SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'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
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
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
 '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
on prescription. Comes with
lyrics and is released on the bands
own label so fair play for determination.
Falling Down Records
'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
"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
Disclocate Records (NOW DEFUNCT)
'Bomb Squad' EP
(disc002) CD 2001
All the way from Milton Keynes UK
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
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!
Disclocate Records
'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.  
Reviewed by Sam Sinister
'Prison Talk'
(88029-2) CD June 2001
All the way from Sweden come the
hideously named
Smooth And
y. 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
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 "
leers and beer"
lyrics. In case you
ain't already guessed
Smooth And
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

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
I Used To Fuck People Like You
In Prison Records
'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
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
scapping with Discharge"
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.
'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
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? 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
'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
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
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
, 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!"
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.
Punk Rock Records
'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
, 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.
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!
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
Stiffs leader Phil Hendriks,
spilling the goods to local Blackburn
fan and
Pistols author Alan Parker.
'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? 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),
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
The School Ties from
Hitchen sound snotty enough to gob
for England on 'No Future' (80), even
with the added sub-
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
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).
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
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
Rogers & The Henchmens
'Getaway'. Comes with some well
informative band background sleeve
notes on all the culprits involved too.
'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,
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 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.
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
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.
Mad Skull Records
'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
. 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
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.
I Used To Fuck People Like You
In Prison Records
2001 PAGE 1 - PAGE 2 - PAGE 3 - PAGE 4
2001 PAGE 1 - PAGE 2 - PAGE 3 - PAGE 4