| SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future |
| THE RED EYES 'On Prescription' (tre002) CD Autumn 2001 The Red Eyes are heavily influenced by late 70's 'British New Wave' and formed in Glasgow, Scotland May 1997. Glad to say they've come on a load since their disappointing debut 'Up To Our Eyes In It' released back in 1998. They were then just a squeaky clean bland outfit who were about as exciting as contracting a dose of the pox in the Clydebank tenements. But over 2 years later they've cleaned up their act or should I say polished it with 'On Prescription'. They've returned to produce a slick album with some good touches. These 12 snappy tunes can even give an uncultured swine like me a much needed dose of medication. So there's hope boys even though the sickly smell of pop is still lingering in a lot of the tracks. It's camouflaged cleverly by addictive tunes coated with an easy on the ear style. Main man (Phil Mitchell look alike) and key singer/songwriter Alan Bishop, still gives us that semi-gruff Wellersque vocal style. But he's still missing a certain something in his delivery that you could really get excited about. He more than makes up for this setback in his confident song writing credits. And another noticeable improvement is the inclusion of new lead guitarist, the roly poly James 'H' Hirshall. He's definitely made his mark on the band. And those sometimes hilarious hi-pitched, but memorable backing vocals gives some of the better tracks a new dimension. Take 'Bad Girl' probably their best track on here. Which is in typical throwaway pop punk territory but done with suss and worthy of a bigger audience. The Red Eyes sing about everyday life mainly involving dysfunctional girls (they wish!). So no deep meaningful preaching here just escapist fun. And you know what? You sometimes need that dimension in punk. They're accomplished musicians no doubt, but they still ain't managed to capture or combine the power of songs like 'I Can't Get' or the addictive 'Bullshit Detector' into more of their set. Pity coz it would give em way more scope. They've got a slight feel of the Jam's 'This Is The Modern World' album on some numbers like 'Forever' or R 'n' B '(It's Not) The End Of The World' which sounds good. However their most accomplished track musically is the epic slow burner 'Who's Sorry Now'. All about a hit 'n' run which has depth without getting too self-indulgent. You might need to play this a few times before you get the feel, but its worth it. One tip boys, leave yerself off the front cover next time as I doubt even the most delinquent bird would entertain Red Eyes on prescription. Comes with lyrics and is released on the bands own label so fair play for determination. WORTH A LISTEN Falling Down Records RED EYES |
| HOME BREW 'Monarchy In The UK' (disc003) CDEP 2001 Homewbrew hail from Harrogate,UK and are one of the few 'yob' bands around the UK who sound like the real thing. Last time I heard em was back in 1998 and they were good then, but had a more distorted feel with a Motorhead growl. These days with a new line-up of Lee Ninety guitar, Aaron Beatup co/vocals (and mascot). Plus original members Dave Albatross on Bass and lead vocals and John Nobody on Drums/vocals they've refined their sound down to a gutsy, tight-set street punk style, which is no bad thing. This CD seems to get better with each play! Although I missed Dave's brilliant bass solo's that featured in their earlier numbers. However the mid-paced title track 'Monarchy In The UK' boots open the door with a defiant 'piss off' to the rich. Which is done in a sort of tongue in cheek pantomime mode. But it reflects the way were all still very pissed off 25 years after 'God Save The Queen'. This knuckle plaited sovereign is followed by their best and penultimate track of the CD, 'Vic's Alright'. Which is a realistic eyeball on the lovable parasitic rogues who frequent our bars and wealthy women's purses ha! You know the sort who always seem to land on their feet no matter what. Go in any pub in the land and there's a Vic there somewhere tee hee. That's what I like about this band, they sing about the real issues that effect the man on the street, not something that's happening a million miles away. Just straight forward reality!!! This is a band who love their cider too. Which is toasted affectionately in their 'Cider punk Revolution' track. But unlike a lotta sloppy, stagnant drink inspired outfits who can be pretty boring as they drone on about drinking instead of doing it. Homebrew glorify it by playing tight and neat numbers with witty lyrics that scream for a crowd scene and lots of audience participation. They are reputedly a live extravaganza in the N.Yorks punk circles which is always a good omen even it's spread by yerselves ha! On their last track 'Servants And Masters' which is a welcomed assault on the 'suits and ties' they manage to rhyme.... "were acting like servants and masters/ so rise up together and batter the bastards" which I find very poetic indeed! Comes in a great cartoon sleeve courtesy or Aaron Beatup who appears on here somewhere? but could I hear him amidst Dave's no messing vocals.....naaah? Still well WORTH A LISTEN Disclocate Records (NOW DEFUNCT) HOMEBREW |
| DUN 2 DEF 'Bomb Squad' EP (disc002) CD 2001 All the way from Milton Keynes UK come Dun 2 Def which are totally new to me? They've been around since 1998 and were in actual fact a punk covers band (very iffy). Maybe I'm a paranoid eegit but I find something just not quite right about cover bands who suddenly discover enough bottle to play their own punk songs. But if the Red Eyes transformation is anything to go by then why not? My suspicions weren't totally justified on this their debut release. Coz they do kick out 4 tracks of mid-paced riffy guitar inspired punk rock. A sound that's done with enough spike & balls in the musical department to create a stir. But they are really let down badly by the totally misleading Ferret on vocals. God, this is a punk who should be lunging at us from all angles of his cage! But all we actually get is uninspiring ,weak and FLAT poncy vocals. A tamed style that really don't do us or the music any favours at all. Dun 2 Def should thank their lucky stars they've got a good guitarist in Twig Webley. He can supply the big riffs whilst giving us some dirty solo's when needed. And the rhythm section is augmented by the main songwriters Dave Gatis on bass and drummer Mark Vickers who do a good job keeping it tight and concise. They still gotta get a more convincing singer if they wanna escape the plastic covers band stigma. But the 4 songs on show are a promising debut with 'Lights Out' bringing in some late 70's punk rock. A track that boasts a great early Tubeway Army - 'Blue Eyes OD Receiver' ringer of a riff. I like the way they add variation to their songs, something a lot of the newer punk bands forget these days. 'Background Noise' has more ripping guitar work, which we could've seen more of. But probably a sure fire live favourite has to be the last track 'Don't Give Up The Rifle'. Which is their most punchiest sing-a-long number. However back to reality, all the Dun 2 Def punk points in the musical department are wasted without bite. And with no competent front man to deliver the goods leaves you dead in the water. They're off on tour of Europe for 3 month so lets hope Ferret discovers some passion from those sexy Euro punkettes, else its' lights out for Def! AVERAGE Disclocate Records DUN 2 DEF |
| ANTI-FLAG 'Underground Network' CD 2001 I'm going to make this short and sweet: this album sucks. I mean it. This is completely boring MRR propaganda. I remember when Anti-Flag were fun. But, hey, let's face it. They've just gotten WAY too serious, not to mention they try to smack their political rhetoric on the entire punk scene, and come across as know-it-all little kids. I HATE really serious bands. If they'd talk about cool and fun ways to be an obnoxious fuck and get under the skin of all the "fascists", instead of preaching how bad the system sucks and boo-hoo-hooing in EVERY SINGLE SONG, I'd probably still like 'em. But this sounds like a bunch of hatchling punks trying their damnedest to be anarchists. I mean, not to sound negative or anything... Whatever happened to songs about drinking ("Drink Drank Punk")? Or crushing someone about their dead rich daddy that they're always bragging about ("Your Daddy was a Rich Man, Your Daddy's Fucking Dead")? At least with A New Kind of Army there were a couple of snotty songs for comic relief. This album is shit. Fuck you, Justin. You single-handedly ruined one of the best new school bands that was out. I hope you're happy. I'm not even gonna list any songs just because all of the titles are so stupid I don't even want to waste my time typing them up. http://www.fatwreck.de Reviewed by Sam Sinister |
| SMOOTH AND GREEDY 'Prison Talk' (88029-2) CD June 2001 All the way from Sweden come the hideously named Smooth And Greedy. And I'm sure I ain't the only one here who's passed em by on their name alone without too much regret. But as Sidernee Vish once said "regrets I've had a few". Well after hearing 'Prison Talk' I soon realised I would've regretted big time missing out on these! This 12 tracker is fucking good! It takes a few listens to get into but it's well worth the wait. 'Prison Talk' blows yer away with just how much power, originality and tunes this criminally unknown band can unleash. Imagine a Scandinavian New York Doll/Pistolesque tattooed swagger with a guitar driven payload, aided and abetted by a Dead Boys outlook!!! Pretty potent force eh? Plus their secret sneering weapon of a singer, who has a truly great original vocal. It's a rare commodity in today's punk scene and makes for a lethal package. Thick coated guitar riffs trade insults with the crooner from hell. Don't be put off by the term crooner coz Ralph the geezer in question can actually sing without it getting pompous. It's fucking great to hear as he sarcily wraps his quivering vocals around the "queers, leers and beer" lyrics. In case you ain't already guessed Smooth And Greedy are over the top. They're sleazy and greasy without it seeming an embarrassing sham. This band has so many influences at work it's hard to take em all in. They grab em all, defile em and make em their own. Ain't many unknown 4- pieces who can produce high standard rock 'n' roll like these theatrical fuck ups. Unknown now....but not for long I suspect! Take the heads down pounding rifferama in 'Do You Remember'. It's a careering articulate juggernaut without breaks, driven by Ralphs kid brother Ray. Followed by the pissed off 'You Didn't Call Me' all about some vixen who nails your balls right to floor. These fuckers won't bore ya with political intrigue or preach of a new order. Their politics are beer, whores, drugs and sleaze and of course the kinda girls you don't wanna turn your back on. These ain't no choir boys on a humanitarian mission they are the kinda dumb thugs and losers who frequent this twilight world of bars, back alleys and dirty needles. So it's a great realist view of life's underbelly with a hellbent soundtrack. Meanwhile 'Still In Vain' is a mid-paced tune, the kinda tune that reminds me of one of those deep South bible belt hymns. Only difference is it's been strapped to a snarling gibson as it slouches around the nearest bar while the singer spits out us some of his blasphemy. Probably favourite round the 'Wolf's Lair' is the howling infective of 'Affect Me', with it's untamable power chords and big beefy chorus. Ralph excels as he rolls his R's and warns his girl he ain't ever gonna fit into the nice crowd, great track.The slow paced Iggy inspired 'Luv Won't Come' has the best singing on here, which is backed by some inevitable lyrics and the best cackling laff I've heard since 'Anarchy'. As I ain't got no lyrics or band info I'm going on gut feeling here and feel these fuckers could go right to the top of the tree with their punk rock gutter anthems! If there is one major flaw with these Swedish desperado's it's their name which they should loose right away, it does em no favours at all. Also maybe lose some of the obvious New York Dolls Americanization's and give us more of your own original character which I'm sure is bursting to get out. These ain't smooth or greedy but a band destined for world recognition. WORLD CONTENDER I Used To Fuck People Like You In Prison Records |
| APOCALYPSE BABYS 'Full Metal Racket' 45 (FUG005-7) 2001 This 45 could well be the last we hear from the Apocalypse Babys for another 2 years. Their drummer and guitarist have split leaving Mr Asterix literally holding the baby. But that shouldn't stop him coz he's a determined fucker! Despite all this the Babys still manage to produce the goods on this 3 tracker, with local hired help. And as the title suggests, this has a lot more metallic feel to it than their previous outings. But don't fret dear punkers they ain't closet Judas Priest retards, it's just an in-band joke. Full Metal Racket is by no means a spandex racket and manages to produce a few solid punk tunes as the mid-paced, heads down, no messing 'Submarine Mary' proves. It gives us a blow by blow-job account for all you headers out there. Asterix the brat's excited boasts of "Motorhead scapping with Discharge" are unfounded. But this EP's certainly gotta kick to it as '999' follows next. This is a basic, fast paced sing-a-long for old times sake. The flip side is the moody, slower 'Money To Burn' all about the tobacco industry? And is probably the best track of a good mixed bunch. It rumbles into a dirty riff accompanied by Asterix's customized Jags (remember them?) vocals. The legs on the slick cover are supplied by Mrs Brat! And ain't it good to see another US label putting their faith in UK punk. Comes with a good package and lyric insert. WORTH A LISTEN www.FUGSLAM.com or APOCALYPSE BABYS |
| HOTWIRED 'Friday Night' Demo CD 2001 This is a rough demo....a very rough demo indeed. Hey lads it's the 21st century y'know! All the way from Norwich, England come Hotwired. The fact Friday Night was recorded in a Church Hall on a mobile studio shows initiative. It certainly reads good on the sleeve? However it's a different scenario once the 3 tracks load up. For a start the power that duel guitars give out is missing big time in the mix. The bass drum fights with the vagrant singer for a piece of the action. The vocals sound like they're recorded in a toilet after a heavy session on meffs! And the laboured overall pace of the tracks don't do em any favours. Hotwired?.... hope their local car thieves are faster than these. Whoever engineered this must've been in the same round as the singer on the Friday night in question. You do get some funny drink related/ bird trouble lyrics on display, but overall this demo is predictable early 80's UK punk by numbers. If this got em a record deal?...one chord wonders will never cease! I do like Hotwired's attitude though, coz they look like they'd be a good crack in the pub. But on this session in the village hall...forget it. Lets hope for Hotwired's sake their soon come re-recorded 45 within a real studio, with a real live sober engineer will produce a more potent result. NO FUTURE HOTWIRED |
| US CHAOS/STATCH & THE RAPES 'We Are Your Enemy' (prr(s)-1057) Split 45 2001 Split 45''s are pretty common in today's punk scene, but rare to come across 2 tracks that grab yer by the balls and underline the reasons you stuck with punk all this time. 'We Are Your Enemy' has been glued to my stereo ever since it arrived! First up are US Chaos who daub in big, thick, black indelic ink why they're important. They recorded this track way back in 1982! A week before the Misfits stuck down their debut album 'Walk Among Us' (in the very same studio too). So it's got a history and an atmosphere courtesy of Mr Munsch's knob twiddling. US Chaos deliver a mid-paced monster in 'Blame It On Sam'. And its a gem of a song and everything good punk rock is or should be. It's got power chords, tunes and a singer who can actually keep it interesting in a snidey kinda way, which I like a lot. Good news is they just reformed and have an album of tracks just like this...begging to be released. So any labels out there get your arse over to New Jersey pronto! Flip it over and you encounter Portland's very own Statch And The Rapes, immortalised in these very pages elsewhere. They ain't quite in the league of US Chaos for power, but these punks intend to put that right with time. They're from here and now and improve every time I hear em! 'Where Ya Goin Now' has got that early 80's youthful punk taunt written all over it in big offensive letters. And the rabble are led by Statch on the snotty vocal front ...."well this is America and to hell with you!" He's coming on in leaps 'n' bounds in the "fuck you!" stakes. And the more the merrier is all I can say. These ain't just yobbo's though, coz their song structures are getting a lot more bolder give or take the odd bum note ha!. Still simple but highly addictive fuzzy guitars make a mess. And it's all going on above a noxious upbeat rhythm track to conclude their misdemeanours. 'Where Ya Goin Now' is another taster from the band who have their debut album out very soon, I hope? Can't fucking wait!!! Both these tracks were recorded or remixed (all be it in different decades) by Marty Munsch. He's New Jersey's answer to Dave Goodman so cheers to Marty who kindly thrust this slab in my hands. WORLD CONTENDER Punk Rock Records |
| THE STIFFS 'Innocent Bystanders' (EMI records) CD April 2001 This is the album Zonophone (EMI) should've put out all of 20 years ago!!!! But due to EMI's utter lack of respect for raw talent and management hassles (check out 'Over The Balcony' coz revenge is sweet and funny), the Stiffs were criminally overlooked. The whole sorry tale is spelt out in the fateful 'Nothing To Lose'. Moving on 2 decades and at last EMI finally let the public hear one of their finer hidden gems stashed away in some dusty vault. The Stiffs were a band much held in high regard from their fanatical army of local fans and new ones picked up along the way via impressive 45's and lively gigs. So why no push or bigger claim to fame compared with less articulate punk outfits? Just listen to 'Standard English', immortalised on here, for the reason why. Y'see northern lads were deemed inferior by London bigwigs who'd rather sell a less talented bunch of oiks from Chelsea or Camden. But this album demonstrates geographically as well as stereophonically that there was a rapid pulse beating outside the metropolis! 'Innocent Bystanders' is a more streamlined CD than the earlier, impressive Captain Oi release. Coz we get just 16 great blasts of raw punk power, that makes for a great debut now or then. The 2 extra inferior demo version tracks might've been improved on with the inclusion of 'Chelsea Girls' or 'Yer Under Attack'. But let's not get ficcle here ha! Ever wanted to know what that much touted description 'power chords' sounded like in real time? Well put this fucker on and you'll hear for yourself! This CD is one of the few examples of it in real action. The Stiffs could harness that power and strap beefy tunes to it's volatile back with ease. This album puts the 'power chord' ghost to rest. Maybe the word melodic lulls you into a false sense of security coz The Stiffs are a band who had that too. But we ain't talking no pansys hiding behind a brickwall production. Oh no, their tunes were packed full of dynamite inside the studio booth as well as on stage. Take the rampaging 'Volume Control' for evidence. In fact, we are inundated with classic Stiffs like 'Innocent Bystander' (bycicle vandals), 'Magic Roundabout', 'Brookside Riot Squad' plus a couple of newies. This album is the Stiffs at their best....cocked, loaded and playing atmospheric punk rock. And is proven by a lot of newer punks discovering this band for the first time, better late than never! WORLD CONTENDER Comes in a colorful glossy booklet detailing the full bloodied story. My only regret is no lyrics included, but you get an added bonus of a heart to heart interview with the much respected Stiffs leader Phil Hendriks, spilling the goods to local Blackburn fan and Pistols author Alan Parker. THE STIFFS |
| VARIOUS 'Bad Teeth #1' CD Summer 2001 Fucking hell this brings back memories. It's the first release of the 'Bad Teeth' section. And includes a sniff of the massive 20,000 records stored in the vaults of Chuck Warner's Hyped2death empire. Dunno why it's R-S instead of A-B?...so ask Chuck about that? But if you ever wondered what the smaller clutch of bands in the gut of UK/Irish punk scenes circa 77-82 were like? Then this is the best place to start. Some of the 30 tracks on this comp. ain't seen the light of day since Sid was still on trial for murder and school ties were the ultimate punk fashion accessory. Bad Teeth #1 is a sussed collection of old school punk bought to us on CD and without a crackle in range! What I like best about this collection is it proves just how diverse punk rock was all those years ago. So if you thought I was lying all this time, just take a listen to some of these bands and you'll see why. No big names to spoil the fun either, although Rubella Ballet and their Ants inspired 'Something To Give' (82), Ruefrex with a surreal 'Don't Panic' (79), or The Satellites and 'Two Steps Forward' (80) - all managed to secure minor interest in the national music press at the time. However the rest are pretty much unsung heroes from a bygone age. An age when Punk rock was 4 hours of studio time and enough energy to plant 4 tracks of spunk onto the tapes. Or when the local disenchanted rock band seen a punk bandwagon in town and tried their hand at a piece of the action (see Razar's - 'Idol Rich' (78) for proof!) We also get the nieve Surgeons and their terribly sung, but hysterically funny 'Sid Never Did It' (80), that has gotta be heard to be believed. Riff Raff boasted a young Billy Bragg in their lineup and 'I wanna Be A Cosmonaut' (78) gives us a Lurkers type of sing-a-long. The School Ties from Hitchen sound snotty enough to gob for England on 'No Future' (80), even with the added sub-Stranglers keyboards. Another band with an unknown star in their midst was the Showbiz Kids who featured Olga from the soon come Toy Dolls on guitar. Good to hear The Skunks again and was one of this albums highlights for pure hooks with their moody 'Good From The Bad' (78). Snottiest track however comes from Harlow's Spelling Misteaks and their bath time masterpiece 'Rubber Duck' (79). The grubby Schoolgirl Bitch from Surrey have an early Malcolm Owen sound alike on vocals. We are then treated to public schoolboys the Samples and their stiff upper lip 'I got Rabies' (80). Liverpool's Spitfire Boys boasted Siouxsie's Bo (Budgie) on drums, but he takes a back seat to the classic 70's vocalization and rifferama of 'Mein Kampf' (78). Hard to believe the singer ends up as Paul Rutherford of Frankie Goes To Hollywod fame...what a waste! We are then subjected to one chord wonders Stench from Wolverhampton who sing about 'Nonces' (82) in prison. Their singer later turned up gobbing off on some punk web site?!!! The Suspects return with their deadpan 'Nothing To Declare' from down the Vortex in 1977. The best is left till last and we get that pre-vegetarian classic, John Peel acclaimed and TV advert inspired 'Wots For Lunch, Mom' (78) by the brilliant Shapes. Not really a duff track on here and definitely worth gettin just hear yet again that standard bearer of 77 punk....the police siren in the closing instrumental track of Kid Rogers & The Henchmens - 'Getaway'. Comes with some well informative band background sleeve notes on all the culprits involved too. WORLD CONTENDER. www.hyped2death.com |
| STOOL SAMPLE 'Everything Went Brown' (mad20001) CD 2001 These are presumably the American version of the Macc Lads. Even the Industrial black hole vocals would be similar if Mutley had lived in Georgia, US. Stool Sample deliver their payload in a humid, sweaty hardcore fashion. They've got big beer-guts, gruff vocals and a big 'shitty' hang-up. It's all shat out by the stumpy and brown fingered bass player Rotger Rotgut. The guy who's so full of shit he writes songs about it. 'Everything Went Brown' is one major motion concerning his bodily functions and where they end up. The other big eruptions in Rotgers life is beer and women. And girls...you get shit on in every breath! From sticking your tongue up his arse, to him breaking into your arse without permission! It's all here. A trio of drunk, misogynist wind breakers playing hardcore punk ain't a pretty sight! But I doubt this will get heard by girls unless they're dragged to the stereo screaming. This is macho-rama territory. But falls short only just of G.G. Allen, these farts merely growl about shit instead of eating it. Although that could be wishful thinking. Stool Sample have just enough sleaze in em to make em the envy of the local football team. And their humour is pretty restricted to the jock rock appeal of sweaty dressing rooms or the local biker club. It's obvious The Macc Lads or Deritas Sisters who do this a lot better had/have something more. But these pebble dashers just blast it out! To be fair if most of the 24 tracks were pretty gruff sounding anal tracts with the basic tongue in cheek (tee hee) lyrics. Then they would be a colossal bore! But If you can pinch your nose for one second and forget the barrack room shockers for one minute, you do get the odd shiny gem lying amongst their fly infested turds. Take the pounding drum based 'Jerk Off Grandpa' which is a particularly good piss-take. Or the very clever cover of Soft Cells 'Tainted Love'. This really pulls it off (pardon the pun) and caused the biggest rumble on this album. And it's their rare ability to produce a good tune when you least expect it that gives em some leeway. As the fast as fuck 'Used And Abused' which had a Chaos UK skid mark secreted all over it proved. Plus the strange inclusion of a kazoo! Half way through the album they take a more metallic path in sound. Mainly due to guitarist Cholo who does his best with Rotger Rotgut to resurrect the spirit of Suicidal Tendencies, on the catchy 'Death On The Inside'. They then deliver the funny 'Suck My Dick' as a their best sing-a-long. But unless you got a Lemmyesque vocal and a constant trickle of tunes to go with the diarrhea. Your up shit creek. We wanna see more of Rotgers obvious vocal variation which made 'Everything Went Brown' a lot more interesting than the average dump. Definitely not one for the PC crowd but this could prove a cult hit amongst the bog standard fraternity. WORTH A LISTEN Mad Skull Records |
| THE SPADES 'Friday Night' (prison042-2) MCD/10" June 2001 Now here's a band and singer who really knows how to go for the jugular. The Spades belt out in your face, frantic, 3-chord hardcore punk by numbers. But with a singer on permanent heat who has a thing about getting it up with anything that moves or wears pigtails!!!! From the opening salvo of the debauched 'Friday Night' it's straight forward, heads down, no messing good time punk. With big chunky guitars, thrashing drums and booming bass. The raspy singer who excels in hyperactivity is obviously the biggest draw on their premature odes to shooting your load. Bet he sweats like a pig on stage too ha! Mr Spade will either have you laughing out loud at his love pearls of wisdom, especially if you gotta sensa yuma. Or for all the feminists out there he'll definitely get yer screaming for a ban or his balls on a platter before you can chant "equal rights". There's no lyrics, no info and no pix, which is probably a lucky escape? But they sound very American? Of the 6 tracks on offer you do suss out it's early 80's styled punk with a GBH feel on tracks like 'Gasoline'. You know what? I get the feeling the Spades don't care who they emulate or rip-off just as long as they get some snatch at the end of the night. And with titles like 'Gotta Get Some', 'Cock In My Pocket' and 'Fuck Around' you know where they're hoping to crash tonight. 'Friday Night' ain't the best red blooded punk on the block and it certainly ain't the worse either. But 6 tracks is just about the right quota in one session before any real harm is done. So file under loud mouthed, gutter punk along with as much tact as a Northern Alliance prison guard. WORTH A LISTEN I Used To Fuck People Like You In Prison Records |
