Following our recent feature on The Shockwaves album which was hidden in the vaults for almost thirty years until it was rescued and released by the excellent Trash Wax Records - the label is at it again with another top notch re-issue. Again they have plundered the 1980's underground Garage Rock scene to bring us "How To Fall" by The Charity Case a band formed from the ashes of the heavily-quiffed Klub Foot regulars The Sting-Rays with the addition of the alluring vocalist She Rocola who, according to the Melody Maker in 1988, was the "heart wrenching combination of a singer that sounds like Deborah Harry while looking like Juliette Greco". This collection of long-lost tracks is a real treasure trove of delights that might at first be a surprise to those who were used to The Sting-Rays ultra frenetic mix of Psychobilly and Garage Rock mayhem. On some tracks such as "Victory Gin" there is a slightly off-kilter and occasionally unsettling battle going on between the shards of angular guitar riffing and some quite remarkable drumming that teeters on the edge of control. She's voice can be at once all glacial and Nico-like on "Thank God You're Gone" but then completely thaw out on the warm and soulful "Goodbye To All That", one of the album's highlights for me. A jangling, almost Paisley Underground guitar drives both "Don't Worry" and the superb "How To Fall" along at a fair speed and both are reminiscent of the tuneful and criminally underrated Medway band The Dentists. "Positively Negative" is a great timeless Garage Rocker that sounds as fresh today as it must have done when it was first recorded. I think the joyfully upbeat and catchy "Only Lovers Alive" features She's best vocal performance on the album, she really seems to let loose on this and it would have made a classic 7" single release that's for sure.
Monday, 29 February 2016
The Charity Case "How To Fall" - Another Great "Long-Lost" Album To Be Released on Trash Wax Records
Sunday, 28 February 2016
The Shockwaves "No Way In No Way Out" Album Released on Trash Wax Records Almost 30 Years After Recording!
The Shockwaves "No Way In No Way Out" album has certainly taken some time to finally see the light of day, almost thirty years in fact! After coming to the attention of The Cannibals' Mike Spenser following gigs at his Garage Rock club nights at the much missed Hammersmith Clarendon back in the mid-80's, he invited the band to record an album for his fledgling label Hit Records. Mike booked Cherry Studios and roped in his friend Dave Goodman as producer. Although Goodman might be better known as the engineer who recorded the Sex Pistols early "Never Mind The Bollocks" sessions, apparently The Shockwaves were more impressed by the fact that he had worked with The Sid Presley Experience! Influenced by The Vibes and The Purple Things, The Shockwaves played at venues such as the Clarendon and the Sir George Robey supporting bands like The Guana Batz. Unfortunately, Hit Records folded before Mike could release the album and the band split up amicably soon after. So it seemed that was very much the last we would hear of The Shockwaves, although various band members would go on to be involved with Orbital, Alabama 3, The Shamen and The Dustaphonics amongst others. However, fast forward some thirty years and 80's Garage Trash scene specialists Trash Wax Records contacted the band with an offer to finally release the long-lost album and have put it out as a very limited 250 copies pressing. You can order "No Way In No Way Out" here and check out the comprehensive Shockwaves story at the excellent "Trash, Garage, Garbage & Other Delights" web-site here. "No Way In No Way Out" is a collection of eight manic, wired classic 80's Trash Rock tracks that still sound fresh and exciting today. The songs have more in common with the discordant tones of bands such as Bone Orchard, Gallon Drunk and The Membranes rather than the Punked-up Rock 'n' Roll of the Psychobilly scene or the more traditional 60's Nuggets influenced R'n'B of many of their contemporaries and it's well worth getting hold of.
Mike Spenser is currently hosting Trash Can Radio and you can read tales of The Shockwaves bassist Dan Whaley's interesting and amusing adventures in Rock 'n' Roll at his own Blog here.
Monday, 15 February 2016
|The Everlasting Yeah photographed by Paul Slattery|
Back in 1985 nothing was really grabbing me musically except maybe the Paisley Underground scene and the Garage Rock and Psych revival of bands such as The Prisoners, Hoodoo Gurus, Fuzztones and Playn Jayn etc. There was the “Positive Punk” (oh go on then...Gothic) sounds of The Sisters of Mercy, Flesh For Lulu and Red Lorry Yellow and then a few hard to categorise bands such as Big Audio Dynamite, The Three Johns and Fatima Mansions. So when I heard that the O’Neill brothers, from one of my all time favourite bands The Undertones, were back with a brand new band called That Petrol Emotion I was really excited. I remember getting the single “Keen” with its rather bleak black and grey cover featuring Edvard Munch’s painting “The Scream” on the front. I put it on the record player and placed the needle down gently on the revolving black vinyl. I might well have performed an impromptu impersonation of Munch’s famous distorted face, hands quickly covering my ears as the raw crackling production spat that intense wired riff out of the speakers. The song was out of kilter with the times, bursting with a barely controlled vitriol and it blew me away, I was totally hooked. The Undertones connection was quickly booted into touch – there was no comparison to the over-produced and somewhat disappointing swansong “The Sin of Pride” of a few years earlier. “Keen” was a statement of intent. This is a new band. The past is irrelevant. Then came another blistering single "V2" and the first album "Manic Pop Thrill", which must go down as one of the best debuts of all time and also the most aptly titled!
|Damian O'Neill photographed by Paul Slattery|
Despite four more superb albums and almost cracking the top 40 in 1987 with "Big Decision" and writing countless other classics such as "Swamp", "Hey Venus", "Creeping To The Cross" and "Sensitize" sadly That Petrol Emotion split up in 1994 without really fulfilling their obvious potential. It was a huge blow, after all their last ever studio album "Fireproof" was, in my mind at least, the best thing they had released since "Manic Pop Thrill". It was packed with some of the most stunning songs the band had ever written, I mean just looking at the track listing now there's "Big Human Thing", "Last Of The True Believers", "Infinite Thrill", "Speed Of Light" and the single "Detonate My Dreams" which all showed a band on top form. However, they called it a day and joined my growing list of criminally underrated and unappreciated bands that I always seem to fall in love with. I could rant on about the sordid injustice of the music business and the stifling of originality and individualism but sod it, I despair sometimes. The real kick in the teeth though was despite all that, That Petrol Emotion just wrote perfect Pop music, why weren't they huge...!? Do people have cloth ears…!? So, in the end I was left to mourn another band. But then fast forward to 2008 and there was a glimmer of hope when the band did get back together for a promising and well received reunion. But this proved ultimately short-lived as Seattle based singer Steve Mack couldn't commit long-term due to family and logistical reasons rather than anything musical from what I can gather.
|Raymond Gorman photographed by Paul Slattery|
But then last year out of the blue, just as that debut single "Keen" ripped it all up for me some thirty years earlier, so did my first listen to "Anima Rising" a new album by a band called The Everlasting Yeah who I found out were basically That Petrol Emotion just not quite as I knew them. Other than Steve Mack, who was not involved, here was the line-up from the "Fireproof" album and the reunion shows, Damian O’Neill and Raymond Gorman on guitars, Ciaran McLaughlin on drums and Brendan Kelly on the bass. So, how do you replace Steve Mack’s distinctive vocals and hugely infectious, charismatic energy? Well the answer is you don’t. In a refreshing move The Everlasting Yeah didn’t go out and search for a Steve Mack-alike and decided to carry on as a four piece with Raymond taking on most of the lead vocal duties. The powerful and unfussy production on "Anima Rising", with its timeless sound of crunching guitars, growling bass and brilliantly captured drums, force each individual band member's undoubted talents into the spotlight. Raymond clearly relishes the task of taking on the bulk of the singing but The Everlasting Yeah present a united front and it works perfectly well. Ciaran sings lead vocals on the gorgeous “Everything’s Beautiful” and Damian and Brendan provide sterling backing vocals throughout. It’s these vocal harmonies that elevate the songs to another level and even after first listen they get lodged in your head, quickly becoming as familiar as the hits and classics from the impressive back catalogue of their previous bands.
|Ciaran McLaughlin photographed by Paul Slattery|
I hadn’t looked forward to a gig so much for ages, I was intrigued to see how the band would work on stage and how they would compile a set out of a debut album that after all only consisted of seven songs. First of all it was encouraging to see The Lexington was packed out and positively bristling with anticipation as the band took the stage and kicked off with a new song “Myself When I Am Real” that surfs in on a riff that’s not too dissimilar to the next number the album opener "A Little Bit of Uh-Huh & A Whole Lotta Oh Yeah". It’s this track that could well become the band’s signature tune, a relentlessly upbeat singalong that distills the essence of all that glorious melodic guitar Pop that both That Petrol Emotion and The Undertones specialised in. Standing right at the front of the stage the first thing that hits me is Ciaran’s quite stunning drumming, which is a sight and sound to behold. With his call-centre head mic allowing him to divide his time equally between some impressive vocals and hitting the skins, he is not content to take a back seat. "Hoodlum Angels" is a slow groove riding along on a funky rhythm guitar riff topped off with some marvellous falsetto backing vocals. The band are locked in tight despite not having played a gig in quite some time and just like the album tonight’s sound at The Lexington is spot on, allowing each band member to be heard loud and clear. Another great new song "Whatever You Do Say Nothing" is well received, in fact all the new songs played tonight, the other two being "Dylan 65" and "Hurricane Nation", promise that the follow up to "Anima Rising" is going to be even better and at no point does the audience's attention wander. Thinking about it, all of The Everlasting Yeah's songs are quite cinematic, they are well plotted with interesting diversions and little red herrings thrown in along the way that merge back together with a satisfying pay off. The songs are allowed to breathe with the band allowing things to drop out and slam back in again. On the album there are tracks that stretch over eight, even twelve minutes in length, but don’t worry this is not Prog Rock meandering, far from it, the songs are taut, bristling with inventive guitar passages that develop naturally.
|The Everlasting Yeah photographed by Paul Slattery|
Raymond and Damian complement each other perfectly, trading guitar riffs like Television's Tom Verlaine and Richard Lloyd at their duelling best. Brendan's bass is prominent and impressive and both him and Ciaran power away with an almost Krautrock Motorik groove. They all look startlingly young and cool too, there must surely be some sort of Dorian Gray portrait hanging backstage! There's a definite chemistry between all four band members which is nice to see, they look like they are having a lot of fun and this increases as their confidence grows throughout the evening. "All Around The World" is probably the most immediate song on the album and tonight it's one of my highlights of the set, a classic melodic Garage Rocker which you can hear in Episode 20 of Retrosonic Podcast. The Undertones of course were not afraid to write emotional and heartfelt songs such as "Wednesday Week" and just as The Velvet Underground tempered their noise with tracks such as "Sunday Morning" and "I’ll Be Your Mirror" so That Petrol Emotion released some truly beautiful pieces such as "A Million Miles Away" and "Heartbeat Mosaic" for example. The Everlasting Yeah continue this tradition with “Everything’s Beautiful” sung by Ciaran and it comes over really well live. "New Beat On Shakin' Street" is yet another cracker of a song with it's hook "First is life, second is truth, third is love and fourth is a peaceful heart" that will stick in your head for days to follow. Maybe my only slight gripe of the evening was that I think they should have stuck with ending the set with "Taking That Damn Train Again" as it built to a quite superb crescendo and it would have been a perfect way to end on such a high. But of course the crowd were left baying for more and the band duly obliged by following that with an encore of "The Grind", the album's twelve minute-plus closing track. On record it is a great ending but live I wasn't so sure about it however, what should I have expected, them to come on and do a medley of “Teenage Kicks” and “Big Decision”? No, I don’t really think so! There's no pandering to nostalgia tonight.
|Brendan Kelly photographed by Paul Slattery|
The Everlasting Yeah have an identity of their own, they have distilled all of their influences into a concise and individual sound which is maybe something that That Petrol Emotion struggled to do on occasions. They avoid genres and categories which who knows, may well again hinder them as it did with That Petrol Emotion. However, if there was a genre entitled "Intelligent Positive Guitar Pop with Uplifting and Life Affirming Tunes" then Everlasting Yeah would be leading the movement!
|Damian O'Neill photographed by Paul Slattery|
You can hear "All Around The World" by The Everlasting Yeah in Episode 20 of Retrosonic Podcast and one of our favourite tracks from That Petrol Emotion in Episode 21. There are more photos of the gig over at the Retro Man Blog Facebook page here, just hit "Like", if you are not already following, to access the photo album. Some of Paul Slattery's photographs of The Undertones from back in 1978 can be seen in our feature on the "Good Vibrations" movie in the Blog archive here.
For more info on the band please check out their official The Everlasting Yeah web-site.
Saturday, 13 February 2016
The Galileo 7, The Past Tense, Eight Rounds Rapid & The Superminx '70 at The Fighting Cocks Kingston February 19th
Next Friday, February 19th sees a great line-up of class acts taking the stage at The Fighting Cocks, 56 Old London Road, Kingston-upon-Thames KT2 6QA. All four bands have featured at various Retro Man Blog Gigs and in various episodes of Retrosonic Podcasts over the years, and the good thing is this time round it's not one of our promotions so we can go along, relax and enjoy the show without the stress! So there's The Superminx 70, Eight Rounds Rapid, The Past Tense and The Galileo 7 - all great bands in their own right but to have them all together on the one night is a real treat! For more information please check out the Facebook Event page here. Advance tickets are only £7.00 and can be ordered via the Music Glue link here or on the door for £8.00.
|The Galileo 7 photographed by Paul Slattery|
Headline act The Galileo 7 will release their new single "Cruel Bird" b/w "Nowhere People" on State Records on March 28th. It will be out on limited edition purple 7" vinyl so make sure you get your advance orders in with State Records! We'll be hoping to line up an exclusive play in our next episode of Retrosonic Podcast so keep tuned in to make sure you don't miss out on that!
|The Past Tense photographed by Paul Slattery|
This gig has been organised by The Past Tense and hopefully they can get more gigs of this calibre sorted in the future, so please come along and support live music, it's going to be a great night!
Thursday, 11 February 2016
Heatwave Magazine Issue 2 Launch Party at The Moth Club February 20th with The Anomalys, Human Race & Fuzzy Vox
Heatwave Magazine are organizing a Launch Party at The Moth Club, Valette Street, Hackney, London E9 6NU London on February 20th to coincide with the release of Issue 2. Tickets are £6.00 in advance from this link or £8.00 on the door and you will also get a free copy of the magazine. Apart from the three bands, Heatwave DJ's will be playing a mix of Punk, 60's Soul, Post-Punk and Garage Rock until 1am. So, let's have a look at the three bands on the bill.
THE ANOMALYS (Netherlands)
"Acclaimed as "national heritage" by critics-turned-fans, The Anomalys are truly The Dutch Kings of Rock'n'roll or Slop'n'Drool, as the tequila flows during their devastating live set that must be seen to be fully understood." (Zuma Bookings)
|The Anomalys Photographed at Hipsville 2015 by Paul Slattery|
"Wild, primal, and mere millimeters from becoming completely unhinged, which is exactly how rock’n’roll should be." (www.razorcake.org)
HUMAN RACE (ITALY)
"Having an opportunity to check out Human Race’s release, these guys have 1977 written all over them with hints of Adolescents and Descendents thrown in for good measure. The tracks are explosive and to the point; however, it’s highly addictive. Human Race offers a style of rock ‘n’ roll with which I identify – an “if it ain’t broke, don’t fix it” mentality. Kudos to these dudes for bringing something to the table that’s not trying to reinvent the wheel, so to speak, but is just good rock ‘n’ roll. More of this approach, please." - Justin Crumpton (Heatwave Magazine/Nightmare Boyzz)
FUZZY VOX (FRANCE)
French Garage/Rock band from Paris. They release their new album "No Landing Plan" recorded and mixed in Los Angeles by Andy Brohard & Ryan Castle.
"No Landing Plan" ought to have a disclaimer that warns listeners of the involuntary volatile spasms that follow from listening to the infectious nature of this upbeat poppy garage rock ‘n’ roll. Fuzzy Vox manages to capture a sound that reflects something that borders on rock ‘n’ roll music that is not overplayed. Rather, this group has a garage feeling that is fresh and easily infectious". - Nick Kuzmack (Heatwave Magazine)
Keep a check on the Heatwave Magazine web-site for news on future issues and events.
Tuesday, 9 February 2016
|Lemmy, Copenhagen 1987 photographed by Paul Slattery|
In Episode 21 of Retrosonic Podcast, Steve & Adam are joined by Rock Photographer Paul Slattery to spin and chat about a mix of oldies, new releases and exclusive tracks. Paul explains how Lemmy influenced his choice of career in music photography and he picks his favourite Motörhead track. One of Paul's photos graces the cover of the brand new single from Billy Childish & CTMF so we give that a play and talk about Paul's work with Billy over the years. Staying in the Medway there's the debut single from Graham Day's new outfit The Senior Service and we're still recovering from our sold-out launch party with the band at the Half Moon Putney. Of course we can't avoid the untimely death of David Bowie and we pick a Mod classic from his time with The Lower Third. Along the way we chat about some upcoming gigs by some influential and legendary British R'n'B bands The Pretty Things and The Downliners Sect plus there's the long-awaited return of The Long Ryders. There's a cracking new track from The Rezillos and a classic from That Petrol Emotion. We go all International with The Stompin' Riff Raffs and The Mayflowers from Japan, there's some raw R'n'B from the Loire Valley and Sharpers and an exclusive unreleased track from Brazil's brilliant Autoramas! Oh, and there's a brand new slice of Psycho Rock 'n' Roll from Dick Venom & The Terrortones! Here's the play-list, if you liked the music we played we'd really be pleased if you could take the time to click on the highlighted links to check out more information on the featured bands.
The Senior Service "Depth Charge"
The Downliners Sect "Glendora"
David Bowie & The Lower Third "Can't Help Thinking About Me"
The Pretty Things "Don't Bring Me Down"
The Stompin' Riff Raffs "Linda"
The Mayflowers "Good Times Bad Times"
The Long Ryders "10-5-60"
That Petrol Emotion "Swamp"
The Rezillos "Animal"
Autoramas "Quando A Polícia Chegar"
Sharpers "Hurt By Love"
Motörhead "Leaving Here"
You can now download and/or listen to the episode free of charge from our Retrosonic Podcast Soundcloud site here, subscribe at iTunes or stream at Mixcloud. Otherwise just check this out...
All Photographs Copyright Paul Slattery.
Saturday, 6 February 2016
The Senior Service "Depth Charge" Launch Party with French Boutik and Of Arrowe Hill at The Half Moon January 30th - Paul Slattery Photos
|The Senior Service photographed by Paul Slattery|
Well, I'd just like to start off by saying a huge thank you to the fantastic crowd that turned up on Saturday to witness the first ever live performance of The Senior Service, the gig completely sold out over a week in advance so I, and of course all three bands, really appreciate your superb support. The evening started off with a short sharp set from Of Arrowe Hill whose spiky melodic tunes really went down well. Of Arrowe Hill are a difficult band to categorize but with those insistent melodies, dry Scouse humour and his ever-present Ringo Starr hat, it's not hard to see where singer songwriter (and Rickenbacker guitarist) Adam Easterbrook draws a lot of his influences from. In fact "She Said She Said" from "Revolver" springs to mind as their songs have dreamy harmonies floating over spindly razor sharp guitar riffs. The rhythm section comprises ex-Aardvarks drummer Ian O'Sullivan and bassist Jason Hobart, who both quietly and unobtrusively go about their business, with simple but mightily effective arrangements that allow the songs to shine.
Easterbrook has quite a bit in common with fellow Liverpudlians The Coral and Michael Head from Shack as it is all about the tunes even though they are sometimes half-cloaked in mystery and off-set against some jarring guitar work or the odd Psychedelic passage. Having said that, on "She's Leaving? (No, She's Gone)" it's all thrown into one glorious headlong rush of a Pop song that Chris Difford & Glenn Tilbrook would be proud to call their own. I must confess that I sometimes get a bit frustrated though, as rather like Robert Pollard from Guided By Voices, Adam's songs can sometimes appear to be more like an Artist's preliminary sketch rather than the finished masterpiece that they promise to be. You see, there are very few Of Arrowe Hill songs that even reach the three minute mark. Just when you get a hold of that catchy riff or ear-worm melody the song can sometimes end abrubtly and you just want to hear more of it or see how it will develop. It's not necessarily a bad thing though and I guess that's part of Of Arrowe Hill's quirky but undoubted charm, they cram more into those short precious minutes than most bands manage in an entire career!
|Of Arrowe Hill photographed by Paul Slattery|
|French Boutik by Paul Slattery|
|French Boutik photographed by Paul Slattery|
|Graham Day of The Senior Service photographed by Paul Slattery|
|Wolf of The Senior Service (and Sophia...) photographed by Paul Slattery|
|Jon Barker of The Senior Service photographed by Paul Slattery|
|Darryl Hartley of The Senior Service photographed by Paul Slattery|
|Graham Day of The Senior Service photographed by Paul Slattery|
Wednesday, 3 February 2016
|The Vanjas by Wayne Lundqvist-Ford|
|The Vanjas by Wayne Lundqvist-Ford|
|The Vanjas by Wayne Lundqvist-Ford|
With many thanks to Wayne Lundqvist-Ford for the review and photos. Wayne also does the excellent Ice Cream Man Radio Show on Radio Andra and you can check out the archive of past episodes at his Podomatic web-site here. You can check out our Retrosonic Podcast Episode from a couple of years ago when I spoke to Wayne in Sweden and we played his pick of some of the best International Power Pop bands that had been submitted to his Ice Cream Man Radio Show.