Well, The Tiv managed to do it again! Another legendary band enticed to play this great venue in Buckley, North Wales. The list of classic bands who’ve played at the Tivoli Venue over the years is, quite frankly, ridiculous. This time, renowned Birmingham punks GBH were our headliners. Trust me when I say, I snapped up a ticket as soon as this show was announced.
Leading the charge this evening were Bogans, from up the road in Wrexham. Sadly I missed them, but have it on good authority that the band were great. I’ve checked out their tunes online and this is true. Shame I didn’t get to see ’em, their hardcore punk with melody would’ve been a fine way to start.
Next up were resurrected Wrexham punk rockers Stuntface – brought back to life with some kind of bizarre voodoo ritual, it would seem. Their super fast merging of classic UK punk (UK Subs, Vice Squad) and US hardcore (Misfits, Cro-Mags) was a rousing, WOAH-OH chorusing, adrenaline soaked set. Great fun and so good to have them back.
GBH playing at the Tiv was a no brainer for me. I’ve owned their records for well over 30 years, but never seen ’em live. And get this: an early bird ticket cost me just £12! Now that is just crazy, and makes very good financial sense to an old miser like me. Thankfully this wasn’t a budget set: GBH ran through a mighty wedge of their back catalogue with all the fire and fury of a band of whippersnappers.
Song after song, it was relentless. I checked my watch and was stunned that they’d only been on stage for half an hour, so intense was the setlist. “Sickboy”, “Momentum”, “Wardogs” and more raced past with barely a break between songs. “City Baby Attacked By Rats” was a much welcomed highlight, before the night ended with GBH covering the Motorhead classic “Bomber”.
The full GBH set was, of course, much longer than half an hour – cram packed with fantastic songs from right across their career, it was extremely good value for money. Twelve quid well spent, but I’d have happily paid a lot more to attend this gig. Simply unmissable.
Welcome back, folks, to Platinum Al’s Punk Rock Corner, here at Ever Metal HQ. The eagle eyed and elephant brained amongst you will recall that we’ve already reviewed some of these UK Subs albums, although that was in their delicious vinyl form. This time around, our mates at Cherry Red have lovingly curated a 5 CD set of Subs albums, together with a healthy bunch of bonus tracks to make this a tantalising package.
We’ve already discussed, in previous reviews, how UK Subs mastermind Charlie Harper has overseen an alphabetical run of albums with titles from A to Z. This compilation gathers together the final parts of that run, from W to Z (though to be honest, these Subs nutters didn’t even stop at Z, they kept going). Thus, listeners are gifted with an indispensable collection that covers output from the exceptionally strong line up of Harper, Jet Taniguchi, Alvin Gibbs and Jamie Oliver (not that one).
I’d be a pretentious fool if I didn’t tackle these albums in alphabetical/chronological order, so let’s jump in with “Work in Progress”. This is probably my favourite of all the albums in this collection, though accepting the high standard on offer, I have no reason why. It’s a rambunctious bundle of high-speed punk rock: ‘Creation’, ‘All Blurs into One’; coupled with clever ventures into rockabilly (‘Eighteen Wheels’) and more. The wonderful ‘Hell is Other People’ has become something of a personal anthem for me, and it will for you, too! This disc includes seven bonus tracks, comprising some old Subs classics and new bruisers such as the joyously MC5 sounding ‘666 Yeah’.
From W we’re on to X, with “XXIV” – and more fast’n’furious punk rock shenanigans with ‘Implosion 77’, ‘Monkeys’ and ‘Momento Mori’ – just for example. The Subs aren’t afraid to go off tangent with the jangly acoustic guitar with attitude of ‘Coalition Government Blues’ and R&B energy of ‘Wreckin’ Ball’. There’s just one bonus track this time, the riotous and righteous co-operative anthem of ‘Workers Beer Company’, rounding off another solid and varied album.
“Yellow Leader” may or not have been written concerning a certain political party leader, you’ll have to listen and decide for yourself. What I do know is that this album kicks off in supreme style with the frenetic pace of ‘Sick Velveteen’, bouncy thump of ‘Artificial’ and blues punk of ‘Bordeaux Red’. ‘Chemical’ sounds almost metal, ‘Rebellion Song’ is an acoustic punk protest song and ‘Sin City Blues’ throws in some welcome Rockabilly, creating another multi-faceted and accomplished recording.
Eventually, Charlie and the lads completed their mission from A to Z, with the monster that is “Ziezo”. The end may be in sight, but the UK Subs don’t take their foot off the gas – as proven by tracks such as ‘Oligarchy’, ‘Banksy’ and ‘This Machine’ fulfilling the full throttle end of the punk rock promise. The pallet is embellished by the punk-blues of ‘Disclosure’ and jaunty ska of ‘City of the Dead’, delivering a fine album that’s accomplished and enjoyable.
So we’ve reached the end of the alphabet, kids – but that’s not quite the end of our story here. The set also includes “Acoustic XXIV”, an album comprising of acoustic tracks that were originally packaged with a limited edition version of “XXIV”. I had assumed the songs here would merely be acoustic versoins of songs from that parent album, but far from it. There are 13 songs making a surprisingly great change of pace. Comprising of folk punk (‘Sleeping Rough’)’ and protest songs (‘Stop Global War’), it’s an accomplished and satisfying listen in it’s own right. I could image Johnny Cash having a go at ‘Higher Tide’, and I think that’s some compliment indeed.
Who would’ve guessed that the UK Subs would actually fulfil their aim and complete this bonkers endeavour, releasing an album for every letter of the alphabet? Punk rock wasn’t supposed to burn this brightly for so long, but it has. What’s more, the UK Subs haven’t let their standards slip – these final albums in the run are as strong as anything they’ve released in their long career. Genuinely brilliant. Ladies and gentlemen, I present to you – UK SUBS.
The Lords of Altamont – To Hell With Tomorrow, The Lords Are Now!
Heavy Psyche Sounds Records
Release date: 17/03/2023
Running time: 35 minutes
Review by Alun Jones
9.5/10
Ladies and gentlemen, I am excited! Why am I excited, you ask? Because I freakin’ love this album by the Lords of Altamont, that’s why! Here we have ten unrelenting tracks (plus a bonus) of fast and furious rock’n’roll, created by a gang of motorbikin’ miscreants on their own highway to hell. It’s leather, denim, roaring hogs and cheap booze fuelled rock the way that it should be.
Now you may know I’m a tad dubious about live albums. Often times, live records are fumbled contract fillers or a shoddy cash in. Well, you can relax here, pilgrim – “To Hell With Tomorrow, The Lords Are Now!” is a live in the studio release with pristine sound. It doesn’t lack the crowd atmos, but it does more than over achieve by being a rowdy collection of tunes performed as if the band are in the room, right there with you.
If you’re new to the Lords of Altamont, you can expect an explosion of gritty rock’n’roll instilled with the sound of garage rock, Detroit punk and 60’s R&B. So hang on tight as The Lords tear through filthy, feel good tracks like “Going Nowhere Fast”, “Velvet” and “Going Downtown”. Sing along with the wind in your face to “I Said Hey” and shake your booty to “7th Day” – all of these infectious tracks will hit their mark.
This album works as a great introduction to the band and their two decades plus history, in a no nonsense, no holds barred presentation. Like a forgotten B-movie soundtrack from 1969, “To Hell With Tomorrow…” is one for all the rebels and wild ones out there. Park up, step inside the truck stop and let yourself go.
As a teenaged skateboarder in the late 80’s, Boston hardcore legends Gang Green were definitely on my playlist. They appeared on a Thrasher Skate Rock tape, what more do you need to know?! Merging hardcore punk with a more metallic edge, Gang Green added a technicality and rock’n’roll, beer drinking party vibe to their unique take on crossover/thrash. It was mostly fun, though sometimes dumb, times – with a fast and crazy energy. Eventually finding a home on Roadrunner records in 1987, the albums Gang Green recorded for that label are collected here by Cherry Red Records.
Working through the discs chronologically, we’ll start with the first Roadrunner release, “You Got It”. Featuring what is possibly the worst album cover all time – the band in a sewer? Why is (vocalist/guitarist) Chris Doherty jumping through a fence? And where are his legs?! This atrocious shot always bothered me, so I’m delighted I get to bitch about it now (though it only appears as a small pic!). Music wise, “You Got It” is chock full of belters: the storming thrash of ‘We’ll Give it to You’ setting out Gang Green’s goods; ferocious hardcore with ‘LDSB’ and ‘Born to Rock’. There’s even a surprise social conscience (and mellow intro) on ‘Another Bomb’. Plus, bonus track ‘Skate to Hell’ is worth the price of admission alone.
If Roadrunner were relieved they’d done the right thing signing this bunch of unruly punks after that first record, ‘Older… Budweiser’ went even better. Armed this time with a great cover/title (thankfully), Gang Green delivered more of the same, but amped up even further. ‘Church of Fun’ bolts out of the gates; ‘Just One Bullet’ and ‘We Can Go’ show exactly how to meld hardcore and thrash into a furious, fun time. The rock’n’roll edge that began on the previous record becomes more prevalent, adding a distinct flavour to the band’s sound (see ‘Tear Down the Walls’). The humour misfires on ‘Bedroom of Doom’, but the does-what-it-says-on the-tin ‘Ballad’ is a nice attempt to branch out musically before closing time.
On disc three, we have the live album “Can’t LIVE Without It”, recorded at the Marquee Club in London in 1990. Most of the live tracks appear already on this compilation, but it’s a solid recording of an energetic, relentless show. There are a bunch of non-Roadrunner tracks which add value for money; plus, the inclusion of the “I81B4U” EP and ‘Living Loving Maid’ single, which is great news for obsessive nerds like me.
Finally, the compilation album “King of Bands” rounds out the collection. If you’ve not had enough of hearing some of these songs twice already, prepare to experience some of them yet again with this “greatest hits” set. Although, there are two new tracks and three from Gang Greens first album on Taang! Records for VFM. The two tracks – ‘Thunder’ and ‘Rub It In Your Face’ are OK, but not up to the standard of older material. Still, this last disc seals the lid on this barrel of good times very nicely.
The history of Gang Green proves to be a fascinating tale. Predating Jackass by some years, the party hard doctrine of the band remains resolutely in place. Some of the lyrics are juvenile at best, out right sexist at worst (‘Cum In You’, oh dear); but if you can forgive that, the attitude and fun remains infectious. Yes, it’s all about partying and beer, but the music is still great. Not as metal as COC, or as punk as Circle Jerks, Gang Green added a rockin’ flare to their brand of crossover and brought the party home.
A great compilation featuring tons of interviews, info and photos, “We’ll Give It To You” is a comprehensive guide to beer-soaked thrash punk. It’s time to get out on your skateboard, rock out to Gang Green, and celebrate with a few beers. Afterward, that is. Ever Metal wants you to take care: don’t drink & skate.
The crowds were thin at first at The Tivoli in Buckley, North Wales, for this evening’s entertainment – but that changed soon enough. Happily, the situation started to develop during the opening set, meaning that support band Red or Dead were able to play to fair sized crowd.
I say happily, ‘cos Red or Dead deserved to play to a decent size audience. Hailing from a bit further up the road in Conwy, the fourpiece are an accomplished group of musicians who are obviously inspired by classic 70’s punk, such as The Clash. Very impressive, with catchy tunes and a message, Red or Dead easily grabbed my attention and refused to hand it back. Definitely a band to keep an eye on, there’s a variety in sound and musicianship that hinted at an even wider repertoire – some research reveals they often play acoustic sets, which sounds very tempting.
Anti Nowhere League shouldn’t really require any introduction. I became aware of these deviants thanks to their association with The Damned many years ago, tales of debauchery spreading ahead of them like a bushfire. Now with just head lunatic Animal remaining in the band, he’s backed by a great, well tenured group of musicians who can really deliver on the band’s legacy, performing it with the respect – and ferocity – it deserves.
Hit singles aren’t really the order here, but of course ANL give us their wonderfully raucous treatment of “Streets of London” (yes, that one) in a set riddled with classics. That songs infamous B-side, the still unbelievably filthy “So What” makes an appearance too, earlier than I’d expected, complete with a concise history lesson from Animal, covering police raids and the later Metallica renaissance. The song still raises a smile and rocks like a nun on a washing machine.
The whole band play brilliantly, the result being a set that was even better than expected. For the uninitiated, Anti Nowhere League live in the corner of punk that’s largely UK Subs with a big, fat dollop of Motorhead. From “I Hate People”, “Let’s Break the Law”, a cover of Del Shannon’s “Runaway” (my Mother-in-Law wouldn’t dig it) and through to “We Are The League”, song after song is fast and furious with never a dud.
As anticipated, the audience loved it and the atmosphere in the Tiv was one not to be missed. Classic punk rock from Anti Nowhere League, who gave us quality tunes performed with the zeal and attitude it deserved. So glad I was there.
Yes it’s me again, sneaking in some more punk rock alongside your regular dose of Ever Metal. Because variety is the spice of life, right? Although tbh, some trainspotter’s gonna testify that Eddie and the Hot Rods aren’t punk, they’re “pub rock” or “new wave”. Like I care.
This compilation from Cherry Red includes 40 tracks over two CDs, full to the top of the pint glass with pub/punk/new wave from Eddie and the Hot Rods. All the single A and B sides from 1976 to 1985 are squeezed in – in chronological order – leaving no stone unturned, to create a definitive journey through the bands career.
Starting with the first 45, ‘Writing on the Wall’, and including numerous energetic cover versions like ‘Woolly Bully’, ’96 Tears’ and ‘Satisfaction’, it’s easy to imagine being in a packed pub rocking out to the Hot Rods. These early tracks illustrate nicely how the band were really a revved up R’n’B band in the style of the Stones and early Who – just faster and even more gung-ho. There’s a direct line here from the rebellious rock’n’roll of the MC5 – as evidenced by two collaborations with Rob Tyner at the end of disc one.
The punk association really blossoms with the superb ‘Teenage Depression’; it’s like Mick, Keith and the other three time travelling ten years into their future and being inspired by the Ramones.
The obsessive nature of this collection means we get three versions of all-time classic (and new wave comp standard) ‘Do Anything You Wanna Do’ (including the US single edit and live version from a B side). It’s a good job it’s such a great song.
There’s a clue with that repetition where this compilation will find its audience. For the die-hard fan or seasoned collector, it’s a handy collection covering all bases. The booklet is perfect: details about every single and repro art of each record. It’s far more than a “greatest hits” set, though, so may be too much for the casual listener.
The last couple of tracks on the second disc suffer from heavy handed mid 80s production, but it’s quality stuff all the same. Some will prefer to write the band off as coat tail riders, based on the boozy covers, but the sheer exuberance of the performances is addictive. “The Singles 1976 – 1985” shows Eddie and the Hot Rods at their very best; the final product is so chock full of detail it’s a treasure.
OK, here we go! The clue’s in the title, folks – you can probably figure out where we’re headed with a band called Lugosi straight off the (vampire) bat. If not, let me give you some pointers…
To get to Lugosi’s haunted house, depart from the Ramones’ basement, travel up Misfits Avenue, take a left at Danzig Drive, head on past Lemmy’s Bar’n’Grill till you get to 1313 Mockingbird Lane. And you’ve arrived: horror themed punk’n’roll with fast’n’furious tunes and daft lyrics about dodgy old horror and sci-fi movies. In other words, exactly the kind of goth rock Halloween shindig that your ol’ Uncle Al loves to crash.
Let’s get the devil-locked elephant in the room dealt with first: ‘cos there’s going to be a Misfits reference in nearly every sentence I write of this review! To be fair, although there’s an undoubted Misfits influence in Lugosi’s work, it’s more in the lyrical content: songs about vampires, Dawn of the Dead and devil worship are aplenty, but in a tongue in cheek, Hammer horror style rather than any serious Satanic pretence. This is music made by fans of cheesy, campy horror classics for other fans of the same.
The music itself has less of the big “WOAH” Danzig choruses and a more Motorhead inspired punk’n’roll sound, like Supersuckers or Zeke. There’s even a really cool instrumental in the middle of “They Came from Outer Space” that has an Iron Maiden feel. The riffs not too far from Clutch, and – is that a Thin Lizzy influence? Well, I was surprised to learn that Lugosi are from Dublin – I imagined they were from a remote cabin in the Texas backwoods somewhere…
“Late Night Slasher Movie” starts things off perfectly, in the speedy rockin’ style I mentioned, with hilarious lyrics! “We’re Here to Drink Blood” is one of the punkier paced, Ramones tracks – and it’s catchier than a zombie plague. Then there’s “Soylent Green”, which reminds me of Jerry Only era Misfits (this is a good thing). A heavier, Sabbath feel rocks right out of the grave on “The Vampyre” and “Hellfire Club”. There’s an almost doom sound to “1313”, augmented by high-pitched, theremin like weirdness. I think you get the idea.
“Video Nasty” is a great album, thoroughly enjoyable in many ways: a successful Frankenstein bolting together of B-movies, punk and heavy metal – ideal for your next gathering on All Hallows Eve. Kitsch, ridiculous, over the top – and FUN. Lugosi have really reanimated the corpse of horror punk, and – it’s alive!!!
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