a bonus CD. The music veers between styles whilst all contributors present pieces that endeavour to deliver something unique. That said, the tracks have also been arranged to give a cohesive sense to the album as a whole, ensuring that you’ll want to hear all of it rather than skipping individual tracks (although, I’ve just noticed, each of the available formats have a different running order and the CD / digital versions have extra tracks, so you’ll still have to pay attention!) Most of the music is instrumental and ranges from industrial-drones and dub-like electronica through to space rock and guitar improvisations, but that’s what makes it so exciting. You really don’t know what’s going to happen next but when you get there, you’ll want to know where it goes to. If that makes sense ? The only criticism of the album is that it doesn’t include any information about the artists and, in some cases, I had difficulty even finding info online. But that still doesn’t provide a reason for you not to hear this. If you enjoy music that compels you to have an open-mind, then this is essential listening.

V/A. MORE HALLOWEEN NUGGETS (HAUNTED UNDERGROUND CLASSICS) CD (Rockbeat) During the Sixties, there was a whole genre of trashy horror-based pop songs that sat somewhere in between novelty pop and garage / beat music. The best-known and most successful example was obviously the ‘Monster Mash’, but there were many other less-successful bands and performers that delivered their own (often one-off) contributions to the trend. The lyrics were usually comedic mock-horror rather than being shocking or offensive, with the emphasis always on fun, but to fully appreciate them, you have to put them in the same context as The Munsters, The Addams Family and watching B-movies at the Drive-In (indeed, the tracks on this compilation are interspersed by various obscure film trailers and sound effects.) Although this may all sound a little naff when reading about it, the important thing is that much of the music is actually rather good, veering towards the more underground rock’n’roll styles of the time, from raw R’nB through to Surf and Garage. Featuring songs like ‘The Beast of Sunset Strip’, ‘Tombstone Number 9’ and ‘Dr Spook’ and bands such as The Mystrys, Baron Daemon & The Vampires’ and ‘Frankie Stein and His Ghouls’, you’ll need to appreciate the humour just as much as the music, but once you get in to it, this is a very entertaining album

V/A. Oi! THE SINGLES CD boxset (Captain Oi!) Four disks full of what many would accept as the very best from the original Oi! scene, including releases dating from 1977 through to 1985. Of course, at which point some of these bands became ‘Oi’ rather than ‘Punk’ (or even ‘Pub Rock’) is debatable, but early bands like Cocksparrer, Menace and Slaughter and the Dogs certainly set the template, with Angelic Upstarts and Cockney Rejects following hot on their heels. But it wasn’t until 1981 when bands like The 4 Skins, Blitz and The Business started to establish themselves that ‘Oi!’ began to be seen as a new genre. All of these bands are represented on the first disk, with classic singles like ‘Running Riot’, ‘Where Have All the Boot Boys Gone’, ‘Screwed Up’, ‘Flares’n’Slippers’and ‘Harry May’ still sounding just as vital and exciting as they were forty years ago. The second disk features bands that emerged during 1982, many of which, like Antisocial, The Ejected and Crux, wouldn’t stay around for long but certainly played their part in the ongoing scene. Others, like Red Alert and The Gonads, have continued in different forms over the years and still exist even now. The disk ends with the classic ‘Low Life’ single from The 4 Skins, a genuinely powerful and catchy slice of street punk. Disk Three delves back into the archives again, with more great tracks from Menace, Angelic Upstarts, Cockney Rejects, Blitz and The Business, really showing the way it ought to be done. It’s also important to note that although Oi! was often treated with an air of menace, many of the bands also had a clear sense of humour which can be heard on tracks by Cockney Rejects and The Business among others. The music may have been raw and abrasive, but that didn’t mean that the bands were averse to having some fun! Alongside more tracks from The Crack and The Gonads (eek!) this is possible the best CD in this set. The final disk ends with (several) high notes, including singles from The Business, Cock Sparrer and Case (who mixed Ska and Street Punk to great effect and should have had much more success) as well as all the tracks from the infamous ‘Total Noise’ and ‘Back on the Streets’ EPs. The former included exclusive tracks from The Business, Blitz and Cockney Rejects (who provided the backing for The Gonads track, ‘TNT’ and also appeared incognito as ‘Dead Generation’.) The other EP included lesser known bands like East End Badoes and The Strike, but ironically is best known for another incognito track, ‘I’m Thick’ by Skin Disease. This proved to be none other than Chumbawamba in disguise, but the biggest surprise about it was just how bad it is and how it ever got released. Further singles from the likes of The Oppressed, The Ejected and The Infas (Infa Riot’s new incarnation) complete the mix on this collection. If you want to know what all the fuss was about, you’re unlikely to find a better guide and as usually, a booklet provides all the info and sleeve notes you’ll need to find your way around. Whether hearing these bands for the first time or reliving your long-lost vinyl collection, you’re still going to enjoy this set!