Tag Archives: rock ‘n’ roll

Speakeasy – Lost Souls

Speakeasy - Lost Souls album coverMod revival supergroup Speakeasy returned in November 2017 with a third full length album, Lost Souls, on the Heavy Soul Records label.

Following on from Trouble and their self-titled debut the album continues their trend of mixing classic rock ‘n’ roll with elements of mod, punk and soul.

The band is made up of members of The Purple Hearts, The Chords, The Risk and Long Tall Shorty (amongst others) including Simon Stebbing, Mark Le Gallez, Buddy Ascott and Ian Jones.

My review appeared in The Guernsey Press on Saturday 18th November 2017, you can read it below:

Speakeasy - Lost Souls - review - 18/11/17

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Octoberflame IX: Night Two – The Observatory, Santa Ana – 27/10/17

Tiger Army and guests

Tiger Army and guests

Arriving at The Observatory in Santa Ana, Orange County, a little before doors for the second night of Tiger Army’s ninth Octoberflame Halloween weekend spectacular, there was a real sense of community spirit amongst the crowd, reminiscent of when I last saw The Wildhearts when they were touring their PHUQ album.

It was clear talking with just those around me that these feel like more than just regular gigs, even though the band have been back to a regular touring schedule for the last two years, with people travelling from as close as minutes away to those from nearby cities, other states or, like in my case, considerably further.

It was also clear their was a strong contingent there to catch the opening band, Las Vegas based, So Cal regulars, The Delta Bombers.

Combining a little bit of country with a lot of rock ‘n’ roll and a raw rockabilly kind of energy the quartet blasted out from the off and had the crowd with them all the way.

The Delta Bombers

The Delta Bombers

Dressed for the night as The Hives as their choice of Halloween attire, they were reminiscent of the Swedish garage rockers in terms of energy but with more grit thrown into the mix.

Their big presence and big sound, highlighted by the huge voice of frontman Chris Moinchen, that stood out even in an a capella moment, and the brilliant work of drummer Kirk Highberger, meant that as their thirty minute set came to an end it was clear many wanted more, myself included.

As with my past Octoberflame experience, Tiger Army have curated each night to feature a varied line up, so after the sizzling rockabilly of The Delta Bombers it was time for some pure vintage So Cal punk rock from Channel 3.

While they may have a looked a little like the teacher from The Breakfast Club fronting a punk band, it was clear right away the image didn’t really match the attitude.

Being one of the lesser elder statesmen bands of Californian punk rock they played a brand of fairly standard but highly enjoyable skate punk that was a little lose around the edges in places.

Mike Magrann of Channel 3

Mike Magrann of Channel 3

Given the welcome received by The Delta Bombers it was hard to escape the fact that there weren’t as many here for CH3, so they had a bit of a struggle winning over the audience, but, by the half way mark people were getting into it.

By the final track of the set they got a pit going and seemed to have won over many fans, not surprising given frontman Mike Magrann’s charm and energetic presence.

After a slightly protracted break, and it felt like the air conditioning being switched off, Tiger Army stepped onto the stage to a huge reaction and the mosh pit kicked off in earnest from opener Ghost Tigers Rise, onwards.

With a different set on each of the three nights of Octoberflame, it felt like this one was maybe a little on the harder and faster, more punk and psychobilly, side of the ban’ds repertoire, but it featured enough variation to keep everyone happy.

While the band were a little sloppy on some of the lesser played songs, playing to this, metaphorically if not entirely geographically, hometown crowd meant this was all taken in stride and every song was greeted like a hit single and the pit never let up, save for a brief waltz to the slowest of numbers.

Tiger Army and their crowd

Tiger Army and their crowd

The standard trio of Nick 13 (guitar, vocals), Djordje Stijepovic (bass, vocals) and Mike Fasano (drums) were joined by two guests to augment their live sound, allowing for more rarely heard album tracks to be realised.

First was backing vocalist Savi who’s astonishing voice made sounds I would otherwise have assumed might be a very well controlled theremin adding at points a suitably spooky atmosphere but also adding to the bands more recent noirish vintage tendencies.

Also joining the band, on keyboards, was TSOL’s Greg Kuehn adding to the Southern California punk community feel and again helping out on both some of the newer tracks and a few of Tiger Army’s older more country tinged moments.

Ending the main set on Santa Carla Twilight (a particular favourite of mine) and their anthem Never Die the band were soon back for an encore that left the hot (in both senses) crowd satisfied, at least until the next night for those doing the Octoberflame marathon, and backed up the feeling that, in this setting, Tiger Army’s fan base feels as much like a movement as that I’ve seen with The Wildhearts and My Chemical Romance in their prime.

You can see more of my photos from the show over on Facebook by clicking here

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Shock Treatment

Shock Treatment blu-rayFor a long time, Shock Treatment, Richard O’Brien’s follow-up to cult classic The Rocky Horror Picture Show was a mysterious footnote in cinema history relegated to second-hand VHS or an occasional obscure late night TV showing.

Now though, thanks to Arrow Video, it’s been released in fully restored high-definition from as part of a Blu-ray collectors pack along with the soundtrack CD and the usual other bits and bobs.

The film is, in some ways, a direct sequel to Rocky Horror, continuing the story of the now married Brad and Janet Majors (sadly not Barry Bostwick and Susan Sarandon but Cliff De Young and Jessica Harper, of Suspiria fame).

Set in the studios of DTV, an apparent Black Mirror-ish all-encompassing reality TV network (long before the phrase came to mean anything) in their hometown of Denton, it echoes its forebear in many ways.

Cliff DeYoung and Jessica Harper

Brad (DeYoung) and Janet (Harper)

Firstly it has the feel of a series of loosely connected vignettes, secondly the antagonists are a brother and sister/incestuous lover duo played with creepily surreal brilliance by O’Brien and Patricia Quinn (with more than a hint of Riff Raff and Magenta), thirdly it features a selection of suitably rock ‘n’ roll songs to string it all together.

The setting is also very suggestive of ‘The Frankenstein Place’ from the original, with the feeling of being a kind of separate realm to Brad and Janet’s usual reality, but the transition to it is less well handled so we don’t get such a clearly defined other space that it really feels like the film needs to make sense.

Along with this we get some great production design that makes it feel like we are really trapped in a low-budget local TV network along with Brad and Janet, while the selection of cast members is one to behold; from Barry Humphries as a kind Frank like ringleader, to a very young pre-Young Ones Rik Mayal and Ruby Wax to several recurring performers from Rocky Horror which help tie things together, including Charles Gray and ‘Little’ Nell Campbell.

Shock Treatment cast

Mayal, Quinn, Campbell and O’Brien

Not only are some of the cast recurring but the entire main production team also returns, helping the at least stylistic similarities.

While it’s all rather ‘bonkers fun’ (to quote my immediate reaction on Facebook) it’s falls down when compared to its predecessor in a couple of crucial ways.

First is that it lacks a central figure, like Tim Curry’s Frank N Furter, to really lead us through the vignettes. Janet is arguably the lead here but never quite grabs the screen enough, while Humphries’ vampiric TV host Bert Schnick fills the physical space but not the thematic one, though there are hints that in a different world he might have.

Second is that it doesn’t have such a strong over arching message though it feels likes its trying to reach for one. Rocky Horror struck such a chord with its anthemic cry of ‘Don’t dream it, be it!’ while Shock Treatment feels more like a warning against the cult of celebrity and reality TV. In that it is impressively prescient, but it just never quite gets it across in the way you feel it wants to.

Barry Humphries and Richard O'Brien

Humphries and O’Brien

So, while its obvious why Shock Treatment hasn’t found a place in the pop culture pantheon that its predecessor did, even O’Brien admits it’s a mess, it remains more than the footnote it had been relegated to and if it’s anything like Rocky Horror its appeal will grown with familiarity.

 

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Burg And The Back Porch Band & The Electric Shakes

Burg & The Back Porch Band and The Electric Shakes album coversIn July 2017 two albums of rather different styles were released by Burg & The Back Porch Band and The Electric Shakes.

While one is a roots and Americana live album and the other a powerful example of heavy garage rock ‘n’ roll what links them is their frontman, Burg aka Steve Lynch.

Originally from Guernsey and now based in Bournemouth the prolific Mr Lynch also recently played both Chaos 13 and the Sark Folk Festival.

My review of Burg & The Back Porch Band Live At The Anvil and The Electric Shakes’ Electrohypnosis was published in The Guernsey Press on Saturday 22nd July, you can read it below:

Burg and The Electric Shakes album review - 22/07/17

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British Summer Time with Green Day – Hyde Park – 01/07/17

Green Day at BST Hyde Park

Green Day at BST Hyde Park

The last time I went to a huge outdoor event it was Reading Festival when Arcade Fire played a blinder, Blink 182 were sadly mediocre and Guns ’N’ Roses did their best to ruin their legacy forever, so heading to British Summer Time in Hyde Park it felt like going to an entirely new kind of show for me, a pronounced lover of smaller, more intimate gigs rather than huge concerts.

The line up though certainly had a lot that appealed to from vintage punk rock to a couple of my favourite bands and some interesting diversions besides so all was looking well as Stiff Little Fingers took to the enormous Great Oak Stage.

Despite being somewhat dwarfed by their surroundings and only having 30 minutes to play with the veteran Northern Ireland four-piece blasted through a set of powerful and positive, surprisingly poppy, classic punk rock.

Stiff Little Fingers at BST Hyde Park

Stiff Little Fingers

Having a self-admitted reputation as a dour, political band they more than dispelled this as, while songs like Tin Soldiers, Suspect Device and set closing classic (and highlight) Alternative Ulster have an obvious point to make they do it in the most upbeat way possible.

While being on first meant the crowd weren’t totally in dancing mood the band played a great set that was just the opposite of Buzzcocks when I saw them a couple of years ago which is where I had been worried this might head and Roots, Radicals, Rockers and Reggae was a surprise skank along belter.

The vintage punk continued with The Damned but they upped the ante in terms of putting on a show, once Captain Sensible had done his own soundcheck and had a bit of friendly ‘banter’ with the crowd – I’m assuming shouting ‘Fuck off Sensible’ and getting the V’s in return is a thing… if not it all seemed good-natured fun anyway.

The Damned at BST Hyde Park

The Damned

As most of the bands did The Damned delivered a greatest hits set par excellence, pulling in all the big songs you could want spanning their 70s and 80s heyday from the likes of Neat Neat Neat, to Love Song, to Eloise to Video Nasty.

While the Captain had something of the fool character on stage (not to discredit his spot on guitar playing), Dave Vanian was a perfect counterpoint stalking the stage looking like a cross between Bela Lugosi and Lux Interior with a deep American twang to a vintage rock ’n’ roll voice over the goth tinged punk.

This juxtaposition between Vanian and Sensible was something I’d had trouble getting my head around on record but seeing them live it all came into place leading to another set that defied the age of the performers and made possibly my highlight of the day.

The Hives at BST Hyde Park

The Hives

With some very nice looking vintage amplifiers being rolled onto the stage it was time for The Hives to bring the rock ’n’ roll and they did with their usual tight, precise, high energy aplomb.

Of course the focus of the performance was Howlin’ Pele Almvqvist who, for the forty minutes they had, never stood still for a second ranging from side to side of the huge stage and as far down the dividing barricade into the crowd as his mic lead would allow, delivering every rock ’n’ roll frontman pose you can think of.

While his performance could come across as too mannered and arrogant in some hands, Almvqvist packs it with enough good nature and fun to make sure that never happens and the frequent quips about them being a European band winking at Brexit just added to this.

The rest of the band were as tight as you could want with Nicholaus Arson (Almqvist’s brother) taking his share of centre stage and showing that the infectious energy obviously runs in the family.

While the set was packed with their well-known songs like Die, All Right!, Walk Idiot Walk and Main Offender, taking ten minutes at its conclusion to deliver the usually two and bit minute Tick Tick Boom did feel a little much, but it was still enjoyable and the trick of introducing the crowd as well as the band was a nice twist on a usual conceit.

The Living End at BST Hyde Park

The Living End

Even though Gogol Bordello looked and sounded like they played a stormer I found it hard to properly listen to their set as I made my way over to the smaller Barclaycard Stage at the far end of the park to catch Australia punkabillys, The Living End.

As with all the other bands with short sets they blasted through a greatest hits style set in a way that had the feel of huge fun party.

With many in the crowd clearly being die-hard fans and singing every word of the likes of Roll On, Prisoner of Society and West End Riot back at Chris, Scott and Andy it had a feel of a smaller club gig in the environs of this huge outdoor arena and that made it something of a special set and, while only six songs long, was up there with The Damned for most memorable moments of the day.

With a little more time to play with than the other bands Rancid’s set had the feel of more of a proper show and they didn’t waste any time in delivering crowd pleasers aplenty.

Rancid at BST Hyde Park

Rancid

While it was clear that most of the crowd were here for the headliners these fellow Bay Area punks took the chance to make their mark and win over many new fans as they played material ranging from the hardcore Dead Bodies (from their eponymous 2000 album) to ska heavy Where I’m Going (from new album Trouble Maker) and of course the hits like Time Bomb, Fall Back Down and set closer Ruby Soho.

Through all of this Tim Armstrong and Lars Frederiksen remain the perfect complementing front duo (a little like Sensible/Vanian earlier but in a totally different way) and with seemingly every song dedicated to someone it brought to fore the community aspect that makes punk rock like this the special thing that is and they even got a couple of pits going despite the generally family demographic in the audience.

While Green Day’s crew were changing the stage around for the stadium rock show to come I headed off to the march stand and, on the tiny stage hidden away behind the main stage, caught a few songs from Beach Slang. While I didn’t hear much, their powerful and exuberant indie-punk certainly impressed me and I’ll be investigating them further.

Green Day at BST Hyde Park

Green Day

With the stage reset with a new walkway out into the crowd and extra lights and drum riser in place Green Day blasted into their two and three-quarter hour epic set with Know Your Enemy.

This was followed by an opening section drawing on new album Revolution Radio and American Idiot much to the delight of the younger end of their fan base (and its safe to say the new songs sounded great live with more energy than on the record).

From there things switched back to their more classic 1990s material ranging from 2000 Light Years Away from 1991 to a rousing rendition of 2000’s Minority.

The third section went into a mix of big songs from the mid-90s and American Idiot before the traditional duo of King For A Day and Shout that contained an extended breakdown section featuring a genuinely uplifting moment of Billy Joe Armstrong stating: “No racism, no sexism, no homophobia and no Donald Trump!”.

Green Day at BST Hyde Park

Green Day and friends playing Knowledge

While its fair to say Green Day are a band who have evolved from the kind of pop punk band they were into stadium rock giants I found, they have kept something of a sense of self echoing, in a way, the community sense demonstrated rather differently by Rancid.

While I’ll admit Armstrong’s reliance on getting the crowd to sing ‘Hey-yo’ back to him was a little tiresome as the set went on, involving the audience on stage was a great touch.

On three songs audience members were invited up to perform with the band and this really helped take what could have been a distancing ‘performance’ and make it something more (though I had to feel sorry for the first young lady taken on stage to play guitar on Operation Ivy’s Knowledge as she had something of a rabbit in the headlights look once she realised what was happening and seemed to forget what a guitar was, let alone how to play it).

On top of this Armstrong’s message moments, ranging from a suitable amount of Trump bashing (most obviously a “Fuck you Donald Trump” during American Idiot) to talks of positivity, equality and inclusion really felt like something important to say, especially for the younger members of the audience, and never felt heavy-handed, even if I prefer Rancid’s more subtle method of doing this through their song-stories.

Green Day by Jordan Curtis Hughes

Green Day by Jordan Curtis Hughes

Closing the set on Revolution Radio’s Forever Now the crowd were clearly wanting more and a few songs remained notably absent so we got an encore of American Idiot and an epic rendition of Jesus of Suburbia that had the crowd singing along in great voice, before a second encore from Bille Joe and his acoustic guitar of three tracks culminating in Good Riddance (Time of Your Life).

This left the audience satisfied and heading out onto the streets of London following what was, for me, one of the best fully complete rock shows I’ve ever seen with everything from huge singalongs to flaming pyro to a genuine sense of togetherness that really blew me away in a manner I was totally unprepared for.

All photos by me unless otherwise noted (final photo of Green Day from the BST Hyde Park Facebook page) – you can see all my photos by clicking here

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Of Empires – See You With The Angels Kid

Of Empires - See You With The Angels Kid cover artAfter a bit of a break making their reputation on the live circuit, Of Empires have released the follow-up to their debut EP Stranger Sensations with See You With The Angels Kid.

Originally formed in Guernsey the four-piece rock ‘n’ roll outfit are now based in Brighton and have supported the likes of Highly Suspect and Adam Ant while also appearing at The Great Escape festival in their now hometown.

My review of See You With The Angels Kid was published in The Guernsey Press on Saturday 20th May 2017.

Of Empires - See You With The Angels Kid EP - Guernsey Press 20/05/17

(Note: No intent was meant to imply producer Ian Davenport wrote the songs, to my knowledge the songwriting is all the bands work!)

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Guernsey Gigs presents Thee Jenerators, Joe Young and The Bandits and Silas The Assyrian Assassin – The Fermain Tavern – 06/05/17

Thee Jenerators

Thee Jenerators

With a bank holiday last weekend and another coming up next week with Liberation Day, it was hard to escape the feeling of this being something of a limbo weekend, but, thanks to Guernsey Gigs, there was the hope of rock ‘n’ roll salvation at The Fermain Tavern.

The night started off in slightly more sedate fashion than that though with the acoustic punk stylings of Silas The Assyrian Assassin. Silas combined aspects of his past work fronting some the islands most notable punk bands of the last decade with hints of the ranting poetry style of Attila the Stockbroker but all in package that looked constantly on the verge of collapse.

Following a full play of The A-Team theme tune, his performance tonight seemed a little lacking in the energy and spirit of his best ones. That said it was still entertaining enough with the usual grace notes like fumbling with a folded up set list still working well.

Silas The Assyrian Assassin

Silas The Assyrian Assassin

Musically it was as you’d expect with highlights coming with Trust Fund Anarchist, Interesting Facts and God Bless The Daily Mail and, while we didn’t get the full song, Boozing’s My Religion started out as a nice play on the REM classic.

By the end of the set, an improbable cover of Rick Astley’s Never Gonna Give You Up with Stace Blondel providing backing vocals from the audience, it had picked up a little and it remained entertaining but I couldn’t help but think Silas really needs a more intimate space and engaged audience to really be properly effective.

Styles couldn’t have shifted much more next as Jersey four-piece Joe Young & The Bandits launched us through a time warp into the 1970s for a set of hard rocking power blues.

While I found it hard to engage with their performance there was no denying how well they evoked the sounds and styles of the likes of Hendrix, Cream, Zeppelin, et al, but through a set of convincingly created original songs.

Frontman Martin o’Neill (there is no actual Joe Young) was nicely energetic (when he wasn’t stood frustratingly with his back to the audience) though there were moments that felt a little too much like Tenacious D, but in the throwback context they worked ok.

Joe Young & The Bandits

Joe Young & The Bandits

Bass player Eddie Laffoley meanwhile was the most naturally energetic on stage and even put in some nice vocal performances in a few tracks. Of course a band like this wins or loses with its guitarist and Greg Alliban more than lived up to expectations with his playing, but again I found it hard to find a connection with the performance.

Joe Young & The Bandits may be a barrage of cliché but it’s hard to ignore the head nodding groove they invoked, even if it was nothing I hadn’t heard a hundred times before.

After a short break Thee Jenerators took to the stage for the first time in a good while and, to start with, it looked like the good but not great feel of the night was going to continue as the band ran through a few of their newer songs.

Mark Le Gallez of Thee Jenerators

Mark Le Gallez of Thee Jenerators

As soon as they launched into Fight The Power from their Jenerator X debut though things seemed to kick up several gears and never let up as we experienced possibly the most powerful garage punk assault this version of the band have produced to date.

While there were moments throughout the set where each band member seemed to lose their thread a little they didn’t let that slow them down as they powered through a selection of songs spanning their whole time together from Mystery Man to  French Disco to Yellow Fruit Pastille to Daddy Bones and got most of the small audience onto the dance floor.

With three encores culminating with a version of Bela Lugosi that verged on completely falling apart, Thee Jenerators put in a set that ended up showing them as the cathartic force of nature they are at their best and, as frontman Mark Le Gallez pointed out, there may not be many bands like this left around these days but we’re glad of those that there are, and I’m very glad there’s Thee Jenerators.

You can see a full gallery of my photos from the show on the BBC Introducing Guernsey Facebook page

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A Stray Cat Struts: My Life as a Rockabilly Rebel by Slim Jim Phantom

A Stray Cat Struts by Slim Jim PhantomWhen I look at musical biographies I’ve read in the past, from Laura Jane Grace to Tony Iommi to Ginger Wildheart to Frank Turner amongst others, it’s fairly obvious that most have focussed on frontmen or band leaders.

This seems to be a fairly standard trend so, coming to the autobiography of Slim Jim Phantom, most famously the drummer from The Stray Cats, I expected something a bit different, and that’s just what I got.

From the start Phantom makes it clear that his book won’t be a mudslinging ‘needless to say I got the last laugh’ type affair but a look at the positives that his life as a rockabilly musician of note has brought him.

That isn’t to say that it’s all saccharine sweet though as he and his various band members go through their share of problems but, for the most part, Slim Jim finds the good in all the situations, one way or another.

With this approach he makes it clear early on that he won’t engage with the potential fallout of the split of The Stray Cats, so when that comes it’s not a surprise (though later he sheds a little light on the relationships between himself and fellow Cats, Brian Setzer and Lee Rocker).

The Stray Cats

The Stray Cats

Up to the split of that band the book moves in, largely, chronological order tracing Phantom’s life from Massapequa, Long Island, New York to London where the Cats first found fame, through meetings and tours with The Rolling Stones and the kind of encounters and happenings that are genuinely amazing to hear given the speed with which they occur following the trio’s arrival in the UK.

In this we begin to meet some of Slim Jim’s ‘true pals’ who become a major feature of many of the stories and many are household names from the world of rock ‘n’ roll. While this could easily feel like name dropping par excellence, it actually comes across as if our humble narrator is as surprised by many of these encounters and friendships as we might be, including his marriage in the mid-1980s to Britt Ekland!

As the book goes on the stories focus more on specific subjects so there are chapters on Lemmy, ‘The Killer’ Jerry Lee Lewis, George Harrison and other rock ‘n’ roll heroes as well as Phantom’s endeavours in film acting, nightclub ownership and life on and around the Sunset Strip in Los Angeles.

HeadCat and Jerry Lee Lewis

HeadCat and Jerry Lee Lewis

Through all of these what makes the book so engaging is the manner in which Phantom writes. It’s as if he is telling you these stories one-to-one, and his enthusiasm for his music and extraordinary comes through strongly in every passage regardless of what he’s recounting.

As the book goes on he becomes more reflective as his hard partying days subside to watching game shows while on the phone with Harry Dean Stanton, spending time with his, evidently equally rock ‘n’ roll, son TJ and later charity mountaineering trips to Kilimanjaro and Everest.

Rockabilly music is never far away though and it’s clear this remains what makes his heart beat and its worth having YouTube handy to look up some of the Stray Cats performances he mentions just to revel in the same things he is.

Slim Jim Phantom up Kilimanjaro

Slim Jim Phantom up Kilimanjaro

What I think this accessibility and enthusiasm stems from is something he highlights and I’ve noticed in my own life that, in a majority of cases, drummers are the members of the band most happy to let down the facade of rock ‘n’ roll life, connect with others and generally are more open and sharing.

Using this Slim Jim lets us into his world in a far less self-conscious way than many other musicians making for a fascinating and easy read that may have a few rough edges tidied but feels honest and true in the way that the best things in rock ‘n’ roll should be.

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The Silverados – The Vault – 24/02/17

The Silverados

The Silverados

While I usually focus on bands playing original music in Guernsey, the island also has another side to its music scene, like most towns, with a vibrant set of cover bands playing in the pubs around the island.

These range from the likes of Stuck to the Ceiling and Day Release who emphasise the rock in their pop to Element 6 who are upbeat pop hits through and through and The Laird’s Chair who do their own traditional folk thing in the same spaces. Within this scene, comparatively recently formed four-piece The Silverados, have created their own rock ‘n’ roll flavoured niche.

Made up of four well-known faces from past bands, The Silverados are Susann Hatcher (vocals), Monty McMonagle (guitar), Dave Hatcher (bass and vocals) and Darran James (drums), so even before they started there was a certain expectation for those who know King Rat & The Soul Cats, The Johndoes, Nemesis and others.

Monty McMonagle of The Silverados

Monty McMonagle

Launching into a spot on version of Dick Dale’s Misirlou (or ‘the theme song to Pulp Fiction‘ to many) set the tone well as they delivered two hours of tunes with a strong rock ‘n’ roll and rockabilly vibe to them.

A couple of Stray Cats numbers followed before things diverted and we were treated to covers as varied as Snow Patrol, Elle King and Soft Cell but all with the same rockabilly twang and rhythm shaking their way through.

Although The Vault wasn’t that busy a few made it onto the dancefloor and it was clear that though many present hadn’t seen the band before (myself included) we were all highly impressed.

As anyone who’s knows them might expect while all four members of the band put on a good show it was Monty’s guitar work that was the highlight. He absolutely nailed the rockabilly riffs of Brian Setzer and Dick Dale on his Gretsch guitar and expertly converted the sounds of the poppier tracks into swinging blues and rock ‘n’ roll tones that made them sound like they’d always been played that way.

The Silverados

The Silverados

After a short break The Silverados second set took a similar format, this time starting with The Surfaris’ Wipeout before a few more Stray Cats tracks. This set had something of a looser feel to it as we got versions of Aerosmith, The Eurythmics and The Beastie Boys songs amongst others.

Closing on a reprise of Misirlou ended things on a high and, while this band certainly deserve a bigger and more energetic audience than the one they had tonight, they bring something different to Guernsey’s cover band scene that has potential to do that now rare thing of crossing over with some of the bands playing their own stuff on the island – and this will only be developed when Dave gets into the swing on his double bass!

Silverados press clipping 04-03-17

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Pussycat And The Dirty Johnsons – Dirty Rock ‘N’ Roll

Pussycat and the Dirty Johnsons - Dirty Rock 'n' RollIf you asked a cartoonist to draw a punky, rock n roll trio there’s a fair chance that, in the best of ways, they’d come up with something thing like Pussycat And The Dirty Johnsons.

Fronted by the enigmatic human-cat girl Puss, with be-quiffed greaser Dirty Jake on guitar and old school rocker Filfy Antz on drums, before you even press play on the newly released digital edition of their Dirty Rock ‘N’ Roll album on Dirty Water Records, they are captivating.

From opener Burying The Bodies all the tropes of Cramps style proto-psychobilly are present with a definite taste for the macabre running across the record while Jake’s guitars, as they do live, combine low-end rumbling rhythms with classic rock n roll lead, with a bit of slide thrown in for good measure to create something very much of his own.

As the record rolls on things vary with Puss’ lyrics bringing up everything from adolescent romance (of a sort) to antidepressants to the kind of less glamorous ladies that prowl British town centres of a weekend on the appropriately titled and raging album closer, Hideous.

pussycat and the dirty johnsons

Antz, Puss and Jake

Throughout Puss’s vocals combine aspects of Johnny Rotten, Poly Styrene and Little Richard. Much like Jake’s guitar this makes for something all her own that more than stands up without her on stage antics, while still evoking her feline side.

As well as the core trio two tracks on the album also feature the double bass work of Phil Polecat, while not essential thanks to Jake’s unique guitar style they do make for the stand out tracks on the record in ‘lead single’ Get Outta My Face and Dirty L’il Dog, though Mirtazapine and the opening trio of Burying The Bodies, Hell Bent and Living With  Mum And Dad all come a close second.

While Pussycat and the Dirty Johnsons are undeniably a band with a strong visual style, Dirty Rock ‘N’ Roll shows that they more than hold their own when that’s removed and their mix of punk and rock ‘n’ roll is allowed to speak for itself.

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