| 2010: PAGE 1 |
| PUBLIC IMAGE LIMITED 'ALiFE 2009' CD 2010 This actually ain't as bad as it sounds in print. Although the intro tape of Lydon's solo rappy effort 'Rabbit' was annoyingly Chas 'n' Dave for me, and wondered if the die hard PIL fans would really wanna hear before the band hit the stage after all this time? But hey, when they did grace us with their presence there was an almighty roar! The actual gig recorded in Birmingham in 2009 is how PIL might've sounded in the 21st century had they kept a stable line-up together. It certainly don't sound like a quick fix of hired guns. And is a novel experiment that looks set to become permanent. Especially after the embaressing Pistols comebacks we had to endure on almost an annual basis. However PIL are a very different beast indeed. And with John Rotten as the front man they were the most eagerly anticipated band in the first wave punk fall out. They delved and dived into a totally new dark direction musically. Truly pioneering, but totally shambolic in the early years. So a PiL reunion after 17 years wasn't really out of the question, but certainly not at the top of my live priority's. However long suffering Pistols/PiL aficionado Paul K. sent this CD in, which was only available officially on this tour. And as I always review whatever comes in (eventually), it has to be said live albums ain't my preferred choice. But to be fair 'ALiFE' definitely has its moments and is a good snapshot of the live performance. This is the Johnny show and JR does slip easily and a lot more comfortably into PiL mode, than his annoying operatic versions of his Pistols pitch. Those vocals which decimated the Pistols live reunion gigs are almost note perfect for PiL. But this reformed speculation was dealt a major blow before they'd even played a note when I read in the press there wasn't gonna be no Levine or Wobble in the line-up. Even after all this time is Keith still dabbling and Wobble rumbling?...who knows, who cares? But their inclusion would've given this reunion that distinct authentic touch? So If you (like me) missed this tour (for that sole reason), as a legitimate consolation prize this CD should give you a vivid ringside seat from the comfort of your stereo to bear witness to what all the fuss is about. The sound quality tonight is up there with official live albums like 1980's 'Paris Au Pritempts', but thankfully with a lot more material to dip into. We still miss Levene's sheering guitars and Wobble's big bastard bass. But the band Lydon put together for this tour is a lot more involved both musically and in ability than the last couple of line-ups we had to endure. They kick off with 'Public Image Ltd' which was a good indication of the sound we were gonna hear for the next 2 hours. Misfit survivor Lu Edmonds shows he's versatile and ain't been no slouch wasting his time while he's been away. He has a very adept feel for a wide variety of instrumentation. And thankfully gives those Levene guitar shards an uncanny boost and much needed eccentricity that some tracks really needed. Despite big venues and the expanse of sound in most PiL tracks, It was a truly DIY tour. PiL are currently without a label, so the whole sharrabang was recorded and funded by Johnny's shrewd 'Country Life' butter ads. That fact in itself gives the tour a whole new surreal meaning, who'd have thought eh? And begs the question if you got the cash you can do almost anything! But the £35 quid entrance fee was a bit much. And put along side Lydon's current money grabbing scrapbook plunder seems a bridge too far most of us mortals. Mr Rotten does seem so money makingly obsessed these days, compared to his penniless days bunking rides on the tube in the public enemy number era. Maybe that cheesy LA outlook has finally rubbed off on him? I don't begrudge a punk of any standing making a living, especially this one, after what he's inspired in punk over the years. But I just find the whole out of touch, out to lunch, middle class rock star hypocrisy a tad irritating. But back to the album, one thing Mr Rotten is still the master at and thats cutting one liners, which this is littered with. Musical highlights had to be 'Careering' and the sinister 'Poptones' all about being raped. The free form staccato guitars during 'Albatross' were a real treat. All we were missing was Wobble's bass rumbling away in the background, which sadly no one has come close to reproducing in all of PiL's lineups since. 'Death Disco' is another iconic song and still has the power and intensity of earlier versions and now incorporates a really good extra guitar riff that adds to this poignant mourner. The crowd were certainly moved. We then get some 'Psychos Path' which live becomes a truly exceptional latter day Lydon form of expression. This and my all time fave track 'Religion' give the ghost of past PiL conquests the seal of approval. However its soiled by putrid numbers like 'Disappointed' and 'Warrior' which are still as naff as the day they were recorded. They close with the popular 'Rise' and the overrated 'Open Up'. But as Lydon explained “It might not sound good, but I fucking mean it!” which after a 2 hour plus set must've given the crowd their deserved moneys worth. PiL will be touring again this year, so maybe you might get some new material? Not sure if Johnny's still capable of writing any, but if we get stuff of the calibre of 'Psychos path' we could be surprised! WORTH A LISTEN PUBLIC IMAGE LIMITED |
| THE ASSASINATORS 'Weaving Spiders Come Not Here' CD April 2010 First I've heard of this fast tempo punk outfit hailing from Fairfied, WA, USA who formed in 2004. They have in their magazine a gun shot sound which is a cross between a belligerant Dead Kennedys and maybe a dose of the long lost Pillage People. Well thats the impression I got and I liked both those bands. The Assasinators create a hard hitting sound on this album, along with quirky themes on how corrupt the US government really is (shock horror!). They seem to relish in how all these suits in power abuse that privilege on a daily basis. Well anti Government rants are old ground in punk these days, but we all have concerns and this is a band who need and seem determined to fight the abuse the populous is going through. I'm just not sure if most of the American population would appreciate this form of protest, unless they're young, white ostracized males? Considering the current worldwide climate, wonder if the American people protested in such large numbers as say in Egypt or Lybia they'd be able to oust the US Government? And maybe bands like this could play to the masses as the cops circle the local city square? Kicks off with 'Divide And Conquer' which is a relentless rant by belligerent singer Paul at his most deranged robotic best, and is aided and abetted by some neat sinister one note solo's by axeman Parris. Another strong track has 'Econarchy' erupt from our speakers with a distinct DK vibe running through it. As the 22 companies who run the planet get rebuked while we roam through some really good East Bay Ray territory on guitar. Conspiracy theories aside, it ain't all serious as the Assasinators roll out a rowdy GG Allen cover of 'Drink Fight And Fuck' which I somehow think could be included in the bands resume for lager intake. They have like most Yanks a strange fixation with Pyrates, which makes for weird bedfellows along with the CIA and all the other hoods that oppress the poor. This is a band who focus on lyrical content, so I'm told? And I bet they're interesting. Pity they are totally nullified by being printed in the most inaccessible text possible. So you just have to snatch what you can as it whizzes past and "mass control" seems to rhyme with "asshole" which is good enough example for me. They are an aggressive looking bunch who are on the wrong side of 30, but now boast Zebrana Bastard on bass (ex of the Bastards) who will definitely add a new dimension to the bands sound and stage presence. Especially if her promo work is as far reaching as her obvious enthusiasm for punk is. You don't reach punk rock outposts like PUNK ROCKER without doing your homework. I suspect The Assasinators ain't your usual drunk punk outfit, and most likely really do have a grievance when they ain't in the bars. Not sure they'll change much on this recording, but if it makes them feel better about having their say than sitting in a bar bitching about it, then why the hell not? Their best track however was the title track 'Weaving Spiders Come Not Here' which is a really catchy and powerfully addictive number and should quite rightly be the bands theme tune and finished off this album on a high. However they finish off with a Rancid cover 'Out Of Control' which ain't the best song to cover but gets an Assasinators hit. They also have an earlier CD released in 2008 called 'Rumors Of War' which is still available and will be reviewed in the next review session. So till then, catch them live as I hear they're a pretty formidable bunch live and are not a band afraid of touring. Also apologies for the delay in writing this review up! Better late than never. Show your support by checking out their myspace page below. WORTH A LISTEN THE ASSASINATORS |
| UK SUBS 'Dance & Travel In The Robot Age' (T&M Records) Bootleg Reissue CD March 2010 Had this thrown in by Mark the diligent editor of the UK Subs most concise website presence to date http://www.uksubstimeandmatter.net/. Which puts the official one to shame and features nearly every dose of Subversion your ever likely to see or hear online in one place. And if you don't hear this CD or read the rest of this review, just go check out the site as its a Subs ephemera and you'll be there forever. Recorded on 16th February 1980, Dance & Travel In The Robot Age was originally released in 1980 by Black & White Recs (from the Isle of White in the UK). The recording was made by the late Tracy Crazy, from the Italian punk band S.I.B, who also took the photographs used on the cover. The gig where the recording was made, at the Palalido in Milan, Italy was part of a seven date European tour that the Subs played with the Ramones. However its a pity the sound quality on this semi official bootleg ain't quite as up to scratch as the intricate web work and passion for information. But does come in a diligent foldout sleeve imprint of the original bootleg release, and is apparently a much sought after (in Subs circles) bootleg. Recorded from a UK Subs iconic lineup of Harper/Garratt/Slack and Roberts. But I have to say the sound is a big let down. I'm surprised this was actually used instead of the superior sound quality boots that must litter sound engineer desks and subversive collections all over the world by now. But like everything UK Subs, the die hard fans will be loving it and cherishing it. Especially the ones who missed it first time round. So here's a second chance to get their grubby subversive mits on a collectors item (and lets not forget, it is/was for charidee too). Bootlegged in the bands heyday, you cant help but think if only Charlie knew they'd still be playing this set, bar a few variations 30 years later, when he's the oldest performing punk on the planet. He'd have probably laughed in yer face! In fact a recent interview with Chas revealed he thought he might make an album or two at the most. But to base a career out an alphabets worth of albums, sounds almost scary. Unlike Green Day, the Subs still try to capture their heyday sounds today, with rare degrees of success. Despite the iffy sound quality, you cant help but take yer hat off to an albums worth of bonafide punk anthems rolling out your speakers. I don't need to list the tracks, you should all know them by now. Despite the sound, this attractively produced CD features exclusive liner notes by Paul Slack, a 4 page booklet with artwork from the original bootleg release and exclusive Black & White band member profile photographs originally used on the back cover of the Warhead 7" single, seen here in their original uncropped, untreated form. And is a limited edition of 300 hand numbered copies. But if you miss out and want a quality live UK Subs album you could do a lot worse than try the immortal 'Crash Course', which has them all on in pristine stereo. Apologies for the late review, I'm sure it sold enough to give the charity in question a few hundred extra quid and that's always the main point. T & M Recordings in case your wondering exists purely to put out previously un-released or no longer available U.K. Subs material on CD and DVD (and possibly other formats) with 100% of the profits going to a charity or individual personally chosen by Charlie Harper himself. Sound quality - PLASTIC Material - PUNK ROCK CLASSIC! £5-00 (plus postage) Time & Matter Recordings P.O.Box 5261 CV37 1JR UK |
| GBH 'Perfume And Piss' (hellcat records) CD April 2010 Having just been writing an editorial celebrating GBH's debut vinyl platter, which is still my fave album by the band. I'm almost gob smacked that GBH can still make and actually kick out a modern day punk album that doesn't stink of going through the motions, doesn't feel like its jaded pretend, and actually does sound very good and contemporary. In my humble opinion I actually prefer 'Perfume And Piss' to 'City Babies'. Which will no doubt get me hung from the nearest lamp post in B1 next time I set foot in the place, but its a lot more compact and fluid. It kicks off in chaotic style with the in your face 'Unique' that has tinges of Psychobilly and could well be vying for a another stage fave with its rabble rousing chorus. 'Kids Get Down' down is gritty vintage GBH. I gotta say Jock's solo's are gaining ground and sound quite complicated, but still retain that rabid GBH hallmark. 'Perfume And Piss' is a great album/song title, but it don't quite hit you in the face as much as the first two tracks, where singer Colin goes for a condemnation of the powers that be. However 'Cadillac One' is for me the standout track for sure. It slouches in with an almost Crampish swagger and a complete change of style for familiar GBH territory. Its a dramatic progression and certainly gives the band a chance to flex their pedigree muscle. It also comes with some of the best lyrics coined by Collin as he regales the Presidents current mode of transport. 'San Jose Wind' sounds like a tribute to Joe Strummer which has the formula GBH grind, along with a more rock 'n' roll make over that keeps your interest. 'Dead Man Walking' takes off in fine form, but gets lost in the middle, only to retain the momentum as it closes. 'Invisible' sounds the most American influenced of the tracks, and has a Lars Fredirickson (Rancid) input written all over it, even down to the backing vocals. Lars who produced this album must be applauded for doing a splendid job, capturing the Brummy spirit and sound but highlighting the new palette GBH now work from. Its good to hear a new free-form GBH let loose. Although Colin ain't the most adventurous vocalist in punk, he has by now created his own snarly niche. 'This Is Not The Real World' aims a little higher. While 'Polytoxic' has an almost Dead Kennedy's vibe going on as GBH loiter through the complex world of complexities. 'Ballads' harks back to the 80's but its vocal input is way superior. 'Going Sideways' has an almost poppy feel as the band encounter speed with inevitable consequences. Acoustic guitars on a GBH album I hear you cry!!! Hmmm has Lars had more input? Or is it Jock's folksy side project, the brilliantly named Balsall Heathens been given permission to sniff on the intro and outro of this the final track 'Time Flies'. Whatever the case, it strangely works. As mentioned earlier comes with a first class production. One thing a label like Hellcat guarantee is decent production. Especially if its a band who inspired the producer to pick up an instrument in the first place. And 'Perfume And Piss' overall does sound like an album GBH have made with complete conviction and not a hint of losing that hunger that was first unleashed 30 years ago. WORTH A LISTEN G.B.H. |
| SHAM 69 'Who Killed Joe Public' CD Autumn 2010 It's a hard slot to step into replacing the iconic Jimmy Pursey. And whoever tried to, had to make it count! Look what happened to Menace for gawd's sake. Luckily for Dave Parson's he's found that illusive guinea pig for the wayward and extremely unpredictable Sham front man. And probably the best your likely to get in this day 'n' age. Tim V's vocals don't parody the Jimmy Sham style, or try to ape it. They do however sound strikingly familiar and seem to fit these new songs really well. It's a logical step to jump in with totally new material as the live footage I've seen on You tube of Tim doing the old Sham anthems, falls way below the mark, sounding almost karaoke. However the quality of some of these tracks created with Dave Parsons ear for a tune, may also have been the catalyst for JP to suddenly announce he's stepping back outta semi retirement to front Sham 69 on some forthcoming dates. And even if that's the only goal, its a hit with me, coz as an added bonus some of these new songs certainly grow on ya. A Wurlitzer style organ breezes in to kick start us off with the impressive "Sham". A song which I thought made a great statement of intent with that rabble rousing chant. So was utterly disappointed to hear it was in actual fact "shout" the songs benign title that was being sung. Oh dear. It significantly quelled my initial enthusiasm somewhat. It was also spoilt by too many "Oi's", which Sham tried to dodge like bullets back in the late 70's. But definitely gets us off into a rowdy optimistic start. 'The Verdict is Vengeance' is another energetic number well played and littered with impressive lyrics like "cravatted bankers and cocaine wankers". 'Skin And Bone' swaggers in with a definite Pistols riff, circa the 'Swindle' years and is riddled with even more impressive Jack the lad lyrics, that name drop various punk luminaries from '79. A change in direction for the catchy 'Then There Were None' which has a sniff of the Who, as Sham get all emotional. However comes with a good delivery. 'Hall of Fame' with its piano intrusions continues the 60's theme, and sounds like it could've come from a Tommy Steele movie. It's definitely a progression from the bands usual terrace stompers. Just not sure the boneheads or even the punks will appreciate it quite as much though lol. 'Little Lady' returns to the Sham of old music wise, that owns a neat riff to propel it along. But also adds a rare, dare I say it domestic love song to their repertoire! 'Last Gang in London' sees the band returning to their white reggae roots that they do so very well, with a skanking organ and Clash atmosphere as our songs hero finally gets stabbed in the street. Neat guitar intro for the title track 'Who Killed Joe Public' but its missing that Pursey punch line delivery which is where Tim V's vocals suffer most, as he can't quite give us that definite intent! Same goes with the classic Parsons tuneage on 'What Ya Gonna Do' and 'The Public Enemy', but I did enjoy the sneaky Batman refrain. Final track 'Army Of Tomorrow' is trying to be the anthem that wasn't to be, and to be truthful id heard enough by then. Which was a shame as the first half of this album was very promising. Cheers to Paul K. for chucking this my way. WORTH A LISTEN www.sham69.com/ |
