PETER CASE The Case Files

OUT NOW on CD Digipak, Pink Vinyl Ltd. Edition, & Digital

" /> PETER CASE The Case Files

OUT NOW on CD Digipak, Pink Vinyl Ltd. Edition, & Digital

"> 2011 May | Vive Le Rock Magazine


Peter Case has been digging deep into his tape library in recent
years, releasing fine archival albums from his bands the Plimsouls,
the Nerves, and the Breakaways, and now The Case Files finds him
offering up some rare and unreleased nuggets from his solo career
(…) Considering the odds-and-ends nature of this album, it’s a
pleasant surprise that The Case Files is so consistently strong, and
coming after Case has jumped back into rock & roll, it builds up a
solid and enjoyable head of piss and vinegar, with a thread of
articulate anger running through these songs, whether they’re one-man
acoustic numbers or exercises in full-on electric bash. (…) Even
though these tracks were either demo tapes, radio sessions, or stuff
that didn’t make the grade somewhere else, it’s clear Peter Case has
admirably high standards, and these 12 songs make for an entertaining
and empowering album that delivers the goods with smarts and simple,
sweaty force. The Case Files proves this man’s cast-offs make for a
better album than most acts’ level-best efforts, and with any luck,
he’ll offer another look into his archives before long. – Mark Deming


After a two-year break, the San Francisco guitar-drum duo TWO GALLANTS
will begin touring again this summer across the North America and
Europe. The well-needed time off came after six years of incessant
touring and the release of three full-length studio albums and an
acoustic EP. The band consists of childhood friends Tyson Vogel and
Adam Stephens who met on their elementary school playground at the age
of five. Despite an initial disagreement and ensuing scuffle over the
supremacy of White Lion vs. Whitesnake, the two have been best friends
ever since. They have been playing music together in some capacity
since 1994, when their parents made the mistake of giving them both
electric guitars for Christmas. Around 2002, the two college dropouts
found themselves with some time on their hands and silence to kill;
and so with an acoustic guitar and a trap set they formed TWO GALLANTS
in the basement of the Vogel residence. In an ongoing unspoken
competition to out do one another, the intervening years have seen the
two-piece increase their volume and gear ten-fold. The bands’ sound is
somewhat of a syncretism of American old-timey roots music with the
grunge and east bay punk of Tyson and Adam’s formative years. The last
show they played together was headlining The Fillmore in their
hometown in December 2008. In the two years since, both have released
solo material under Devotionals and Adam Haworth Stephens,
respectively. But now they are looking forward to getting back to the
haranging strident noise that fueled them across the world for six
years. Come see TWO GALLANTS perform in a town near you this summer
and look forward to a new album in the not too distant future.

TWO GALLANTS 2011 TOUR DATESJune 19 San Diego, CA / The Casbah
June 21 Los Angeles, CA / The Echo
June 22 Santa Cruz, CA / The Crepe Place
June 24 Portland, OR / Mississippi Studios
June 25 Kennewick, WA / The Red Room
June 26 Vancouver, BC / The Media Room
June 27 Seattle, WA / Neumo’s
July 5 Vienna, Austria / Arena Wien Open Air
July 6 Zurich, Switzerland / Abart
July 7 Dudingen, Switzerland / Bad Bonn
July 8 Torello, Spain / Festus Festival

July 9 Madrid, Spain / Moby Dick
July 10 Barcelona, Spain / Apolo

July 12 Hannover, Germany / Cafe Glocksee
July 13 Munster, Germany / Gleiss 22
July 14 Amsterdam, Netherlands / Paradiso
July 15 Dour, Belgium / Dour Festival
July 16 Herk de Stad, Belgium / Rock Herk
July 18 London, England / Hoxton Bar & Kitchen
July 19 London, England / Hoxton Bar & Kitchen
July 20 Bristol, United Kingdom / Thekla
July 21 Nottingham, United Kingdom / Bodega Social
July 22 Manchester, United Kingdom / Night & Day Cafe
July 23 Russelsheim, Germany / Phono Pop Festival
(more dates to be announced soon)



 FACE TO FACE-FEATURED ON THIS ISSUES VIVE LE ROCK PLAY AN EXTRA DATE WITH CALI PUNK LEGENDS THE DESCENDENTS (also featured in issue 3 of Vive Le Rock)  Face To Face announce new UK date,  > 24/08/11 Brixton Academy as main support for  >  > The Descendents.  >  > Already announced:  >  > 23/08/11 The Peel, Kingston Upon Thames (support TBC)  > 25/08/2011 King Tuts, Glasgow. (support TBC)  >  26/08/2011 Leeds Festival (Lock Up Stage) Leeds  > 28/08/2011 Reading Festival (Lock Up Stage) Reading
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Courtesy of the BBC


US musician and poet Gil Scott-Heron dies a

Gil Scott-Heron

Related Stories

US musician and poet Gil Scott-Heron, often called the Godfather of Rap, has died in a New York hospital aged 62.

The cause of his death is not clear, but he is believed to have become ill after returning from a visit to Europe.

Scott-Heron’s material spanned soul, jazz, blues and the spoken word. His 1970s work heavily influenced the US hip-hop and rap scenes.

His work had a strong political element – one of his most famous pieces was The Revolution Will Not Be Televised.

Scott-Heron’s friend Doris Nolan said the musician had died at St Luke’s Hospital on Friday afternoon.

"We’re all sort of shattered," she told the Associated Press.

Scott-Heron was born in Chicago in 1949 – the son of former football player in Britain – and grew up in Tennessee before moving to New York.

He had a long-running song-writing partnership with pianist and flautist Brian Jackson, who he met at Lincoln University.

The pioneering style he developed while working with Jackson, mixing minimalist percussion with poetry, meant Scott-Heron was often described as the godfather of rap.


But the artist himself rejected this title.

"If there was any individual initiative that I was responsible for it might have been that there was music in certain poems of mine, with complete progression and repeating ‘hooks’, which made them more like songs than just recitations with percussion," Scott-Heron wrote in the introduction to his 1990 Now and Then collection of poems.


Scott-Heron’s music and poetry revealed his deep interest in justice and civil rights, and he railed against the consumer society of the 1970s and 80s as well as the development of nuclear technology.

Scott-Heron’s hits

  • The Revolution Will Not Be Televised, 1970 – critique of race in the mass media age
  • Johannesburg, 1975 – in support of the anti-apartheid movement in South Africa
  • Home Is Where the Hatred Is, 1971 – drug addiction and poverty in the US
  • We Almost Lost Detroit, 1977 – concerns over the use of nuclear power
  • Message to the Messengers, 1993 – calling on rappers and musicians to use art for positive social change

He was among the first artists to use his music to attack the apartheid in South Africa, long before the issue became the focus of a popular global campaign.

In "The Revolution Will Not Be Televised", first recorded in 1970, he issued a fierce critique of the role of race in the mass media and advertising age.

"The revolution will not be right back after a message about a white tornado, white lightning, or white people," he sang.

The song became an anthem for him and several generations of his fans.

Gil Scott Heron "If you are in the can – you can’t really be in denial"

Lemn Sissay, a friend of Scott-Heron’s who produced a documentary on his work, told the BBC he was "a polymath" who "spoke crucially of the issues of his people".

"In the late 60 and early 70s, black poets were the news-givers, because their stories were not covered in truth in the mainstream media".

Start Quote

If the right of free speech is truly what it’s supposed to be, then anything you say is alright”

Gil Scott-Heron

But in a 1998 interview with the Chicago Tribune, Scott-Heron warned against focusing on the political aspect of his work.

"If you only focus on the political aspects of our work, you change us. We’ve done 20 albums and not all of the songs on them are political," he said.

New acclaim

Scott-Heron also wrote honestly about his own struggles with drugs and alcohol, which saw him spending a year-and-a-half in jail for possession.

In 2009, he told the BBC his jail term had forced him to confront the reality of his situation.

"When you wake up every day and you’re in the joint, not only do you have a problem but you have a problem with admitting you have a problem."

He said despite some "unhappy moments" in the past few years, he still felt the need to challenge rights abuses and "the things that you pay for with your taxes".

"If the right of free speech is truly what it’s supposed to be, then anything you say is alright."

He was championed by artists from a range of musical and literary backgrounds – rapper Kanye West paid tribute to him on his 2010 album ”My Beautiful Dark Twisted Fantasy” by sampling his voice extensively.

After a long break from recording, Scott-Heron found success again last year with a new album, I’m New Here.

The album was widely acclaimed and brought him to the attention of a new generation.

Among the artists immediately paying tributes on Twitter were Talib Kweli and Chuck D of the influential hip hop group, Public Enemy.

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MacBeth Footwear and DEVO have joined forces to make these DEVO shoes available to spuds worldwide.

Soon you’ll be able to March On wearing the same reflective shoes DEVO wears on stage.

Two to choose from:
A focus-group approved Blue Version & Classic Red Version.
Click here for more info on See teaser video below.

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JUNE 2011

Wed 1st – Antwerpen, BelgiumDe Rots
Thur 2nd – Bielefeld, GermanyTV Kanal 21
Fri 3rd – Berlin, GermanyWild at heart
Sat 4th – Dresden, GermanyAtomsmasher Festival
Sun 5th – Prague, Czech RepKlub 007 Strahov
Mon 6th – Vienna, Austria – Arena
Wed 8th – Brno, Czech RepMelodka Club (with The Lurkers)
Thur 9th – Bratislava, SlovakiaRandal Club (with The Lurkers)
Fri 10th – Munich, GermanyFeierwork (with The Lurkers)
Sat 11th – Schaffhausen, SwitzerlandFasskeller
(with The Lurkers)
Sun 12th – Luzern, SwitzerlandSedel
(with The Lurkers)

JULY 2011

Fri 8th – Westcliff-on-Sea – Riga Music Bar (w/ Heavy Metal Kids)
9th – Brentwood – Festival (w/ From The Jam)


Fri 5th – Cambridge – Haggis Farm, Barton, Cambs – Cambridge Rock Festival
Sat 6th – Blackpool Winter Gardens – Rebellion Festival


Sat 17th – Whimple, Devon – Cricket Club (w/ Nine Below Zero and Chris Stuckey)
Wed 28th – Rennes (35), France Mondo Bizarro


Sat 1st – Montpellier, FranceSecret Place
Tues 11th – Lille (59),
FranceLe Splendid (w/ Dr Feelgood and Nine Below Zero)
Wed 12th – Cleon (76),
FranceLa Traverse (w/ Dr Feelgood and Nine Below Zero)
Thur 13th – Le Mans (72),
FranceLe Oasis (w/ Dr Feelgood and Nine Below Zero)
Fri 14th – Saint Malo (35),
FranceLe Omnibus (w/ Dr Feelgood and Nine Below Zero)
Sat 15th – Beavais (60), France L’Ouvre-Broite (w/ Dr Feelgood and Nine Below Zero)
Sun16th – Mont-de Marsan (40), France – venue tba (w/ Dr Feelgood and Nine Below Zero)
Tues 18th – L yon (69),
FranceLe Transbordeur (w/ Dr Feelgood and Nine Below Zero)
Wed 19th – Paris (75), France New Morning (w/ Dr Feelgood and Nine Below Zero)
Thur 20th – Saint Etienne (42), France Le Fil (w/ Dr Feelgood and Nine Below Zero)
Fri 21st – Besancon (25),
France – La Rodia (w/ Dr Feelgood and Nine Below Zero)
Sat 22nd – Toul-Nancy (54), France Chez Paulette (w/ Dr Feelgood and Nine Below Zero)


Fri 25th – Swadlincote – The Pokey Hole @ Moira Miners Club

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Wattie and his Explited barmy army invade Europe at-



Hrvatski Glazbeni Festival
Info: —



West Coast Riot Festival




Big Band Cafe



Ilosaarirock Festival


Camp Josef Festival


Kuopio Rock Festival



Rebellion Festival


Brutal Assault Festival


Endless Summer Festival

More shows are to be confirmed yet.
We take no liability in the correctness of the dates displayed here.

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+ Very special guest Ian Siegal

24 HOUR BOX OFFICE: 0871 230 1101

Edinburgh The Caves
Thursday 15th September

Tickets: £17.50, Doors: 7:00pm
Box Office: 0871 230 1101
8-12 Niddry Street South, Edinburgh, EH1 1NS

Glasgow O2 ABC
Friday 16th September

Tickets: £17.50, Doors: 6:30pm
Box Office: 0844 477 2000
300 Sauchiehall Street, Glasgow, G2 3JA

Aberdeen The Lemon Tree
Saturday 17th September

Tickets £17.50, Doors: 7:00pm
Box Office: 01224 641122
5 West North Street, Aberdeen, AB24 5AT

Newcastle O2 Academy
Sunday 18th September

Tickets: £17.50, Doors: 7:00pm
Box office: 0844 477 2000
Westgate Road, Newcastle on Tyne, NE1 1SW

Sheffield O2 Academy
Thursday 22nd September

Tickets: £17.50, Doors: 7:00pm
Box Office: 0844 477 2000
37-43 Arundel Gate, Sheffield, S1 2PN

Kendal Brewery Arts Centre
Friday 23rd September

Tickets: £17.50, Doors: 7:30pm
Box Office: 01539 725133
Highgate, Kendal, Cumbria, LA9 4HE

Holmfirth Picturedrome
Saturday 24th September

Tickets: £17.50, Doors: 7:30pm
Box Office: 0871 230 1101
Market Walk, Holmfirth, HD9 7DA

Leicester O2 Academy
Sunday 25th September

Tickets: £17.50, Doors: 7:00pm
Box Office: 0844 477 2000
University Road, Leicester, LE1 7RH

Bilston The Robin
Thursday 29th September

Tickets: £17.50, Doors: 7:30pm
Box Office: 01902 401211
20-28 Mount Pleasant, Bilston, Wolverhampton, WV14 7LJ

London Islington O2 Academy
Friday 30th September

Tickets: £17.50, Doors: 7:00pm
Box Office: 0844 477 2000
N1 Centre, 16 Parkfield Street, Islington, N1 0PS

Manchester Academy
Saturday 1st October

Tickets: £17.50, Doors: 7:30pm
Box Office: 0161 832 1111
University of Manchester Student’s Union, Oxford Road, M13 9PR

Nottingham Rescue Rooms
Sunday 2nd October

Tickets: £17.50, Doors: 7:00pm
Box Office: 0845 413 4444
Masonic Place, Goldsmith Street, Nottingham, NG1 5JT

Gloucester Guildhall
Thursday 6th October

Tickets: £17.50, Doors: 8:00pm
Box Office: 01452 503050
23 Eastgate Street, Gloucester GL1 1 NS

Falmouth Princess Pavilion
Friday 7th October

Tickets: £20, Stage Time: 4:00pm / Blues in the Bay Festival
Box Office: 01326 211 222
Melvill Road, Falmouth, Cornwall, TR11 4AR

Exeter Phoenix
Saturday 8th October

Tickets: £17.50, Doors: 8:00pm
Box Office: 01392 667 080
Bardninch Place, Gandy Street, Exeter, EX4 3LS

Brighton Komedia
Sunday 9th October

Tickets: £17.50, Doors: 8:00pm
Box Office: 0845 2938480
22 Westgate Street, Brighton, BN1 1NS

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  • 999
  • The Lurkers
  • The Lambrettas
  • The Grit
  • more details at








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Well the Sham 69 split is rumbling on! and after we printed Dave Parsons statement we are now printing a statement from long time drummer Ian Whitewood. Now, we really dont want to take sides so that is that-as far as Vive Le Rock is concerned. The fans will have the final choice. Eugene Vive Le Rock

Well what would YOU do?

Here’s the deal:

 You ‘re in a headline band that’s been booked to appear at a Rock festival in July. Unfortunately, due to a mix up with dates, you’ve just discovered that your planned holiday to Cornwall starts two days before the gig. The rest of the band have assured you that if you can play the gig and postpone your holiday for two days then a flight can be arranged to get you to your beach the next day. Will you play the gig, have a good time and play to the fans that have now paid to see you, or say to hell with it, the holiday is more important?

 Now also imagine that recently you had a ten-day holiday in Cuba, and a couple of long weekend visits to your cottage in Wales. The rest of your band are all itching to play because that’s what they want to do, besides they can’t really afford to take time off, this is their chosen career and they have committed themselves to this band and the people who want to see them play. They live for the energy and the crowd, it makes them feel alive.

So how would it look if you turned around and said to your band members in no uncertain terms  ‘I’m not doing this gig, my holiday is booked, and as a result neither are you, this band will never ever play a show without me, and if you get a stand in to cover me I’m gonna threaten the promoter with legal action for misrepresentation because I’m the only original member left in the band’

 The fact that the drummer has been a loyal member for better or worse for 26 years counts for nothing it seems.

 Just for the record here is what was posted on Dave Parson’s Facebook page:

‘Sham 69 has been disbanded by Dave Parsons. The band have been rehearsing in a replacement Guitarist, without Dave’s knowledge, removing his name from list of band members on Sham 69  Facebook site, and will therefore presumably be continuing as a TRIBUTE BAND.
Dave has not ruled out the possibility of playing the odd gig as SHAM 69 with any of the old members of Sham 69 previous to this last line up’.
Well first of all due to our joint contractual agreement Dave Parsons does not, by law, have the right to disband Sham 69, nor have we, at this point, been rehearsing with a replacement guitarist. We shall never continue as a tribute band as we collectively, by democratic process, majority rule and signed documents, own the rights to use the name.
Should Dave decide is necessary to re embark on a relationship with either Jimmy Pursey, or Mat Sargent then it would obviously be hypocrisy of the highest level, as he has spent the past four years demonising them for their actions regarding this band, and has always shown the utmost contempt for their behaviour. To back track now would indeed be the actions of a desperate man looking for any port in a storm.

To conclude, this band I’ve called home for over a quarter of a century doesn’t need much time off. It lives and breathes for the next gig, the next album, the next fix. This is the very essence of Sham 69; interacting with its audience and being at one with its energy. 

Hey sure, let’s have a fucking holiday, take the kids out, hang out in the sun and have a rest, but make sure you recharge your batteries boys cos it’s gonna get busy in a minute!

Three of our number have this attitude and, not wishing to recount numerous examples of reluctance, arrogance, conceit and greed, one of us does not. 

As a result Sham 69 shall now continue with a new guitarist and if you don’t like it then go somewhere else because we will not compromise. This band has always been greater than the sum of its parts and no one is indispensable. To those critics who have taken pot shot’s at us without knowing the truth, they will again label us as a Tribute as we were with Dave Parsons ‘in’ the band what’s new? Sham 69 over the last 5 years has become more of an ideology and belongs to the people and the fans, and not to any one of its members who’s only concern is a life of ease, comfort and a bottle of Brandy and a lifestyle contrary its ideaology.


Ian Whitewood

Drums Sham 69 (26 years)

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 The Kinks' Ray Davies Invites Punk/Garage Rock Music Icons the Sonics to  Meltdown Fest the Sonics also slated for shows in France, Belgium       Tacoma, WA - Punk/garage rock music icons the Sonics are slated to  return to Europe for seven tourdates kicking off on May 27th at La Cigale in  Paris, France, with a grand finale performance at the prestigious Meltdown  Festival hosted this year by The Kinks' Ray Davies in London on June 18th.       Since 1993 some of the world most distinguished musicians have been  the guest directors of Meltdown. From John Peel through to Massive Attack, via  David Bowie, Patti Smith, Morrissey and more, Meltdown has given seminal  artists the chance to pick their favourite artists to play and exhibit their  work at Southbank Centre.       The New York Dolls reunited for Morrissey; Jeff Buckley played his  final UK show at Elvis Costello's Meltdown; Nick Cave, Grace Jones and Pete  Doherty sang Disney songs with Jarvis Cocker; Patti Smith performed Horses in  full for her Meltdown. This festival brings legendary artists to Southbank  Centre for a very special week of one-off performances.The Sonics received a  personal invitation from 2011 Meltdown host the Kinks' Ray Davies to appear  at the Meltdown Festival in London on June 18th.       The Sonics complete European tour schedule includes: May 25     La Cigale, 120 bd Rouchechouart, Paris, France - May 28     Le 106, 106 Quai Jean de Bethancourt, Rouen, France - May 31     Montpellier - TBA June 1     Nuits Sonores Festival, Lyon, France - June 3     La Sirene, 111 Boulebard Emile Delmas, La Pallice, La Rochelle,  France - June 5     Ancienne Belgique, Anspachlaan 110, Brussels, Belgium - June 18     Ray Davies Meltdown Festival, London, UK      -       Since the beginning of garage rock, the northwest sound, grunge, or  whatever anyone calls it, the Sonics set the precedence and the pace, and the  sound that gave to every musician and band that followed the inalienable  right to take rock to the edge of the universe, to explore the possibilities,  to get out of the rut, experiment, and to scream your guts out, that you have  arrived, and to continue that thought. The Sonics have remained the most  recognized sounds ever listened to by aspiring musicians and multitudes of  fans around the world.       Originally from Tacoma, Washington USA, the Sonics are claimed  worldwide to be the first punk band, or garage, or hard rock, or alternative,  setting the stage for all that would follow. The Sonics are still based in the  Northwest USA. Following their early retirement from being the Sonics, they  left a legacy and decades of fans who continued to spread the word and the  music. Still revered, in late 2007 the Sonics regrouped and reignited on the  scene in Brooklyn, New York headlining two sold out shows at the Warsaw.       Original members of the Sonics included Bob Bennett, Drums; Larry  Parypa, Guitar; Jerry Roslie, keys and lead vocals; Rob Lind, sax, harp and  vocals; Andy Parypa, bass;The Sonics today includes: Jerry Roslie keys, lead  vocals, Rob Lind, sax, harp and vocals; Larry Parypa, guitar bkg vocals; Ricky  Lynn Johnson, drums, and; Freddie Dennis, bass and vocals.   Official Sonics Web Site  Sonics Facebook Page  Meltdown Festival   
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  Post punks White Lies     Announce Wembley Arena show     White Lies are very, very good at what they do – 4/5 album of the week Sunday Times  There’s greatness here – 4/5 Q  The album delivers on the promise – 4/5 Mojo  It’s really quite difficult not to be impressed by them – 4/5 Time Out  Astoundingly assured – 4.5/5 The Fly     White Lies have announced details of their biggest U.K. headline show to date. They play London’s prestigious Wembley Arena on Saturday 17th December 2011.     Tickets for the show are priced at £23.50 and go on sale at 9am on May 27th via     The Wembley show marks a significant jump for the band who have already enjoyed a very fruitful 12 months. Last year saw them play U.K and European stadium support slots with Muse and U.S. arena shows alongside Kings Of Leon.     In the first few months of this year the band have played U.S. and U.K. headline tours (including two sold-out nights at London’s Shepherds Bush Empire and a New York Terminal 5 show) and made high-profile Stateside TV appearances on the Late Show with David Letterman and the Tonight Show with Jay Leno.      The next three months sees them appear at most of the major Summer festivals and once again play main support on the Kings of Leon U.K. and European stadium tour.     Their current list of U.K. dates is as follows:     MAY  28th                        Slane                                    Slane Castle *  30th                        Coventry                        Ricoh Arena *     JUNE  17th                        Sunderland                        Stadium of Light *  18th                        Llanelli                                    Beach Break Live  19th                        Manchester                        Lancashire C.C.C *  22nd                        London                                    Hyde Park *  23rd                        London                                    Hyde Park *   25th                        Pilton                                    Glastonbury Festival (Other Stage)      JULY  7th                        Coventry                        Kasbah  8th                        Balado                                    T in the Park                          13th                        London                                    The Roundhouse (i-Tunes Festival)     AUGUST  26th                        Reading                        Reading Festival (NME / Radio 1 Stage)  27th                        Leeds                                    Leeds Festival (NME / Radio 1 Stage)     DECEMBER  17th                        London                                    Wembley Arena     
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 Roddy Frame     Announces details of U.K. tour.    Roddy Frame has announced details of a U.K. tour in October 2011.    The tour features Roddy backed by a full-band – the first time in over a decade that he has performed live with a band; his recent performances have been solo acoustic shows.   The list of shows is as follows:   OCTOBER 10th                        Leeds                                                Brudenell Social Club 11th                        Middlesbrough                        Town Hall 21th                        Glasgow                                    ABC 13th                        Manchester                                    Deaf Institute 15th                        Liverpool                                    The Kazimer 16th                        Birmingham                                    Glee Club 17th                        Bristol                                                The Fleece 19th                        London                                    Bush Hall 20th                        London                                    Bush Hall   Tickets for the shows are priced at £18.50, except in Middlesbrough where they are £16.50, Liverpool where they are £17.50 and London where they are £25.00.  They will be available via,, and   Although Roddy has some new songs swirling around in the background, there are no new recordings or any marketing reason for the tour. Just the simple wish to play again with a band. And the pleasure of hearing songs from his back catalogue interpreted once more by an electric ensemble.   
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Photo by Dod Morrison

Adam Ant & the Good The Mad & the Lovely Posse    – Fat Sam’s, Dundee – May 21St 2011
To be totally honest I didn’t expect much from Adam Ant decades on from his hey day. Boy was I proved wrong! This ended up being one of the best gigs of the year (and no doubt still will be when December rolls around).
The lights went down and the band strolled on. Adam followed, making a grandiose entrance, not lacking any of the flare he had in days gone by. He kicked it off straight away with ‘Plastic Surgery’ and it was great hearing him singing in the same varying tones I’d heard on his records. He camped it up in new romantic style but was way more punk than I’d ever expected. He did look (and act) a bit like Captain Jack Sparrow. It seemed like the audience were intrigued at first and then soon warmed to him.
Adam spoke to the crowd between songs giving snippets of amusing stories. He enthusiastically dished out song after song, playing up to the crowd looking like he was really enjoying himself. The two drummers belted out their rhythms giving the music the heartbeat that it’s known for. The band seemed a little non plussed at the start, but then standing next to the vibrancy of Adam Ant might make anyone look a little bland!
I didn’t know many of the first few songs which I now know were ‘Dog Eat Dog’, ‘Beat My Guest’, ‘Kick’, ‘Car Trouble’ and ‘Zerox’ but he really drew you in and it didn’t matter if you’d heard them before or not. Two girls came onto stage for ‘Deutscher Girls’ and Adam Ant seemed to enjoy being very theatrical with them. He obviously preferred his earlier music and said as much, but made money from the later music – that was the cue for ‘Stand and Deliver’.
I (and the rest of the audience) was blown away by ‘Kings of the Wild Frontier’. He said before that this song was written when passion and lyrics mattered. The drumming was fantastic and Adam Ant himself was on superb form. He had such an infectious grin and was very lively.
One story Adam told us was about why he often had 30 second intros of drumming. Apart from being his sound he said that it’s because back in the day DJs would talk all over the start of a record on the radio and people would maybe miss the title, so this way by the time the planks (his words!) had finished talking the record would just be starting! Then started up the now famous sound of the intro to Antmusic and the whole venue was singing along.
Before singing A.N.T.S. Adam said that this song was close to his heart and represented everything that punk rock meant – “whether jumping up and down pogoing or spitting.  Me, Jordan, Sid and all other reprobates used to go to clubs and play this song, which I have adapted for you tonight” A.N.T.S is Adams version of Y.M.C.A and was very amusing to see performed!
‘Lady’ also got an airing even though this was the b-side to his first single. It has always been one of my husband’s favourites, and Adam told us that this song used to get him into trouble like most of his songs did. He seemed to like playing the earlier ones from the ‘Dirk Wears White Socks’ era but he said it was the poppier ones that made him famous.
After a brief break the band came back on and Adam had done a quick change into a kilt. However on it were three lions on the back and a St George’s flag on the front. The crowd boo’d (in good humour) but Adam took it the wrong way and said “How fucking dare you boo me! I’ve got a song for you.” He starts to sing ‘No Fun’, obviously aimed at the crowd, and quickly moved into ‘Physical’ playing like a man upset – hard guitar riffs and spitting at the stage. Suddenly he threw the guitar down, gestured to the crowd and walks off. The band finished the song looking a little bemused and the crowd waited for more but he had gone, left the building, which is a pity because I think he would have got an exceptional goodbye from the crowd. Apart from the last couple of songs this was a most memorable night and nothing should detract from how good an entertainer he is.
Plastic Surgery
Dog Eat Dog
Beat My Guest
Car Trouble
Deutscher  Girls
Stand And Deliver
Catholic  Day
Kings of the Wild Frontier
B Side Baby
Never Trust A Man
Goody Two Shoes
Viva Le Rock
Christian D’or
Lady/Fall In
Prince Charming (not played)
Fat Fun
Press Darlings
No Fun
Get It On (not played)
Words by Sally Morrison (and a few by Dod)



The Stranglers / Wilco Johnson / Mike Marlin (The Black and Blue Tour)
London Hammersmith Apollo Friday 11 March 2011

Insouciant Mike Marlin was the calm before the storm. On stage in a silk dressing gown and sipping a glass of wine he treated everyone to his own style of jazz-pop, including a unique take on the Bee Gees’ Staying Alive.

But it was the bulging, bug eyed Wilko Johnson of Dr Feelgood fame who certainly got ‘the show on the road’. From Barbed Wire Blues to She Does it Right, Wilko pumped out r’n’b brilliance through his customised style of simultaneously playing lead and rhythm on his guitar, while maintaining his frenetic, jittery off-the-wall actions. 

By the end of the set the audience, who ranged from 60 to 16, were hyped. As the lights went down and familiar Stranglers signature theme, Waltzinblack, throbbed out, the indefatigable band also known as The-Men-in-Black materialised on stage.

The band has come a long way since 1975 and certainly know how to play a dynamic set. They kicked off with the provocative I feel like a Wog, a condemnation of racial bigotry snarled out by now-well-established front man and guitarist Baz Warne, whose vocal dexterity can handle the gruff temperament of the likes of Hanging Around but also has the cadence required for Golden Brown and Always the Sun.  

Essentials such as Grip, and Duchess were all there as well as surprise rarities such as Dead Los Angeles and Tramp to the delight of the more hardcore fans. They also unveiled new song, Freedom is Insane. With its portentous lyrics, dirty thrumming bass line, swirling keyboards, and sung by the incomparable Jean-Jaques Burnel it a gem of a track bound for classic status.     

The sound of the Stranglers has obviously struck the right chord with the public and has helped them survive over 30 years in the business, picking up a dedicated cult following along the way. They are also one of the few bands left who can deliver quality rock’n’roll with edge which they proved once again on the night. See them while you still can because there won’t ever be another band like them.

Mark Ottowell

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‘Rockabilly: The Twang Heard ‘Round The World – The Complete Illustrated History’ is exactly that – a definitive, striking history of rockabilly music in 232 pages and a hard cover.

It was the twang heard ’round the world: Rockabilly was born out of country, bluegrass, jazz, and the blues in the 1950s, becoming rock ‘n’ roll and ruling the world. Here’s the story of Elvis Presley’s first Sun records that inspired all. And here’s Carl Perkins, Gene Vincent, Eddie Cochran, Jerry Lee Lewis, Johnny Cash, Roy Orbison, and many more rockabillies from the golden years of 1955-1959, in a book chock full of photos, collectible memorabilia, movie posters, rare records, fashion, and rebel lifestyle. The story continues today, with a rockabilly revival that began with stars, such as the Stray Cats and Robert Gordon, spreading around the globe from Europe to Japan. Today, rockabilly is better than ever, with bands like Rev. Horton Heat and others playing the music and living the life from Memphis to Helsinki to Tokyo. There’s still good rockin’ tonight!

To be in with a chance of winning one of five of these great books, ‘Like’ our new Vive Le Rock Facebook page (remember to ‘Like’ the page even if you’re already friends with our account) then message us with your name and address and identify which music legend graces the cover of the ‘Rockabilly’ book.

Good luck and vive le rock!

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(Cherry Red)
Former Eater frontman back on fine form.

Though this doesn’t quite reach the heights of Andy Blade’s 2008 groundbreaking ‘Life Affirming Songs For Those With A Bad Attitude’, it’s definitely worthy of a place in your collection. The multi-talented chap plays and produces everything himself. He does it with endearing brio, humour and is quite happy to toss a sucker punch in the direction of the establishment when and where necessary, proving his ’77 punk spirit is very much alive and gobbing. ‘Paradise & Below’, ‘You Kill Me’ and ‘Electrified’, with their outspoken guitar, swirling effects and enigmatic vocals, are definite highlights but there’s still very little filler on there. Andy Blade has truly reinvented himself in recent years and is amassing legions of followers that were hardly out of nappies when he first got in front of a microphone.
Neil Anderson

(People Like You)
Seattle outlaw country man with a punk attitude.

Armed with his leather vest, a thick accent and his Outlaw Carnies backing band of banjo, fiddle and upright bass players, Bob Wayne is the modern embodiment of the outlaw country spirit of Johnny Cash and Hank Williams. Alongside the likes of Hank III, he’s putting the spit ‘n’ blood back into country, with the likes of opener ‘Road Bound’, ‘Mack’ and ‘Everything’s Legal In Alabama’ telling tales of brawling, drink, drugs, trucks and guns, all while sweating a punk rock aggression. But he’s not just a one trick pony, with album highlight ‘Blood To Dust’ a more sombre, stripped down and melodic story about Wayne’s tough life. If you want to hear country with a true rebel sound then look no further than ‘Outlaw Carnie’. Bob Wayne tells it like it is, warts and all.
Ian Chaddock

(Devils Jukebox)
Authentic rock ‘n’ roll with a country tinge, fronted by New York punk kitten.

Former NY Loose babe Brijitte West is the perfect package. Back with her new gang of Hopefuls, this album is a feisty siesta of no-nonsense punky country rock. One moment you’re slammin’ tequilas with the playful ‘Hey Papito’ (on this issue’s covermount CD), the next you’re pogoing to the stonking ‘Not My Fault’, then you’re kicking back with the melodic country ballads ‘How To Be Good’, a duet with Jesse Malin. She absorbs the rustic twangs of Sheryl Crow with the Runaways grrl-power of Ms. Jett, then secretes nothing but unadulterated classic rock aura. The self-titled album isn’t ground breaking but it’s professional and full of anthems. They know what they’re doing, and they’re doing it with balls. Rock and fucking roll!
Nina Cresswell

(I Hate People)
Geordie street rock ‘n’ roll, straight from the heart.

The Jarrow lads have done it again. ‘Crash And Burn’ is a shotgun filled with hard rock, balls-out punk, and nifty lyrics that will blow your brains out! Following the blinding ‘Pearls Before Swine’, the new album is a street punk masterpiece with a robust measure of classic rock licks. Chris Wright blast punk s out ‘Still A Fighter’, a heartfelt account of his boxing background, and ‘Battle Scarred’, a powerful military anthem, with nothing but genuine passion. Catchy, light-hearted tracks ‘Save Amy’ and ‘Feel Good’ are teamed with honest ballads ‘The Town That Died’, and the cheeky ‘Son Of A Gun’ with an end product that makes me proud to be from the North East. What I want to know is, who is “Cushy Butterfield”? She sounds like my kind of girl!
Nina Cresswell

(One Media)
Sham 69 founder’s fine second solo outing.

As founding guitarist with Sham 69, Parsons has long established himself as one of punk’s best players and tunesmiths, but this album contains much that wouldn’t sit happily in the Sham catalogue. It’s been a good while since his last solo album, 1996’s ‘Reconciled’, but, perhaps reinvigorated by the new Jimmy Pursey-less, but much more active, Sham, here he is with another (for now, it’s digital only though). Openers ‘Hope And Faith’ and ‘Framed’ are tuneful pop/punk with a glammy edge, while ‘Can You Here Me Now’ is a subdued number with acoustic guitar, piano and nice vocal harmonies. Elsewhere, ‘Another Way’ moves into robust metal, even hair metal territory, and though ‘Gotta Get Outta This Place’ is not an Animals cover, Parsons cheekily slips in a few bars of the classic. Well worth checking out.
Shane Baldwin

Pop-tainted grime from punk rock’s latest DIY investment.

These guys have been on the scene for five years and have already made their name on tour. It’s punk the way it should be, with fresh lyrics that differ from the normal psycho-politico, but with the smell of petroleum plus all the same. ‘Be Afraid’ is a psychobilly entrance, with the paranoid visions of a society gone mad rings linking from their previous release ‘Age Of Paranoia’. ‘Other Side Of You’ has a heavy metal undertone and coils of sardonic dark humoured vocals. On ‘Dirty Dick’ there’s a Dead Kennedys feel about the sleazy riffs and the masquerade of singer Villy. Single ‘Pulse And A Heartache’ deals a serious tempo adjustment. The Dead Class manage to intertwine pop punk and classic hardcore without losing anything in Americanisation.
Ayisha Khan


(Rowdy Farrago)
Split EP from the UK old schoolers and former singer’s new outfit Gripper.

The Destructors were one of the forefathers of the UK punk scene and this split sees pretty much nigh on the original ’78 line-up back together, complete with original vocalist Allen Adams. An anti-war lyrical stance (‘Third World War’) and some full-on riffage has them wrecking on their four tracks. New Zealand’s, Gripper’s link with the Destructors is their singer Neil Singleton replaced Adams on vocals back in the ‘80s. Their boisterous, four tracks are more tongue-in-cheek than their split partners but great all the same. Leaning more toward the foul mouthed bluesy punkage of Sick On The Bus, tracks like ‘Useless’ and ‘How’s Ya Farva’ are only a let down in the production department. A quality split from polar sides of the globe.

Miles Hackett


(Shattered Debauchee Press)
More scattergun punk potshots in a C&W stylee from these self-styled “London Kidney Thieves”.

Rose Alley Inbreds is an intoxicating hybrid of Cajun, C&W, and rock ’n’ roll with a hefty pinch of punk attitude. Mercilessly lampooning all manner of cultural, social and political sacred cows and taboos alike, take the ‘Rhinestone Klansman’ for example, or the immensely hilarious ‘I Caught H.I.V. From A Dirty Phone Call’. Some of the songs may – no, will – offend the sensibilities of more sensitive souls, for instance ‘God Bless Mark David Chapman’ is a cheap shot at The Beatles, but scratch beneath the surface of the provocative titles and you’ll find some cleverly crafted lyrics that owe as much to wry, satirical observation as they do to being offensive for the sake of it.  The trick is not to take things too seriously.
Rich Deakin




UK82 veterans still angry after all these years. 


The Disrupters are a Norwich based punk band who formed in late 1980. Originally influenced by the punk bands of the late ‘70s, the band was eventually drawn to the anarchist scene, attracting the attention of Crass, who included their track ‘Napalm’ on their ‘Bullshit Detector’ compilation. Having eventually split up in 1988, they made a well-received comeback in 2007 and, with a slightly revamped line-up, recorded this uncompromising album. If they were angry young men decades ago, the years have done little to calm them down as they rail against religious bigotry, corporate greed and child abusers. It’s not exactly easy listening by anyone’s standards, but as the band themselves point out “it is a dark album, but we live in dark times”.
Lee Cotterell

Edgy, chaotic glam-grunge with splashes of metal and riot grrl power.

From the ashes of Daisy Chainsaw and Queen Adreena come The Dogbones: a rollercoaster of frenzied screams and gritty rock over a  drum-heavy shadow of voodoo beats. Metal influences of blood-spitting track ‘Aneurin’ are undeniable and ‘All Your Friends (Are Going To Kill You)’ incarnates a schizophrenic episode wonderfully. ‘It Was A Lie’ is a dark, grimey gem and the album highlight. There’s a couple of disappointing tracks, with ‘Hey Chihuahua’ and ‘I Want Alcohol’, but they’re odd cracks in an otherwise grunge-glam work of art. Nomi Leonard shows Courtney Love what a grunge girl really is, seamlessly switching between haunting screeches, psychotic quivers and sweet riot grrl power. The Dogbones create a chaotic rocket that will blast you into another dimension.
Nina Cresswell

Essential, spunky rock ‘n’ roll live album celebrating 25 years as a band.

This CD/DVD is a perfect way to commemorate a quarter of a century of the Godfathers. The boys blast through a classic Godfathers set at London’s 100 Club, with 25 fan favourite songs, including ‘I Want Everything’, ‘Birth, School, Work, Death’, ‘This Damn Nation’, ‘Walking’ and ‘Talking Johnny Cash Blues’. In fact we get a double whammy of delight here because brothers Peter and Chris Coyne have reunited with old partner in crime, guitarist Del Bartle. They treat us to The Sid Presley Experience’s ‘Hup 234!’ and ‘Cold Turkey’, with powerhouse drummer Grant Nicholas’ great vocal harmonies. We have a couple of new sing-along anthems, with ‘Get Back! Back Into The Future! Going All The Way Home’ seemingly summing up the situation.
Shanne Bradley

Great balls of fire, he’s still (country) rockin’!

Rock ‘n’ roll’s original hellraiser may be in his mid-seventies but, judging from ‘Mean Old Man’, he’s still got it. Breaking through in the ‘50s with hits like ‘Whole Lotta Shakin’ Goin’ On’ and ‘Great Balls Of Fire’, over half a century later Lewis retains his ageing snarl. There’s also a plethora of all-star guests, and amongst the musicians are nearly every Rolling Stone, Eric Clapton, Sheryl Crow and John Mayer, but the best include Slash and Kid Rock (on rock ‘n’ roller ‘Rockin’ My Life Away’) and Willie Nelson (‘Whisky River’). The tongue-in-cheek title track, penned by Kris Kristofferson, is a Johnny Cash-esque country rocker that shows his sharp wit. ‘Miss The Mississippi And You’ is just Lewis and his piano and it’s a poignant closer. He may be a mean old man but he’s still a rock ‘n’ roll legend.
Ian Chaddock


Vibrators’ legendary frontman comes over all country.

Having played with first wave punk rockers the Vibrators for thirty five years, it’s refreshing to hear bona fide punk hero Knox teaming up with country band Trailer Trash Orchestra for an eleven track album of countrified goodness. From Vibrators songs given a stomping barroom makeover like ‘Baby Baby’ to a dark cover of the classic ‘The Knoxville Girl’, along with unreleased songs by both Knox and TTO frontman Grae J, it’s an album rich with instrumentation and storytelling. With pedal steel, fiddle, mandolin, harmonica, double bass, double guitar and drums accompanying Knox’s distinctive vocals, this shows another side to the veteran punk rocker. From an idea born in a North London art gallery in 2007 to this heartfelt album, it’s a must-have for any Vibrators or country fans. Next stop, Knoxville.
John Damon


(Dirty Water Club)
Argentina’s mad dog quintet take on ‘60s garage corpse decadence.

The kings of South American garage punk hit back with their third LP but instead of fiery psychobilly that leaves a tequila, salt and lime aftertaste, there’s a dispelled rock ‘n’ roll seasoning churned out from a choppy Farfisa organ. The band has attempted to re-brand an outworn ‘60s garage that would have been alive and well in the smoky joints of their South American forefathers, but not even ’96 Lágrimas’ is able to revive an age gone by. They do however drive a catchy rhythm; ‘Connection’, an Inglés track on their bilingual mix, fuses dimensional strands of organ and thunder drum musings, before launching into an instrumental flair of unwired sound collections. ‘Rebelde’ is the highlight; warm tremolo guitars echoing raw vocal vivacity. It’s too difficult to resist the Latino pulse.
Ayisha Khan


(Devils Jukebox)
Real punk ‘n’ roll straight from the gutter.

An album that effortlessly channels punk forefathers the Clash, the Ramones and Dead Boys, ‘So Much For Soho’ is a killer 12-track of melodic sing-along punk ‘n’ roll. ‘Green Eyes’ is on this issue’s free CD and is a highlight, while the rest of the album doesn’t disappoint. ‘Two Ladies’ takes a more punkabilly thrust: deep rock ‘n’ roll bass and screaming guitar solos blast as Tom Spencer pulls off a psycho rasp akin to that of the legendary P. Paul Fenech. ‘30 Nage’ paints an all-too-real picture of original ’77 rockers growing old disgracefully. Four bonus tracks add a delicious dessert to a fresh mix of new age punk. Ex-Yo-Yos, Black Halos, Towers of London and Deadline members formulate a flawless line-up, and a gem for any punk rock collection.

Nina  Cresswell

Woozy, boozy Creole romper-stomping all the way from Sweden.

Incredibly, for a Swiss trio – Mama Rosin have distilled The Deliverance Experience to a hi-definition, fly-by tour of Louisiana’s backwaters, leaving you loose-limbed and lost in the badlands. It’s a feverish, sweaty blend that rocks and reels from the bare-knuckle, gumbo punk of ‘J’Arrive Pas A Dormir’ to the Bo Diddley rhythms and swamp-dwelling drums of ‘Bon Temps Roulet #3’ and the lumbering, lazy sway of ‘Quinze Jours Passes’. Every tune is so raw-rooted you can taste the delta dust between the tracks. ‘Black Robert is home-made, musical moonshine and something like sitting in on a Saturday night juke-joint jam. I’m all for woozy grooves and freewheeling wig-outs but a few too many drifting riffs and shapeless shakedowns muddy up an otherwise fiery collection of voodoo blues and campfire anthems.
Dave Collins


(Rockers Revolt)

For a band who have been around for over twenty years, Maroon Town sound remarkably fresh. The South London nine-piece were mainstays of the late ‘80s ska revival scene, releasing the groundbreaking ‘High And Dry’ album, which mixed Jamaican ska, rap and soul to tremendous effect. Since then they’ve travelled the globe many times taking their community music to the people and ‘Urban Myths’ plants them firmly back on the map. The songs strut and swagger with a new found confidence, complimented by the smooth female vocals mixed with the male rap attack. Opener ‘Ya Ya (Lemme Tell Dem)’ whips up a dancehall storm, ‘Latin Moshpit’ adds salsa rhythms to the party, ‘Bella Cosa’ incorporates a heavy reggae and dub vibe and ska instrumental ‘Bullit’ whips along at a fair pace. Maroon Town are back at the forefront of the cross-cultural sound clash. 

Andy Peart


(Gas Station)
Reformed NWOBHM band featuring ‘Art Attack’ axeman.

Depending on how old you, you’ll either know the name Neil Buchanan as guitarist for ‘80s hair rockers/metallers Marseille or as the presenter of ‘90s kid’s TV art show ‘Art Attack’. Either way, he’s certainly a great lead guitarist, peeling off some impressive licks throughout this comeback album. Having reformed in 2009, this is their first aptly titled new album. From the anthemic title track opener to the gang vocals and rock ‘n’ roll worship of ‘I Believe’ to the uplifting ‘Everyone Dies Young’, this is still NWOBHM through and through. Nowadays, with older bands trying to sound current and falling flat on their faces, it’s good to hear a band coming back and doing what they’re best at. Get out your air guitar and bang your head, Marseille have got unfinished business and, damn it, this is a lot of fun.
John Damon


Judge this third album from the rejuvenated 21st century ‘Dolls on its tracklisting, which includes three “baby”s, two servings of “fabulous” and a starter of “streetcake”, and you’d think the clean and consistent band had perfected popping out glam trash to the point of self-parody. Expecting ‘Round And Round She Goes’ grit ’n’ glitter rock however, this would be more accurately judged on the title it shares with a Ginger Rogers biopic. It‘s not that the ‘Dolls have learned any new tricks, rather rendered a rose-tinted, retro-fabulous record by skilling up on some of the oldest in the book. Their latent Shangri-Las love surfaces in swathes of shimmering ’60s harmonies, whilst elsewhere David Johansen reanimates crooner alter-ego Buster Poindexter. With an ironic lack of fast-paced fuel for the dancefloor, it’ll be interesting to see them match this mellow and atmospheric offering to old favourites onstage.
Alison Bateman

(Easy Action)
Darksider blues rock from Schoenfelt and friends.

Former Khmer Rouge man and Nikki Sudden collaborator, Prague-based Phil Schoenfelt has staked out his territory in the badlands of brooding blues-tinged rock, and this new offering – conceived and recorded in the wake of the ravages of Interferon treatment – is an appropriately dark-hearted affair. As the title would suggest, Schoenfelt’s current material seethes with paranoiac malaise, alleviated by the melancholic atmospherics at work on cuts such as ‘Forgiven’. Schoenfelt’s references are worn on his sleeve here – ‘Bitterman’ or the stunning ‘Bloodshot Eyes’ recall the troubled misanthropy of Nick Cave, while ‘Undertow’ taps into Joy Division’s icy magnificence. Not least, there’s a heartfelt tip of the hat to Iggy And The Stooges whose neglected classic ‘Open Up And Bleed’ is given a masterful working over here. A heartsick concentration of rocking-blues vitriol and regret.
Hugh Gulland

Breaking a five-year hiatus The Posies return with sugar rush rock.

The band name sets the scene: a playground mantra with a black museum back story. The tunes tell the tale: sing-along songs of deep, dark deliciousness that get into your system. Like Jellyfish’s muscular younger brothers, The Posies specialise in constructing perfect pop confections, peaking with ‘She’s Coming Down Again’ tickling your ears with sugary hooks, harmonies and melodies. Whipping along like a Siberian wind, the album gear shifts through fidgety time signatures, layering Teenage Fanclub toplines over Mott The Hoople chants and Wings-style pocket-operatta. Ghostly girly guest vocals bring some silvery shimmer to The Posies’ twilight tones, with heavyweight ledge Sir Hugh Of Cornwall adding his man-in-black snap to ‘Plastic Paperbacks’. Blood/Candy is a song book of shadowy modes and sunshine super pop. 
Dave Collins


What can you really say about Random Hand that hasn’t been said before? ‘Seething Is Believing’, their third full-length, is another solid and brilliant album from the Yorkshire based ska punk outfit. From the first song ‘Tales Of Intervention’ to their final track ‘42 Days Off The Records’, they just play their hearts out, and you can really hear it and appreciate it. I don’t even like ska music, but I just couldn’t help listening to this album over and over again. 2011 should be a big year for Random Hand with this album and going out on tour with friends The King Blues. Make sure you grab this album, as it is one fine piece of work. You’ll be seething that more music isn’t as passionate as this and believing that Random Hand are one of the UK’s finest ska punk acts after hearing this.
Ian McCreery

(Smoky Carrot)
Accomplished retro rockers take us back with their ‘60s garage sound.

Psychedelia gets a 21st century sonic twist courtesy of the debut album of this seismic Swedish-French outfit. Fronted by the swaggering, sultry Izzy Lindqwister, a female prodigy of
former Johnny Thunders’ guitarist Stevie Klassion, Rodeo Massacre produce corrosive garage blues. Think Fuzztones with a dose of 13th Floor Elevators, with the ghost of Jim Morrisson in the background. Check out the driving ‘Women’, a slice of retro genius with the all the ‘60s-inspired frills and frivolities.
Songs like ‘Zombies Of Life’ and ‘Deadly Bite’ drip with steamy voodoo magic. Zorba, the co-founder of Rodeo Massacre, is also a fully qualified pharmacist which can only be a plus factor when a truly out of body gigging performance is the order of the evening. Psychedelia? They’ve got it bottled.
Neil Anderson

(People Like You)
Pounding street punk.

It’s hard to believe that the Agnostic Front singer has been leading The Disasters for more than ten years now, but here we are with the band’s fourth album and it was more than worth the five0year wait. They’ve always been a force to be reckoned with, but the band have never sounded more passionate than they do here. Ultra-precise hardcore drums pound away at a dizzying pace, guitars generate a wall of sound layered with intricate licks, Miret’s formidable vocals are at once powerful and melodic and the backing vocals either soar to the ceiling or pin you to the wall with a footy-terrace roar. Opener ‘Stand Up And Fight’ is a weighty slab of honest street punk, while the title track nicely evokes the Clash, but there’s absolutely no filler here. First rate street punk.
Shane Baldwin

Gut-busting rock ‘n’ roll from vivacious Swedish four-piece.

They are the Royal: a frantic comet of energetic indie slam-glam rock, and, no doubt about it, they’re gonna shatter this globe. Their eclectic musical tailoring is fabricated with shoes of The Hives, Electric Six’s undercrackers and shrouded in the leather jackets of the New York Dolls. RR’s debut single ‘Tommy Gun’ is a splicing of Franz Ferdinand and the White Stripes: chunky space-bass, rousing guitar twangs and drum beats with the power to concuss. Swathed with frontman Adam Grahn’s distinct hollers, the Swedish quartet are a barrel of explosive talent. ‘Full Steam Space Machine’ is jam-packed with thumping electro punk and psychedelic sing-along originality, and with tongue-in-cheek tracks like ‘Underwear’ and ‘Good To Be Bad’, it’s refreshing to see new-fangled rockers who don’t take themselves too seriously.
Nina Cresswell



(Noise Pollution/Southern)

Kentucky post-punk experimentation.

Think post-punk and Louisville and the mighty Slint loom large (in fact, bassist Todd Cook played with the reunited version of that band at ATP). Shipping News have not escaped their influence, but there’s also a distinct nod to the more forceful Chicago sound of Naked Raygun, the Effigies or, more appositely, Songs About-era Big Black (especially closer ‘Do You Remember The Avenues’). It has the same looseness of rhythm and sonic cadence – especially in the Albini-esque vocals – but elsewhere the drawn-out riffs do indeed evoke something of Slint’s mighty ‘Spiderland’. Recorded live – the occasional ripple of applause being the only clue – ‘…Heartless…’ has genuine moments of visceral beauty, as on the instrumental ‘Half House’, on which they completely immerse themselves in a single riff.
Alex Ogg

(Devils Jukebox)
Transatlantic scuzzy punk rock fun.

Featuring current and former members of the likes of the Loyalties, Pussy Crush, Sweet Zeros, Gabba and the Classic Ruins, there’s no doubting that the Shotglass Killers have the experience and ability. Throw in a great, raw yet powerful production from the Damned guitar legend Brian James (who also guests on opener ‘He’s Got Style’) and you’ve got an album that draws on the likes of the Ramones, the Rezillos and Johnny Thunders. Gutter pop punk gems like ‘Be Someone’ and ‘Pixie (Rush Hour Go Slow)’ and the garage punk anthem and album highlight ‘Turn Up The Gain’ (on this issue’s free CD) show that, although influenced by the greats, they’re putting their own spin on their female-fronted assault. Raise your shot glasses in the air and slam them, here’s to your new favourite band!
Rachel Owen


Mike Ness and co. with another punk ‘n’ roll diamond in the rough.

How many bands do you know that can combine punk, rock ‘n’ roll and rockabilly as seamlessly and powerfully as the mighty Social D? Not many, if any. ‘Hard Times And Nursery Rhymes’ isn’t a big change for them by any means and it’s not their best album either (that accolade would still go to their raucous 1983 debut classic ‘Mommy’s Little Monster’ in my opinion), but it does show that they can still produce the good thirty years into their career. From the dusty instrumental opener ‘Road Zombie’ to the Americana meets gospel of ‘California (Hustle And Flow)’ and the countrified punk rock gold of ‘Machine Gun Blues’ and ‘Can’t Take It With You’, Ness is still telling his thrilling tales. Long may he continue.
Rachel Owen

Hit and miss ninth album from Scottish alt-pop rockers.

Norman Blake and Teenage Fanclub have never tinkered too much with a winning formula, and here, five years on from their last release, they remain homaged to the gills to West Coast pop; to Brian Wilson, Alex Chilton, Roger McGuinn and to the original Postcard sound. ‘Shadows’ doesn’t have the ultimate staying power of their epochal ‘Grand Prix’ or ‘Bandwagonesque’ albums, but it does run them close at points. Not least on the album’s bookends. Opener ‘Sometimes I Don’t Need To Believe In Anything’ has an understated riff that collapses into rhapsodic harmony to thrilling effect, while closer ‘Today Never Ends’ is an instantly agreeable sonic daydream. Not everything within those two staging points is as compulsive, however, and there are times when whimsy threatens to suffocate the compositions.
Alex Ogg

(Soviet Beret)
Backing the USSR: R‘n’B (Reds and Blues) from Surrey based comrades.

With the Blue Meanies back in power, student riots, twitchy nuclear trigger-fingers (yes, you North Korea) and a right royal knees-up in the middle of debts, doldrums and redundancy – the return of Thee Faction couldn’t be better timed. A swinging Socialist collective from Surrey since 1985, these red beret rockers are back to rabble rouse your mind and agit-prop your pop. ‘At Ebbw Vale’ is the comeback manifesto and by Gorbachov it’s good. Twinning Dr Feelgood rhythms and Eastern Bloc rocking beats on the industrious riffing of ‘Union Man’ and ‘Conservative Friend’ alongside the brothers and sisters party chants of ‘Social Inclusion Thru Marxism’ – it’s the greatest red record since Lenin And McCartney’s ‘Снова в СССР’. The revolution starts here so get onboard and lend your ears to the cause comrades.
Dave Collins

(Sunny Bastards)
The sound of Berlin’s street punk stays the same.

Tower Blocks bring to mind the best German street punk export Oxymoron. Although their songs are not as instantly recognisable, the commitment of Tower Blocks is not to question. The album relies on well-executed raw guitars, raspy vocals and big choruses and it is no surprise that we’re now dealing with the band’s fifth studio album. Songs like ‘Berlin Bombshells’ introduce double bass and uplifting backing vocals, while ‘The Fine Line’ shows that they also got the Anti-Nowhere League in Germany. ‘The Last Punkrock Scandal’, which features Sucker from Oxymoron, sounds like Blocks’ equivalent to the Sex Pistols’ tongue-in-cheek anthem ‘The Great Rock ‘N’ Roll Swindle’. There is a slight occasional flirt with metal or rockabilly and a token ballad, but overall the band does not step too far away from the rather rigid street punk/Oi-formula.
Jyrki “Spider” Hamalainen

(Sub Pop)
Widescreen dustbowl-blues from the former Afghan Whig.

Following up on 2006’s ‘Powder Burns’, one-time Afghan Whigs vocalist Greg Dulli and his current outfit the Twilight Singers resume their exploration of sepia-tinged Americana with ‘Dynamite Steps’, a mini-epic of post-grunge drifter-blues in which Dulli’s well-fitting persona of truckstop lounge-lizard comes into its own. Not that ‘Dynamite Steps’ hits the target
every time; portions of the record are pleasantly tasteful rather than outstanding, but there’s enough of the latter to merit your attention here. Whether adopting the Nick Cave-style of balladry on ‘Last Night In Town’, or unleashing the searing guitar hailstorm of ‘Waves’, when Dulli hits the seam he’s clearly aiming for, the results are worthwhile. Enjoyable flourishes such as the Hendrixy guitar break in ‘On The Corner’ add some unexpected flavour, and the honky stylings of funk-gospel elegy ‘The Beginning Of The End’ are curiously effective.
Hugh Gulland

7/10 & 7/10

When Twisted Sister couldn’t find themselves a record deal in the early 80’s they decided to go it alone and release recordings themselves. The first of these single recordings were ‘I’ll Never Grow Old Now’ and ‘Under The Blade.’ These two singles are on this reissued album of the live recordings of these songs. It was these songs that pushed Twisted Sister to play over 50 bars with attendance ranging from 800-5000 all without a record deal. This album shows how they managed to do this with their own blend of arena heavy metal that made Twisted Sister a force to be reckoned with. ‘You Can’t Stop Rock ‘N’ Roll’ is another re-issue, this time of their 1983 second studio album. Filled with arena-filling anthems, it’s hard to argue with.
Ian McCreery



(Captain Oi!)
Original punk heroes return with a spanking new feel.

Why hasn’t Charlie Harper been knighted yet? Irrefutably a prime pioneer of the first wave of punk, the Subs’ new album, ‘Work In Progress’, confirms the rock ‘n’ roll veteran isn’t slowing down anytime soon. ‘WIP’ brings in tides of an oxymoron that works: fresh, old school punk rock. The band, now on letter W in their alphabet of albums and the original Subs vibes stand strong, reminiscent in places of classics like 1980’s ‘Brand New Age’. The album, crashing into life with ‘Creation’, is a cocktail of raw fuck-off riffs, chest-pounding drums and sing-along chanting. ‘This Chaos’, a street punk anthem co-written with Rancid’s Lars Frederiksen, and a Subs-esque take on ‘Strychnine’ by The Sonics, make this album a corker for die-hard Subs disciples and new age rockers alike.
Nina Cresswell

(Believers Roast)
Friends and admirers of Tim Smith pay their respects to the man behind the Cardiacs.

It has been said that one Cardiacs song contains more ideas than most other musicians’ entire careers. So where do you begin when paying tribute to Tim Smith? How to capture the epic scale of his twisty but perfect tunes, all pulled together with flawless musicianship and punk rock power? On this suitably glittering album, assorted fans – Magic Numbers, Oceansize and others – celebrate Smith’s work and support his continuing treatment for the stroke he suffered in 2008. While some tread a Cardiacs-like path (Ultrasound’s jaw-dropping ‘Big Ship’), those who reimagine Smith’s self-proclaimed “lovely tunes” as orchestral ballads or traditional acoustic romps confirm most effectively that this is a man who just wants to share his world of wonder.
Mr Spencer

Cranked up punk ‘n’ roll from Oxford’s finest.

I first encountered Winnebago Deal back in 2002 when I booked them to support Jesse James in Bath on the strength of a raw but impressive demo. Having blown the roof off the building and the headliners off the stage, they remain to this day one of the loudest bands I have ever seen. Eight years on and they’re still dong the business. ‘Career Suicide’ is their third full-length and they’ve not messed with their tried and tested Black Flag meets Black Sabbath formula except to vary the pace and add a little more melody. From the opening sucker punch of ‘Heart Attack In My Head’ through a blistering ‘Ain’t No Salvation’ to ‘Can’t See, Don’t Care, Don’t Know’, it’s just blistering rock ‘n’ roll with no filler.
Lee Cotterell

Atmospheric new offering from the giants of art punk.

Currently operating as a slimmed-down trio comprising long-term members Colin Newman, Graham Lewis and Robert Grey, Wire’s long and rich musical odyssey continues with this latest outing, a beguiling delve through their unique artistic vision. Never a group to settle for handed-down rock clichés, Wire’s questing nature continues to bare fruit, and while ‘Red Barked Tree’ remains identifiably Wire throughout – ‘Clay’, for instance, wouldn’t sound out of place on any of their earlier albums – the material here pushes in diverse directions. There’s the stop-start rhythmic jolts of ‘Now Was’, the understated atmospherics of ‘Please Take’, the metronomic two-chord mantra of ‘Two Minutes’, the Stooge-esque kinetics of ‘Smash’, and the lush dream-pop landscapes of ‘Adapt’. As intriguing and enigmatic as ever, Wire’s meshing of
pop, noise and art is an ongoing inspiration.
Hugh Gulland



(Tribal Vibes)
Cheap and dirty gothabilly from South London grease quartet.

Though their voodoo rock ‘n’ rollin’ rhythms may not have yet penetrated all four corners of the country, the Witchdoktors have been mainstays of the London underground scene for close to a decade and ‘$3 Hooker’ marks their newest in a long line of bone-shaking releases. Steady paced and merging ’60s garage sounds and surf with the standard revved up rockabilly, the album arguably lacks the speed of your average wrecking release, but its spooky ambiance will have you spellbound in seconds. Prime listening for fans of the likes of Vince Ray or even The Fleshtones, the Witchdoktors are trashy, twiddly and a little bit terrifying. Get listening to this hypnotic graveyard boogie because the Witchdoktords like ’em cheap and undead.
Tom Williams

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We have a ‘Rock In Peace’ feature on the Dead Boys’ much missed frontman Stiv Bators in the current issue of Vive Le Rock. VLR scribe Hugh Gulland recently did an exclusive web interview with Dead Boys’ legendary guitarist Cheetah Chrome too…

Sylvain Sylvain and Cheetah Chrome, two founding fathers of punk rock, have formed Batusis. The project marks the first-ever collaboration of two longtime friends, both of whom happen to have profoundly influenced the direction of punk rock and its aftermath: Cheetah Chrome, hard-charging guitarist of Cleveland icons Rocket From The Tombs and Dead Boys and celebrated solo rocker, and Sylvain Sylvain, wildly charismatic New York Dolls axeman and adventurous solo artist.

You and Syl have presumably known each other since back in the day, what prompted the pair of you to finally work together on Batusis?
"It was suggested to us by Syl’s manager Bill Moriarty and Frank Mauceri from Smog Veil Records. They knew we were friends, and saw we had some time on our hands, so why not do a project together? It really is long overdue, and the results have been amazing; working in the studio and doing shows with Syl and the guys is the best."

Is the project on an ‘all-new’ basis or will you be digging up a few nuggets from your respective back catalogues at shows?
"I think we’d get lynched if we didn’t do at least a couple of the old songs; we do put our own spin on each others’ hits."

The name references the Adam West ‘bat-dance’ and there’s a biker-flick theme on the EP – there appears to be a strong B-movie trash sort of aesthetic at work – does this indicate a common cultural thread you and Syl share?
"Yeah, but only one of many. We never sat down and planned to be a 60’s themed band; I think you’ll see a lot more diversity as we progress. We’ve both been rock and roll sponges for a number of years, we’ve absorbed a lot of styles."

Are you going to follow the EP with a full album?

"That is the plan, we’ll probably record sometime in late summer."

You were originally in Rocket From The Tombs, who seem to represent two divergent strands of US punk, ie one part of the band goes off to form Pere Ubu who tend to be perceived as part of the ‘arty’ or experimental punk set along with Patti, Television etc, while the Dead Boys tend to be pegged as the more straightforward rock’n’roll types more in line with the Heartbreakers etc etc. Was there a tension within RFTT along these lines? Did audiences know what to make of Rocket when you first formed? How did the reunion tours go?
"Actually, I’m still a member of Rocket – we just put out our first new single in 35 years a couple of weeks ago! The tension was definitely there in the beginning, which was one thing that made the music so dark; we weren’t comfortable, we were very edgy around one another. At first that carried over into the reunions, but things have mellowed considerably in the past few years. We can still explode on short notice though, trust me! As for the audience back then, you never saw so many jaws on the floor; we scared people."

The Dead Boys, as happened with many of your contemporaries, seemed to hit a wall as far as what was going to be commercial outside of the confines of the NY scene, ie ‘New Wave’ was going to be palatable to a mass audience whereas Bowery Punk was not – do you think it could have panned out differently career-wise, say if the label or record producers had handled it differently?
"I think the label definitely had their heads up their asses when it came to the Dead Boys, and Punk in general. They saw every one of our strengths as a weakness. They were using 1950’s thinking to sell something new and untried, which has lasted far longer than they ever anticipated. And far longer than most of their labels and careers, I might add…"

A flick through Legs and Gillian’s Please Kill Me would indicate that historically, you seem to have been pretty deep in some of the darker corners of the punk scene – hanging out with Sid and Nancy etc etc. Given the level of casualties that have added up over the years, for yourself to still be healthy and creating music, I’m imagining you’d have had to take a conscious step back from that level of craziness? What has been your coping mechanism?
"Well, in 1995 some very good friends, Hilly Kristal and Genya Ravan, talked me into going into rehab, which nobody had been able to do . I got off of hard drugs, but still drank and smoked for the next 12 years. In 2007, after my mother’s death, I had a relapse, which luckily lasted only a couple of months. I gave up everything then. Since then, my family and music are my coping mechanism, though I find that without the drink and drugs I really don’t need one. That was the cause of most of the stress in my life!"

What’s going to happen with the tour, are you going to reschedule the dates?
"Oh yeah, we will definitely reschedule some UK shows, even if I have to swim!"

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Marky began his career playing drums in 1971 for hard rock outfit Dust. Marky recorded two albums with the band, before getting into the NYC punk scene. In late 1972, following the death of New York Dolls original drummer Billy Murcia, Marky auditioned as a replacement and was the only seriously considered alternative to the eventual chosen candidate, Jerry Nolan. In the mid-70s he played with Wayne County and the Backstreet Boys. Wayne County would go on to become rock’s first transsexual singer. In the late 1970s, he joined Richard Hell & The Voidoids. He played on the Voidoid’s first album, Blank Generation.

When Tommy Ramone quit the Ramones in 1978, Marc Bell was asked to be Tommy’s replacement, and was renamed Marky Ramone.

Marky was with the Ramones for the next five years. He was asked to leave the band in 1983 to conquer his periodic drinking. He returned in 1987 and played with the band up until their retirement in 1996.

In 1993, Marky appeared with the Ramones in the episode "Rosebud" of The Simpsons.

In 1996, Marky joined Dee Dee Ramone and his wife Barbara Zampini, to play with The Ramainz, performing Ramones songs for fun.

In 2000, Marky joined Joey Ramone, lead vocalist of the Ramones, to record Joey’s only solo album, entitled Don’t Worry About Me.

In October 2001, Marky appeared on MTV accepting a lifetime achievement award presented by Bono of U2 to the Ramones. Marky Ramone’s hand prints are on the Hollywood Rock Walk. In March 2002, Marky was inducted to the Rock and Roll Hall of Fame, at New York’s Waldorf Astoria as a member of the Ramones.

He recorded some albums with his solo bands Marky Ramone & the Intruders and Marky Ramone & the Speedkings, as well as many 7" releases. Marky Ramone & the Speedkings toured the world from 2002 to 2003.

In September 2004, Marky served as Executive Producer and released a Ramones DVD entitled Ramones: Raw on Image Entertainment, which featured footage of the band while on tour all over the world along with other various rare, vintage footage. Much of the candid footage is courtesy of Marky Ramone’s personal video library. The DVD was finished just in time to include commentary from Johnny Ramone, who died from prostate cancer on September 15, 2004. The commentary also includes Marky Ramone. Ramones: Raw is the only certified Gold selling Ramones DVD and one of only two US gold selling releases in the Ramones entire catalog. The other being the
greatest hits double LP Ramonesmania released in 1988. Ramones: Raw is also the highest charting release in the Ramones history.

In January 2005, Marky went to tour with Russian band Tarakany!. The tour was called Ramones Night Tour 2005: Marky Ramone & Tarakany!.

Marky signed on for another year as the D.J. on his own show the Punk Rock Blitzkrieg.

On SiriusX.M. On April 22, 2008, Marky Ramone appeared on a new CD in Canada playing drums with the Canadian punk band called Teenage Head. The CD is called Teenage Head with Marky Ramone and it was released in the USA on June 10, 2008. It was recorded in 2003 on two separate visits by Marky to Canada.

Marky has a DVD coming out next year called The Job That Ate My Brain – the Marky Ramone Story.

He teamed up with Tommy Hilfiger’s, Hilfger Denim, in 2009 to launch his own clothing line consisting of leather jackets, jeans and t-shirts. He
also has his own line of pasta sauce, "Marky Ramone’s Brooklyn’s Own Pasta Sauce."

Marky continues to carry the torch for the Ramones as he tours the world with his band  Marky Ramone’s Blitzkrieg, which plays a 32-song set of the Ramones with former Misfits frontman and lead singer Michale Graves. Marky Ramone will perform a set of Ramones songs with New Found Glory at 2011’s The Bamboozle Festival.

On December 6, 2010, Marky joined Anthony Bourdain on the "No Reservations Holiday Special." The two gather around a table at Lola in Cleveland, OH and discuss what they want from Santa Claus ("to take the Millennium Falcon for a spin!").

Marky also won the lifetime achievement award from the Grammy’s for 2011.

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