FREE PARTY – Hootananny Brixton, this Sat night:



It’s 11/11 today – that can mean only ONE thing – it’s PAUL RONNEY ANGEL’s Birthday! CLICK HERE to wish him good cheer! (go on he needs it … he’s feeling like shit today, with a fever, but is still in the studio recording tracks for the next album!)

In celebration, we’ll be throwing a FREE PARTY this Saturday at one of our favourite London venues, The HOOTANANNY in Brixton. Come join the fun – THE URBAN VOODOO MACHINE onstage 11:11pm. LADY ANE ANGEL performing her new fire-show and Gypsy Hotel resident dj SCRATCHY on the decks.

DOORS 8:00pm with JC Moody and the Usual Suspects kick-starting the evening.

See you at the bar!

The Urban Voodoo Machine

theurbanvoodoomachine.com | gypsyhotel.co.uk


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East Bay Ray, of Dead Kennedys fame, has entered El Dorado Studios in Los Angeles this week to begin recording a new project. As of right now, the band name has not been revealed, but it features Skip from the Wynona Riders. The record is being produced by Paul Leary (Butthole Surfers, Sublime).

The Dead Kennedys declared an indefinite touring hiatus last year due to health issues faced by bassist Klaus Flouride and drummer D.H. Peligro. Skip, from the new project, was filling in on vocals with the touring incarnation of the Dead Kennedys up to last year.

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Simple Minds today announced they will issue their forthcoming ‘Graffiti Soul’ UK tour entirely on USB sticks directly after each concert. 

Each USB stick will come with an individual serial code number. Fans who attend the forthcoming UK tour dates, which kicks off at the Newcastle Metro Radio Arena on November 30th, will be able to purchase the live recording USB sticks directly after the concerts and can download the encores once they install the memory stick into their USB port on their computers. To download the encores, the user can automatically hyperlink to www.concert-online.com and can enter the serial code clearly marked on their USB concert stick.

Effectively, fans will be able to purchase a memory stick for all eight of Simple Minds’ UK concerts, and what’s more, every concert will feature a different selection of Simple Minds songs. No two concerts will have the same set list.

The live concert USB stick is the brainchild of Germany’s leading online music live recording company Concert Online, whose policy is to instantly issue fans live concert recordings on customized USB sticks directly after the concerts. Simple Minds are the latest rock band to participate in Concert Online’s live concert USB stick campaign, following in the footsteps of other name bands that include KISS and Madness.

“In addition to buying the USB stick after the concert at the merchandise stall,” says Simple Minds lead singer Jim Kerr, “no matter where you are in the world, you can go online and download the songs from that show, or you can have the stick packaged and sent directly to you. It’s amazing.”

Read the full online announcement here – http://www.noblepr.co.uk/Press_Releases/simple_minds/simple_minds_usb_stick.htm

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When u subsccribe to the latest issue issue of Big Cheese magazine this month-you will get the cracking new pop punk cd by Set Your Goals. Its power pop/punk of the higest calibre!!

Plus yyou will save £13 off newstand price!!

Subscibe now at www.bigcheesemagazine.com

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 Now 03.12.09 – Sheffield – Octagon

The legendary Chuck Berry returns to the UK
for a full nationwide tour
with special guests at every show
Chuck Berry’s music has transcended generations. He earns respect to this day because he is truly an entertainer. Berry, also known as "The Father of Rock & Roll", gained success by watching the audience’s reaction and playing accordingly, putting his listeners’ amusement above all else. For this reason, tunes like "Johnny B. Goode," "Maybellene" and "Memphis" have become anthems to an integrated American youth and popular culture. Berry is a musical icon who established rock and roll as a musical form and brought the worlds of black and white together in song.
Born in St. Louis on October 18, 1926 Berry had many influences on his life that shaped his musical style. He emulated the smooth vocal clarity of his idol, Nat King Cole, while playing blues songs from bands like Muddy Waters. For his first stage performance, Berry chose to sing a Jay McShann song called "Confessin’ the Blues." It was at his high school’s student musical performance, when the blues was well-liked but not considered appropriate for such an event. He got a thunderous applause for his daring choice, and from then on, Berry had to be onstage.
Berry took up the guitar after that, inspired by his partner in the school production. He found that if he learned rhythm changes and blues chords, he could play most of the popular songs on the radio at the time. His friend, Ira Harris, showed him techniques on the guitar that would become the foundation of Berry’s original sound. Then in 1952, he began playing guitar and singing in a club band whose song list ranged from blues to ballads to calypso to country. Berry was becoming an accomplished showman, incorporating gestures and facial expressions to go with the lyrics.
It was in 1953 that Chuck Berry joined the Sir John’s Trio (eventually renamed the Chuck Berry Combo), which played the popular Cosmopolitan Club in St. Louis. Country-western music was big at the time, so Berry decided to use some of the riffs and create his own unique hillbilly sound. The black audience thought he was crazy at first, but couldn’t resist trying to dance along with it. Since country was popular with white people, they began to come to the shows, and the audience was at some points almost 40 percent white. Berry’s stage show antics were getting attention, but the other band members did their parts as well. In his own words: "I would slur my strings to make a passage that Johnnie (Johnson) could not produce with piano keys but the answer would be so close that he would get a tremendous ovation. His answer would sound similar to some that Jerry Lee Lewis’s fingers later began to flay."
Later in 1955, Berry went on a road trip to Chicago, where he chanced upon a club where his idol, Muddy Waters, was performing. He arrived late and only heard the last song, but when it was over he got the attention of Waters and asked him who to see about making a record. Waters replied, "Yeah, Leonard Chess. Yeah, Chess Records over on Forty-seventh and Cottage." Berry went there on Monday and discovered it was a blues label where greats like Howlin’ Wolf and Bo Diddley recorded. He didn’t have any tapes to show, but Chess was willing to listen if he brought some back from St. Louis. So Berry went home and recorded some originals, including the would-be "Maybellene," then called "Ida May," and drove back to Chicago later that week to audition. Much to Berry’s surprise, it was that hillbilly number that caught Chess’ attention. Berry was signed to Chess Records and in the summer of 1955, "Maybellene" reached #5 on the Pop Charts and #1 on the R&B Charts. Through Chuck Berry, Chess Records moved from the R&B genre into the mainstream and Berry himself was on his way to stardom.
Berry continued his success with such hits as "Brown-Eyed Man," "Too Much Monkey Business," "Memphis," "Roll Over, Beethoven!" and "Johnny B. Goode." "Johnny B. Goode" is Berry’s masterpiece, as it brought together all the elements of Berry’s unique musical sound. It cemented his place in rock history and led to fame in the 1950s. His popularity garnered him television and movie appearances and he toured frequently.
Berry’s incredible success is due to his ability to articulate the concerns and attitudes of his audience in his music. At the height of his success, Berry was a 30-year-old black man singing to a mostly white, teenage audience. Dubbed the "Eternal Teenager," Chuck Berry’s knowledge of the pop market made it possible for him to break color barriers and play to an integrated audience.
In the 1960s and 1970s, Berry’s music was the inspiration for such groups as the Beatles and the Rolling Stones. Berry had a number of comeback recordings and in 1972 had the first and only #1 Pop Chart hit of his career with "My Ding-A-Ling. 1986 fittingly saw him inducted into the Rock and Roll Hall of Fame as the very first inductee in history. As a tribute to his pervasiveness in the realm of rock, a clip of "Johnny B. Goode" was chosen to be played in the Voyager I spacecraft, proving Chuck Berry and his rock legacy are truly out of this world.
21.11.09 – Liverpool – Olympia Theatre

22.11.09 – Newcastle – Journal Tyne Theatre

23.11.09 – Glasgow – O2 Academy Glasgow
24.11.09 – Leeds – Town Hall

25.11.09 – Birmingham – Alexandra Theatre

26.11.09 – Oxford – New Theatre

27.11.09 – London – Hammersmith Town Hall

29.11.09 – Southend – Cliffs Pavilion

30.11.09 – Bournemouth – Pavilion Theatre

01.12.09 – Newport – Newport Centre

02.12.09 – Swansea – Brangwyn Hall
03.12.09 – Sheffield – Octagon

04.12.09 – Manchester – Apollo Theatre

06.12.09 – Llandudno – Venue Cymru

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FRom The Jam-the Bruce Foxton, Rick Buckler former Jam mates-heda out on a Dec tour-
1st Tues

Liverpool O2 Academy
Book On-Line

2nd Wed
Sheffield O2 Academy 2
Book On-Line
4th Fri
Newcastle O2 Academy
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5th Sat
Glasgow Barrowlands
Book On-Line
6th Sun
Leeds O2 Academy
Book On-Line
8th Tues
Oxford O2 Academy
Book On-Line
9th Wed
Portsmouth Pyramid Centre
Book On-Line
11th Fri
Birmingham O2 Academy
Book On-Line
12th Sat
Manchester O2 Academy
Book On-Line
13th Sun
Cambridge Corn Exchange
Book On-Line
15th Tues
Bristol O2 Academy
Book On-Line
16th Wed
London O2 Empire
Book On-Line
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 Killing Joke announce Spring 2010 UK shows Band will play both Edinburgh and London in April * November 10, 2009 | 0 Comments <http://www.nme.com/news/killing-joke/48295#comments> * Killing Joke news RSS feed <http://www.nme.com/news/killing-joke?alt=rss> * More Killing Joke news, reviews, videos and tour dates <http://www.nme.com/artists/killing-joke> * Post this on Twitter <http://twitter.com/home?status=Currently%20reading%20http://www.nme.com/new s/killing-joke/48295>  or Follow NME <http://www.twitter.com/nmemagazine> Killing Joke <http://www.nme.com/artists/killing-joke>  have announced two shows for spring 2010.  The influential post-punk group will play Edinburgh's Picture House on April 15 and then London's Hammersmith Apollo on April 16.  The band who released a live album called 'Requiem' earlier this year, will play the following dates:  Edinburgh Picture House (April 15) London Hammersmith Apollo (16)  To check the availability of Killing Joke tickets <http://www.seetickets.com/see/event.asp?artist=Killing+Joke&amp;filler1=see &amp;filler3=id1nmestory>  and get all the latest listings, go to NME.COM/TICKETS <http://www.nme.com/gigs>  now, or call 0871 230 1094. 
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Fred "Sonic" Smith † Nov. 04, 1994

Fred "Sonic" Smith

† Nov. 04, 1994 (aged 45)

Fred "Sonic" Smith † Nov. 04, 1994


* 1951

† Nov. 06, 1972
London, England

Cause of Death
Choked on coffee after an overdose of Mandrax. (

* Sep. 13, 1949

† Nov. 04, 1994

Cause of Death
Sudden fatal heart attack. MC5/SONICS RENDEVOUS BAND
Fred "Sonic" Smith was the rhythm guitar player in proto-punk band the MC5. He later went on to form the Sonic’s Rendezvous Band.







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Lou Koller, the lead vocalist of New York Hardcore legends Sick Of It All, has posted a message online regarding their new studio album. The message reads:

Whats up everyone. Well we’re here Denmark for two days and its dark and cold here! As for us the drum tracks are done! 16 songs in two days, Thats how it’s done! I think Armand buckeled down just to get to go to the scoccer game tomorrow ha ha. The tracks sound brutal!

They released

Death to Tyrants

in 2006.


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Carbon/Silicon announce details of new album:

The Carbon Free Bubble.xa0;

Carbon/Silicon the band formed by Mick Jones of the Clash and Tony James of Generation X are ready to release their long awaited new album x201c;The Carbon Bubblex201d;.xa0;

The album will be released as a FREE download via their website www.carbonsiliconinc.com <http://ethreemail.com/e3ds/mail_link.php?u=http%3A%2F%2Fwww.carbonsiliconinc.com%2F&amp;i=0&amp;d=9WUZV0X0-6X72-4049-Z748-X1U8769958U6&amp;e=ian@bigcheesemagazine.com> xa0; on Saturday 14 November 2009 at 12 Midday UK time.

The complete Cover artwork for the album will also be downloadable.

It also  comes with full Hi Res booklet artwork for each track.xa0;

This is the follow up to their 2008 album x201c;The Last Postx201d;. All 12 new songs are written by James and Jones

Carbon/Silicon have fully embraced the free download revolution since the release of their first song M.P.Free in 2002, they have gone on to release  3 albums as free downloads during their career.

Watch the Video Album Trailer here:xa0; http://www.youtube.com/watch?v=GYTyg8loC9Q <http://ethreemail.com/e3ds/mail_link.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DGYTyg8loC9Q&amp;i=1&amp;d=9WUZV0X0-6X72-4049-Z748-X1U8769958U6&amp;e=ian@bigcheesemagazine.com>


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I Hate People records is a new record label formed  out of People Like You records. Their first signing is the Meteors Paul Fenech. They also have a compilation album coming featuring the Whip Crackin Daddies, Blitzkid and Crashed Out amongst others. More details-www.ihatepeople.de 


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(No Idea)
Naked Raygun frontman’s melodic punk band unleash eclectic second album.
Vocalist Jezz Pezzati is a Chicago punk legend and this band, completed by former/current members of The Methadones and The Story So Far (amongst others) are somewhat of a supergroup. The follow-up to 2006’s ‘Indecision’ lets Pezzati’s distinctive vocals shine over punchy and experimental songs with nods to Husker Du, Samiam and Fugazi. The anthemic ‘Not Christmas Night’ and the powerful, more hardcore ‘Integrity’, featuring guest vocals from Paint It Black’s Dan Yemin, are highlights, although the mellow cover of A Flock Of Seagulls’ ‘Space Age Love Song’ is odd. With more guest vocals from Braid’s Bob Nanna and expansive production from J. Robbins (Against Me!, None More Black), this is a rewarding sonic journey.
Ian Chaddock

Punchy ‘90s pop punk reissued.
Chopper, from Wakefield, were the first band signed to Crackle, releasing the label’s inaugural 7” in 1994, the basic but endearing ‘Said And Done’ EP. The band then recorded two rather rushed tracks, ‘My New Name’ and ‘Sad Sixteen’, for a Japanese compilation on Snuffy Smile entitled ‘Best Punk Rock In England, Son’, setting Chopper up with a relationship with the country that eventually led to two tours of Japan. The following year’s ‘Self Preservation Society’ was a massive improvement, zipping along and packed with poppy goodness. The band honed their sound to near perfection, with releases on various labels, before splitting in 1998, and here you get the lot, plus informative sleeve notes.
Shane Baldwin

(Dead Young)
Sleazy dirty blues from….the north of England?
Everything about this album sounds like it should be from the smoky depths of a whiskey soaked bar in New Orleans, with singer Dan Wilson’s spine-chilling, soulful vocals from the gutter rising out of blues infused, psychedelic tracks. It’s almost impossible to imagine this moody band hail from Liverpool. This is a trembling and yet raucous collection of songs, such as the lulling bitterness of ‘Everything You Touch’ and the debut single ‘Like Me, I’m A Peacock’. Think Tom Waits mixed with the Detroit Cobras into a heady cocktail. Lovely stuff.
Sarah Cakebread

(Purple Feather)
The female Ramones return with a ‘retrospective’ album.
Ah, the Donnas. They’ll just always be around, won’t they? And this eighth studio release is more of a treat than a new album. The band have re-recorded some of their old material, not necessarily a good thing as some of the tracks sounded better in their rougher incarnation. However, there are two new songs on here (well as new as a Donnas song can sound), and some unreleased b-sides. The highlight is the live version of ‘Take It Off’, which shows what a tight live band these girls are. It’s far from essential, but fans will dig it. It’s nice to know they’re still around.
Tracey Lowe

It means ‘amazing’ and it’s true.
The Japanese veteran garage rock trio are back with another scuzzy album of AC/DC, Sabbath and QOTSA worship. What makes Electric Eel Shock so special is that their songs revel in the fun and excess of rock ‘n’ roll and ‘Sugoi Indeed’ is no different. The stomping, bi-lingual ‘Out Of Control’, complete with fret-bothering guitar solo and trademark heavy accents, is a beast, as are opener ‘Metal Man’ and the brilliantly titled ‘No Shit Sherlock’. This is the sound of EES doing what they do best and we wouldn’t want it any other way. The final verdict? Sugoi!
John Damon

Mark E Smith, live and bloody-minded
30 years and who knows how many albums into his career, the Fall’s Mark E Smith remains as prickly, uncompromising and difficult as ever. This record captures Smith with one of a long line of Fall line ups, subjecting his audience at the legendary (but doomed) venue to an hour-plus of his misanthropic mutterings. Crowd-pleasing has never been a Smith priority; golden greats are conspicuous by their absence.  This is two discs’ worth of the Fall doing what they do – pared-down metronomic arrangements. The Palais will doubtless go down in history for other gigs, but in terms of pure attitude, they can’t have put many on as real as this one.
Hugh Gulland

Influential guitar pop outfit reissued
3/5 / 4/5
At least partially responsible for shaping the indie rock template in the early ‘80s, these New Jersey boys peddled a smart line in tuneful hooks and understated melody, passing the inter-generational baton between successive waves of alt-rockers. Their 1980 debut ‘Crazy Rhythms’ proved a major influence on REM and pointed the way for that decade’s indie-janglers, but if anything the 1986 follow-up ‘The Good Earth’ was the more fully-realized album of the pair. Redolent of the likes of Jonathan Richman and Lou Reed with its clean-channelled guitars and snappy song writing, it’s an intelligently tuneful excursion, and a rare missing-link pop rock treasure.
Hugh Gulland

Lovingly repackaged twin CD (featuring overlooked sister band, D.I.s on the second) gives us a glimpse of LA in the early 80s. Somewhere between Rank And File, Fleshtones and the Blasters, the Gears melched big beat swing-blues with punk snarl and snap – though they were always a more good-natured proposition than some of their misanthropic peers. They had impeccable credentials too, drawing members from early LA Masque scene bands the Controllers and Shakers. Rockin’ At Ground Zero has always been something of a lost classic, caught between distinct waves of Cali-punk, but it’s great to hear songs like ‘Teenage Brain’ and the original 45 version of ‘Let’s Go To The Beach’ again – think the Ramones with surfboards.
Alex Ogg

(Devils Jukebox)
Brighton bubblegum and beach lovin’ pop punk debut.
The Hotlines sound like the Ramones (circa ‘Rocket From Russia’) and the Beach Boys (circa ‘Surf’s Up’) going head to head on the waves. Having released a split 7" with the Queers, this full-length proves why this four-piece are kicking up such a fuss amongst true pop punk fans. Songs such as ‘The Way She Walks’ and ‘Psycho Girl’ are guaranteed to take up residence in your brain and have you "woah-oh-oh-oh"ing along. Like discarded bubblegum has stuck together all the catchiest tunes from the ’50s, ’60s and ’70s, this is sun-soaked pop punk fun that is guaranteed to make you long for summer to return. Grab your surfboard punk!
Rachel Owen

Second album success for London sleaze rockers.
A lot of bands, no matter how good, suffer from what’s known as ‘the difficult second album’ syndrome. There’s no such problem where LSM are concerned. Four years after their debut, and with some heavy touring and a few personnel changes under their belt, they’re back – leaner and meaner. After a short ‘Introfucktion’ it’s down to business with ‘Devil On A Rampage’. Their tried and tested brand of Hellacopters brawling with The Misfits rock ‘n’ roll remains intact, with a hint of street punk added for good measure. ‘City Low Life’ with it’s “Kick in the Bollocks, slap in the face’ refrain is an unforgettable highlight.
Lee Cotterell

Tried and tested pop rock.
On their third album for Hellcat, Orange are refreshed with a new line-up – hence the title ‘Phoenix’. With a positive outlook and a sound somewhat akin to that of Lit, Orange have come up with a collection of catchy, happy rock songs. Perhaps a little middle of the road and a touch dated, this is still a record of feel-
good, solid songs with a pop tinge. Singer Joe Dexter croons over alternating sections of jangly ska-esque guitars and searing full-on riffs. Some tracks have a more punk edge but presiding over all are the melodious vocals. These are infectious tunes that you’re not likely to forget in a hurry.
Sarah Maynard

Southampton melodic hardcore boys unleash explosive debut full-length.
With The Steal calling it a day, OTDH are set to keep the flame of UK melodic hardcore burning bright. Their love of Kid Dynamite and Comeback Kid evident on fast-paced pit-fillers such as opener ‘Flip-Up Caps And Crew Neck Sweats’ and the future live favourite ‘Curtain Call’, they’ve also got some tricks up their sleeves. Energetic but melodic anthems such as ‘Big Guys Throw Cones’ and the stunning ‘Calendar’ show a Lifetime influence and a marked progression in Will Gould’s vocals, while ‘You Fucking Tragedy’ has an acoustic sing along at the end. Guest vocals are provided by members of The Steal, The Don Ramos Players and Sonic Boom Six. More varied and confident than their ‘Revelations’ EP, OTDH have grown into true contenders… and you know it!
Ian Chaddock

(Rockers Revolt)
Sunshine summoning vibes from souled-out ska crew.
Doing their level best to summon some of the Jamaican sunshine to the gloomy streets of the UK, Pama International mix up reggae, ska and Stax-style soul on ‘Pama Outernational’. Mashing together the 1960s and 1970s and bringing them bang up to date on the likes of ‘Are We Saved Yet?’ and ‘Still I Wait’. Marrying dub to reggae on the likes of ‘Happenstance’ and ‘I Still Love You More’, Finny and The Specials’ Lynval Golding crank the vibes vocally while band leader Sean Flowerdew splashes organ lines all over the shop, backed by a hefty rhythmic force that really gives the speakers a proper workout. The first band to sign to the legendary Trojan Records in thirty years, Pama set up their own label last year, proving that with their DIY spirit, tenacity and great tunes there’s nowhere they can’t go.
Tim Grayson

(Century Media)
Gloom golems return to the dark path.
After making music to drown kittens to for over 20 years, gothic metal pioneers Paradise Lost are back with their eagerly anticipated follow-up to ‘In Requiem’, and it certainly doesn’t disappoint. In fact, the Halifax based veterans take us on a journey back in time to the days of  ‘Icon’ and ‘Draconian Times’. Without a doubt, this is the heaviest I have heard the band, but their catchy, swooning melancholia is still present – just check out the excellently cheerless ‘I Remain’ – but, overall, it seems Nick Holmes and chums have made an album that unites every element of their career; an enveloping album of metal misery.
Bruce Turnbull

(Cooking Vinyl)
Ubu delve into their theatrical roots.
Always on the more experimental fringe of the US wave of punks, Pere Ubu – whose revolving line-up currently includes the formidable chanteuse Sarah Jane Morris – go ferreting back to their formative influences by constructing an album around the bizarre stage play from which they originally took their name, Alfred Jarry’s Ubu Roi. The result is a jarring and unsettling work, a claustrophobic tale of amoral ambition; Ubu mainman David Thomas plays the suggestible usurper, with Morris working an impressive Lady Macbeth job on him at every turn. Jarry’s original play provoked riots at its early performances, and Ubu’s musical reinterpretation is unhinged enough to do it suitable justice.
Hugh Gulland

(Sub Pop)
Claustrophobic and heavy but weirdly uplifting heartfelt grunge punk.
This kicks you right in the chops from the start and promises to be a brutal, up-tempo grunge bomb that goes off in your ears. It starts promisingly and and powers along for the first third or so of the album. Then it begins to implode, whic isn’t a bad thing if your bag is churning, grinding riffage – intended musical claustrophobia that sums up the feeling of songs like ‘Spent’ perfectly. By the time the last track rolled into the first again unnoticed on my player I had to listen to it all over to just feel normal again.
Simon Nott

Exeter hardcore punk ‘n’ roll destruction.
Hailing from the same city as The Computers and The Cut Ups, it’s no surprise that this four-piece’s new EP is a raucous, no holds barred attack on the senses. A collision of classic American hardcore and more modern punk and rock influences, these six tracks are scuzzy, frantic assaults that any fans of Gallows and Comeback Kid will lap up. Dre Amesbury’s vocals are savage and the crew shouts and hectic riffing and rhythms on the title track and the suitably titled ‘Lets End The World’ could see Rat Attack propelled to the upper realms of the UK hardcore punk scene. A true rager.
John Damon

(Fierce Panda)
Danish pop perfection.
If there’s ever been a finer pop album than In And Out Of Control, then it must be truly wonderful, because The Raveonettes’ fourth effort is an absolute joy.  Opener ‘Bang!’ is the best summer sing-along you’ve never heard – and as the title suggests is a sure-fire hit. Similarly ‘Last Dance’ is a gorgeous love song. Better still, there’s a seriousness throughout that adds considerable depth to the album – making it far more than just a disposable ‘pop’ record. Beautifully layered, textured and performed, The Raveonettes have unleashed a stellar album that references everything from Spector to Buddy Holly to Abba. Losing control’s never sounded so good…
Rob Mair

(Paper + Plastick)
Second album of fast-paced punk melodies from LTJ man’s side-project.
I loved Rehasher’s ripping 2004 debut ‘Off Key Melodies’ with Roger Manganelli’s (also of Less Than Jake) soaring, powerful vocals and speeding skate punk songs. Five years on Rehasher have produced a very similar sophomore effort. Speeding, positive opener ‘Turn Around’, the anthemic ‘My Compass Must Be Broken’ and the passionate ‘Lose My Limits’ are stand-outs and, although it’s hardly fresh, a track called ‘Out Of Ideas’ pokes fun at themselves (and hardcore breakdowns bizarrely). The less said about the closing cover of Blondie’s ‘Hanging On The Telephone’ the better but, overall, these high speed tunes will definitely have no problem gaining access to your brain.
Ian Chaddock

(Yep Roc)
The Rockin’ Rev’s back with a vengeance
After a bit of a sojourn and some Hammond organ based shenanigans with Rev Organ Drum, the good Reverend has strapped on his Gretsch and got back to playing good time rock ‘n’ roll. This is easily the best thing he’s done in years, upping the country and western influences and making good use of his trademark wry sense of humour. There’s not a duff track to be found here and if songs like ‘Just Let Me Hold My Paycheck’, ‘Beer Holder’ and ‘Death Metal Guys’ don’t bring a smile to your face, then nothing will.
Lee Cotterell

Minimalist, scuzzed up garage rock.
Bath based trio Rusty Springfield formed in 2005, apparently as a result of a fateful meeting in the medical tent at Reading Festival. They play dirty garage rock ‘n’ roll and sound like the consummation of an unholy wedding between The Cramps and The Stooges presided over by Jon Spencer. The snappily titled short sharp songs (‘Anti-Psychotic Medication’, ‘Rusty Springfield Declare War’, ‘Pest-A-Cide’) are over in the blink of an eyelid and they keep the lyrics to a minimum. With 10 songs weighing in at just over 18 minutes (now that’s punk rock!) they are the antithesis of those bands currently embracing the excesses of prog-rock and are all the better for it.
Lee Cotterell

Catchy as hell keyboard-driven garage punk.
Hailing from Ottawa and playing punk/power pop with a respectful nod to ‘60s garage. They’ve been favourably compared to a whole host of the bands including Murder City Devils, TSOL and 45 Grave and I would add The Damned circa ‘Machine Gun Etiquette’, The AKAs and, on the slower numbers (not that there are many), The Prisoners. The pace is frantic and they’ve got some great tunes but it’s that big Hammond organ sound that really sets them apart, particularly on the intro to ‘Cannot Calm Down’.  This music could have been made at any point in the last 30 years, sounding timeless rather than dated, and that’s a good reason to give ‘em a listen.
Lee Cotterell

(Team Love)
Legendary ex-Dischord band release live material from 2008 reunion.
Last year, 10 years after the seminal DC post-hardcore band originally broke up, Shudder To Think reunited due to popular demand and played some rousing shows – some of which are captured on this live album. This album manages to get away with the live angle that are the downfall of so many live albums by being well recorded and performed by excellent musicians. Any band that has ever been associated with Dischord is going to have a killer live show and STT’s angular alt-rock translates well on ‘Live From Home’. The songs even grow more intense, track by track. Certainly an interesting listen.
Sarah Maynard

Cheery ‘90s pop punk reissued.
This double CD set traces the career of UK pop punks Skimmer, from their debut 1994 single ‘Better Than Being Alone’, produced by Mega City Four bassist Gerry Bryant, to the 1998 ‘Vexed’ album. You also get all the band’s singles, EPs, split tracks and four 1993 demos, as well as five songs that accidentally made their way onto the CD version of ‘Vexed’. So, pretty comprehensive then. As the title track of this collection hails from their 1995 ‘Happy’ EP, it’s no surprise that it sounds quite like early Green Day but, on the whole, Skimmer were more lightweight and quirky, with eccentric, high-pitched vocals. Still rather good though.
Shane Baldwin

Portland fuzzed up scuzzy punks with fourth self-titled album.
What happens when The Misfits, The Ramones and Devo get wasted and drunkenly decide to loosely jam out fuzzy, crazy songs that rarely break the 2-minute mark? The Spits, that’s what. Hailing back to the first wave of US pop punk, (thanks to a raw,  retro production from Rocket From The Crypt legend John Reis) and infusing it with subtle synth and tunes about the police, aliens and a futuristic metropolis, this fun album is over in under 20 minutes and is as simple as it gets. Maybe that’s the genius? It isn’t life changing but it brilliantly spits in the eye of all the sanitised modern ‘punk’ out there.
Ian Chaddock

(Do The Dog)
Pretty ska punk to please the old-school lovers.
For fans of all that Do The Dog releases, The Steady Boys will be right up your street. It’s happy-go-lucky punk that stays on the edgier side of ska, like early Streetlight Manifesto. ‘Rewind The Mess’ is a sweeter track that sees the north east foursome demonstrate their enjoyable vocal skills – this isn’t spit-in-your-face punk. In fact it’s all rather pleasant and harmonious, apart from ‘Dead End Jobs’ which seems to hint at a Clash and Specials influence. It’s your usual fare of shout-along choruses and driving tunes that punk rock fans will lap up.
Sarah Cakebread

(Fat Wreck)
Leather jacketed, black-clad Wyoming pop punks with mighty fourth album.
Fans of pop punk greats such as the Ramones, Screeching Weasel and The Ergs! need this album. What makes Teenage Bottlerocket stand out from the other three-chord rebels is the strength of their hooks and their irrepressible urgency and power. This effort is their finest to date, relentlessly blasting out anthemic choruses and catchy guitar lines on songs about ’80s skating (‘Skate Or Die’) and insulting Detroit glam rockers (‘Bigger Than Kiss’). There are even nods to The Misfits (‘Forbidden Planet’) and ‘80s hardcore (‘Fatso Goes Nutzoid’). In fact, there’s no filler on this lean and infectious record. A strong contender for pop punk album of the year.
Ian Chaddock

It’s official – everyone loves Johnny Cash.
It’s hard to believe just how many artists from so many different genres the late king of rebel country influenced. No matter how old they there are or how far removed their music is from Cash’s, they all love him. It’s no surprise then that this is a tribute to the man in black from a whole host of bands loosely pigeon-holed as horror punk. Well I suppose they wear black too. Half of these covers are okay, others feel like the band just went along with it to get on the album. I’m off to put on a Sun record.
Simon Nott

(Concrete Jungle)
Fine punk ‘n’ roll compilation.
German label Concrete Jungle are certainly a classy outfit, with an impressive roster and high production values, and this is borne out by this, their latest compilation of punk ‘n’ roll. Stand-out tracks include Rejected Youth’s boisterous ‘Black Army’, Ashers’ chugging ‘Cold Dark Place’, Shark Soup’s brooding ‘Dark Stars Inc.’, Riot Brigade’s fast ‘n’ furious ‘Nationalism Sucks’, Stockyard Stoics’ almost plaintive ‘Land Of Opportunity’ and the mighty Filaments’ superb ‘Brainwash’. But honestly, there isn’t a duffer to be found here. Impressive indeed, especially in these dark days.
Shane Baldwin

He’s playing ragtime and has played with Rancid. So you’ll like it?
It’s weird and wonderful what you get sent to review, this is a guy playing ragtime style piano. Something like this wouldn’t normally get a sniff of a review in a rock mag, the difference of course is that this guy is Vic Ruggiero, best known as a Slackers member and someone who played keyboards on several Rancid albums as well as with the Transplants. Okay so you have to respect the guy and you may well love this old time piano playing with basic accompaniment but don’t expect to just because of his credentials. 
Simon Nott


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The sold out Durham punk festival was held in the picturesque city of Durham situated in Dunhelm House, which is the student’s union building. The stage is in the main arena and there are stalls selling t-shirts, CDs and records along with two bars.
The Fiend came on with their hard-core style and were fast and furious. Then Crashed Out were on, whose front man Chris Wright had sung for the Angelic Upstarts.

  Goldblade                                               UK Subs                                                 The Business

Goldblade did their Gospel punk set in lightning quick time. They must be the most energetic band out there at the moment. UK Subs with the grandfather of punk Charlie Harper were still showing many a youngster how to do it. Leatherface, a punk band from Sunderland fronted by Frankie Stubbs, are known for an eclectic style spanning American folk music, hardcore punk and post-hardcore. Oi band The Business were up next. ‘Harry May’ and the controversial ‘drinking and driving’ were the highlights.
It had been 25 years since I had seen either of the headline bands – were they going to be as good and would the songs mean the same? Yes they did! I am older but as soon as the bands started up I was transformed back in time to when I was seeing them back in the day.
Security were quick to tell people to get off the barriers not realising they were just enjoying themselves. I remember when I used to do this, it is great to watch the kids of today get as excited as I used (and still do!). The fans might look angry but they are just showing their emotions. When they come over the barriers they will calm down and quite happily get back in the crowd.

Angelic Upstarts                                        Steve Whale, Steve Ignorant Band       

First were the Angelic upstarts with Mensi, coming from South Shields only about 20 miles away this was like a home concert for them. They went straight into “Police Oppression” followed by “Never Had Nothing”. Mensi’s eyes were bulging out of his sockets as he sung his heart out, “Last night another soldier” written about soldiers dying 25 years ago and still very topical today. “I’m an Upstart” and “Teenage Warning” had the crowd singing along and in between Mensi joked around with the crowd. “Who killed Liddle” is about the death of an amateur boxer in 1979 and it probably got the most arousing reception of the evening

Then it was Steve Ignorant from Crass. There was great anticipation as they launched straight into their anthem “Do they Owe us a Living”, with the crowd all singing the chorus in unison and very loud. “They’ve got a Bomb” and “Fight Wars not War” are two very topical songs today some 29 years after the release of ‘Feeding of the 5000’ album. “So What” got a great reception, especially by me as this is probably my favourite punk song, I still play it almost every day. There were two screens hanging above the stage with black and white images on. The band dressed all in black like Crass used to do. Steve looked menacing as he sung the songs with venom. The lead guitarist had a wireless guitar so he could run up and down the pit and go into the crowd playing fast and furious. They did encores of “Do they owe us a Living” and “Punk is Dead”. Well on this display no it is certainly not and long may it live.

Even though it is rumoured that other members of crass believe that is a betrayal of the Crass ethos it is a chance for old and new fans to hear crass songs.



Have you gone to a show lately and wondered when all the punks started
moshing like indians and ninjas?  If so, make time for an old school band
whose loyal fanbase still brings the mosh to the pit.

The Angry Samoans haven’t lost the DIY spirit of punk: "Metal" Mike Saunders set up a good portion of the stage gear himself, and told the crowd, "I can carry my own guitar".  During a break he voiced his opinion on the current state of punk, admonishing the use of roadies and high ticket prices by stating, "Twenty-five bucks for a ticket?  Ours are twelve bucks, and for that you should be able to get up on stage with us". Which people did.
Hey, prima donna punk bands: this is how it’s done!

The setlist encompassed 33 hard-hitting songs including my favourite, Lights Out.  Drummer Bill Vockeroth did vocal justice to a set of songs while Mike Saunders, in turn, played the drums.  The show included a bad joke contest (some of the jokes were, in fact, really bad) and a Pee Wee
Herman dance-off.  In the words of Mike Saunders, "We don’t perform until you do".

The show was highly energetic and, above all, fun.  If you’re in the mood for some old school punk and a good time, this is it.

Kellie Morton

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Last month we asked:



THE ADICTS – 23.5%
UK SUBS – 21.3%
THE DAMNED – 15.3%

Now vote for ???????????????????


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We have a brilliant comp for you this month. Anyone who saw X-Ray Spex play in London last year will know how incredible their performance was. If you were there (or if you just wish you were) then this comp’s for you! We have two copies of the band’s new ‘Live @ The Roundhouse London 2008’ CD/DVD album to give away.

To be in with a chance of winning, just answer this easy question – Who is the iconic singer of the X-Ray Spex?

Answers to info@vivelepunk.net

Thanks to Year Zero Records for this competition.


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Known as one of the most recognisable bands of the glam rock movement in the late 70’s, they originated from the Black Country in the West Midlands,the band started out as: N’Betweens in 1966. They had little success, except for local shows. Things started to pick up towards the end of the 1960’s and the band changed their name to Ambrose Slade.
•    The band met manager: Chas Chandler (ex manager of Jimi Hendrix) In a London Club called "Rasputin" who offered to take over management. Following this, the band changed their name again for the last time to just ‘ Slade’.
•    The band sported a skin-head look as a gimmick and to create publicity for what was then to become a newsworthy fashion trend. The connotations and stereotypes attached to the Skinhead look made the band revert back to wanting long hair, so unsurprisingly let it grow again.
•    With a full head of hair and just in time for the glam rock movement, the band released deliberately mis-spelt songs with a black-country style.
•    In 1971, Slade began to have recognition with their first UK top 20 hit entitled: ‘Get Down and Get With It’ and ending the year on a high note with song ‘Coz I Luv You’.
•    Written by Noddy Holder and Jim Lea, Merry Xmas everybody was released December 1973, now one of the most iconic songs used in the UK.
•    A string of massive hits followed including no 1 char toppers ‘Look Wot You Dun’, ‘Muma Weer All Crazee Now’, ‘Cum On Feel The Noize’ and ‘Skweeze Me Pleeze Me’.

•    Not only were Slade conquering the singles charts, they also topped the album charts with: number one albums: ‘Slayed?’ ‘Sladest’ and ‘Old New Borrowed Blue’.
•    Slade were the most successful band since the Beatles.
•    On the 4th July 1973, Don had a terrible car accident which pronounced the death of his girlfriend, and Don himself found himself in a deep coma. Dom recovered physically, but still to this day struggles with his memory.
•    In 1976, Slade turn their attention over to across the pond. Cracking America is always a huge step for anyone, and this was to be proven. Slade moved to New York for 2 years, and supported world renowned bands Aerosmith and Kiss on their tours. Unfortunately they failed to receive any success from doing so. With this in mind, Slade returned back to the UK.
•    Upon returning to the UK, they realised that a lot had changed and moved on without them. Slade were no longer recognised, and had to play the smaller venues again to re-establish themselves within the music scene. This was a real shock for members Dave and Don who relied upon touring money to survive, as they were not receiving any royalties from any of the songs.
•    Dave left the band, and decided to earn a living out of his Rolls Royce that he owned, by renting it out for weddings and special occasions.
•    August 1980, Slade were offered to play what was Ozzy Ozbourne’s Reading Festival slot, as Ozzy had dropped out at last minute. Dave rejoined for the gig, and played to an astonishing 50,000 people. Slade stole the show!
•    With Slade back in business and ever popular, they used this to their advantage and released another album entitled: ’We’ll Bring The House Down’ which reached number 25 in the charts.
•    In 1983, Slade reached number 2 in the UK charts with the single ‘My Oh My’ and then in 1984 they released the album: ‘The Amazing Kamikaze Syndrome’ which reached 49 in the UK charts and for their first time ever, also charted in the US at no.33.
•    Releasing several more singles  and albums, success was no longer on the books so Noddy and Jim took the decision to quit and pursue other career opportunities. Dave and Don continue to tour with ‘Slade II’. Jim is now a physiotherapist and Noddy has become a recognised face within Radio and TV as a presenter.

The excellent new double album ‘SLADE-LIVE AT THE BBC’ is out now on Salvo records.

Words: Chloe Gillard
Photos: Barry Plummer


“Slade was certainly our greatest influence; not only in the crafting of rock songs but also as performers. Before lade, no one really knew shit about how to  make an audience riot. We really got off on that. There would probably nevebe us without them.” Gene Simmons (Kiss)

"I spent most of the early 70s listening to Slade Alive thinking to myself,"Wow – this is what I want to do.I want to make that kind of intensity for myself."  A couple of years later I found myself at CBGB’s doing my best Noddy Holder." Joey Ramone

" When Slade broke in 1972, I began to get really nervous. Here I am killing myself to write the next incredible riff (and then I see) these four blokes pounding out four chords over and over and loving every minute of it.  I bought all of their albums and thought maybe I wanted to join the band. (Bands like) Slade really inspired me to get back to my root of inspiration:  heavy, intelligent but fun rock and roll." Ritchie Blackmore  (Deep Purple)

"Slade never compromised. We always had the feeling that they were on our side. I don’t know but I think we were right." Steve Jones (The Sex Pistols)

"If you notice, around 1972 I started doing very different music. I couldn’t do the heavy rock thing anymore. Noddy Holder was around kicking every singer in the ass.  I never wanted to be a pop singer. Christ, how I hated Noddy!" Tom Jones

“Slade was the coolest band in England.  They were the kind of guys that would push your car out of a ditch.” Alice Cooper

"Slade was never pretentious. It was just music to them. Pop, rock, soul….it was all the same to Slade. They wrote great songs.   And, besides, I’d like to raid their wardrobe." Noel Gallagher (Oasis)

"The whole punk rock thing really happened because of bands such as Slade and the like; rock bands that wouldn’t back off." Paul Weller

"Absolutely. Slade! A band that would never bend over." Kurt Cobain (Nirvana)

"Whatever happened to bands that rocked liked Slade?  Y’know, that no-bullshit, fuck you, in your face, we’re bad-as-hell-and-we-know-it kind of band?" David Coverdale (Whitesnake)

"The truth is, for this (New Musical Express) compilation (album) of cover songs, I wanted to record my version of Slade’s  How Does It Feel  more than anything. Yet, Oasis had already chosen Cum On Feel The Noize .  NME feels that too much Slade is not a good thing.  Really?  I had to settle for the divine Mr. David Bowie. I did my best with second best! ha!" Roland Orzabal (Tears For Fears)

"I judge a good rock and roll ‘encyclopedia’ by whether or not Slade is included." Robert Christau (Rolling Stone & The Village Voice)


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Animal from the Anti-Nowhere League kindly agreed to answer some questions about the origin of their name to the controversial “so what” song.

Dod – Anti-nowhere league -What’s the origin of that name?
Animal-The name comes from the late seventies. when everyone was ‘anti’ something……we were a piss take of all these people….the do-gooders who were so far up their own arses with their own righteousness that they forgot how to live……the anti ‘nowhere’ league…a dislike for the controlled masses…

Dod – How much do you think punk has changed in the last 30 years?
Animal-Its not as violent as it used to be…people in the scene seem to get on a lot better with each other…..not a bad thing…..enjoying the music more than the fighting!!!

Dod- What originally attracted you to punk?
Animal-Got to be the Stranglers….Peaches and Hanging around….they were on our bike ‘clubhouse’ jukebox…once heard, Punk had a grip on me ……the rest of my club allowed me to indulge seeing I was the youngest at the time……the band was born

Dod-So what, was controversial when it was originally released but has since been covered by Metallica, so what’s different now?
Animal-So What…….a song that took 2 minutes to write but spent the rest of my life singing it!….I don’t know the power of the song but a lot on people do…including Metallica…..as Lars said to me…it gets under your skin and you cant put it down…..did buy myself a new Harley with the proceeds from them so I mustn’t grumble!!!

Dod – Who writes your songs?
Animal-I do….they all come from my ‘darkside’…..we all know where that is right?…we all have one…some darker than others.

Dod-What’s your favourite Anti-nowhere league song and why?
Animal-So many from different periods of my life ….but at the moment…Self Harm…..and Chocolate Soldiers.

Dod – Are you still fans and of who?
Animal-Yes I am still a fan…I don’t get along to shows so much these days unless its a festival we are playing….and because I know most of the bands now… we sorta talk about the old days instead of me throwing my undies at them!!

Dod- Do you prefer playing the likes of rebellion or small venues?
Animal-Some and Some…..I like the closeness of small venues but I like the stage area of the larger venues…..means I can move around more without stepping on band members.

Dod – What’s your coolest band story?
Animal-The best ones will be kept for my book…I will finish it one day before it finishes me…..trouble is most of the stories involve ex band members….and their sense of humour has wained over the years so they would like to forget most of them!!!..But like an elephant with a good solicitor!

Dod – What do you think about downloading music online?
Animal-downloading……what can I say….destroying small bands quicker than the establishment….killing us slowly….glad I am old!

Dod – What’s your outlook on the record industry today?
Animal-Shit…always has been always will be…it’s a game that I can’t play.

Dod – How does music affect you and the world around you?
Animal-It doesn’t…..I still ride…I still play…I still write….fuck em all.

Dod – What are the biggest obstacles for bands?
Animal-Real music is dying….money is the great God…if you not in then you are out…money….I have never been lead by money money money…if I need it then I will go out an earn it….whatever means……..that’s what keeps me a virgin….look don’t get me wrong the punk stage is a great platform for small bands…..good bands ,bad bands and fuckin awful bands…..have a few years playing in a band if you get anywhere then fine…make a few quid if you are lucky…. but usually once on this circuit you are branded…..you may get to the top of the shit pile but shit pile it still is when dealing with the money men….they will never take you seriously so stick two fingers up and have some fun!!

Dod – What makes a good crowd?
Animal-Sex drugs alcohol and attitude…crazy people get off on crazy music…..we don’t preach….we do!!

Dod – Any last words?
Animal-.Its better to die chasing a dream….. Than live with out one……….be bad…..ANIMAL.




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80S second wave of punk legends the ABRASIVE WHEELS have just released their rather good new album-SKUM. and to follow they are planning a USA and Europena tour for 2010. In the meantime they have a  date at the Bridgehouse in London before Xmas-before headlining the PUNK ON EARTH festival in Birmingham on Jan 23rd with the likes of Sick On The Bus.


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