Rocking horse shit. That’s about the only thing as rare as a band nailing aesthetic, mystique, live shows, credibility, a groundswell of genuine interest, a devoted fanbase and SONGS on their debut album. Rocking horse shit. And Creeper’s Eternity, In Your Arms (Roadrunner).Continue reading
That is not dead which can eternal lie, and with strange aeons even a band may die… but not this band, and not today. For this is the era where bands do not go gentle into that good night (or if they do, they come back pretty quickly the next morning, handsome smiles flashing an unsaid apology as if to say “nothing happened here”). So here Backyard Babies stand before us, six-strings in hand, with a new selection of their trademark Hanoi Rocks meets The Wildhearts meets Alice Cooper glam punk tunes on their new album, Four By Four (Gain Music).
It was eighteen years ago that Backyard Babies burst onto the scene, heading a Scandinavian raucous of bands that included The Hellacopters and Hardcore Superstar with bold, bright punked up rock music that stuck two fingers and a stacked knee high boot into the groin of grunge, bringing sleaze and pizzazz back to a table that was wringing wet with the limp celery, hummus and self-loathing of a 90’s music scene that celebrated introspection and mumbling. 1997’s Total 13 (Scooch Pooch) saw the Babies ‘Bombed’ (out of their minds) with boots stuck with glue (yep…) and set to take over the world.
And yet it didn’t quite happen. Moderate success came their way, though in 2004 it seemed like they’d cracked it with the stomping Stockholm Syndrome (RCA) led by Guitar Hero playable track the mighty ‘Minus Celcius’, a career high grandstand tune if ever there was one. The world may be an oyster, but oysters don’t always contain pearls, and two subsequent uneventful albums passed by until in 2009 the Babies released a compilation album that was said to mark the passing of the band.
The band have been keen to stress Four By Four is not a comeback album, more a picking things up from where they left them, and all the expected sounds and styles are in place. Nicke Borg’s distinctive voice leads the way, with Dregen ripping jacked up glam rock from his guitar, but try as they might it’s all a bit flat, and all a bit pub rock. Some good tunes go by – lead off single ‘Th1rteen or Nothing’ is a stomper – but the core of the album is filled with wistful (wasteful) numbers, as the duller tempo of tunes like ‘Mirrors (Shall Be Broken)’ choke the remnants of life. It’s not bad, but in the end, you’re left with the feeling that whatever it was that used to make these guys spark no longer sizzles but sputters.
5.5/10
STEVE TOVEY
From the outside looking in, it can be easy to judge people we don’t know. Take Danny Worsnop as a prime example… the last Asking Alexandria album From Death To Destiny (Sumerian) was widely seen as a step back at best, and tepid filler at worst (though hardly a commercial failure, nonetheless), so jumping ship to a more commercially viable band, the cynic would say, prolongs his stay in the limelight and at the top, and gives him a better chance of maintaining the Sunset Strip lifestyle. The cynic will be shot down in flames by joie de vivre of We Are Harlot (Roadrunner). ‘Blame It On The Love Of Rock n’ Roll’ as someone fairly successful once sang…
While first track ‘Dancing on Nails’ is decent and rocky enough, second track ‘DLT’ (Dirty Little Thing, not a defence of disgraced UK DJ Dave Lee Travis) is one helluva fuel injection turbo boost that prompts an face-splitting grin, as the guitars rock out and Worsnop belts out the chorus, and it all makes sense; whatever you perceive his motives to be, you can’t fake energy, you can’t fake fun and you can’t fake rock n’ fucking roll, and We Are Harlot has all three in spades.
I don’t know Worsnop, but any doubts I had are banished by the genuine, honest, uptempo and spirited rock n’ roll on display throughout.
From that moment on, the album flies by in a conveyor belt of Joe Perry-on-speed chord-bashing guitar liveliness and vocal exuberance. Worsnop brought the rock to AA at times, but here he’s set free and has never sounded better, and it must be said, it’s great to live in a world without breakdowns. He may not have the distinctiveness of an Axl or a Jon Bon Jovi but there is a touch of blues, a touch of pop and a bucketful of rock, and a nice gravelly tone to Worsnop’s voice, particularly on the bourbon-ballad ’I Tried’. ‘The One’ swaggers, ‘Flying Close To The Sun’ and ‘Never Turn Back’ have radio hit written all over them while ‘One More Night’ is head-on smash (hit) of Appetite For Destruction (Geffen) and The Wildhearts.
However, don’t think for a second this is a retro-by-numbers homage to The Legends Of Rock. Yes, you can hear Aerosmith, Bon Jovi, Van Halen, Guns N’ Roses have had their influence in the sound, but this is a flying by the seat of its pants, gregarious, germane, gratifying, gratuitous and genuinely great album.
8.0/10
STEVE TOVEY
Ginger Wildheart has added more dates to the Songs & Words tour, which the updated schedule is posted below.
Following the theme of the rest of the tour, these Songs & Words dates take place in small and unique venues, which will provide an intimate setting for Ginger’s acoustic and spoken word show, which will share stories from his 20+ year career in music, starting with the early days of The Wildhearts, and leading right up to extremely successful 555% PledgeMusic campaign.
Apr 11: Old Rep Theatre – Birmingham (UK)
Apr 17: Puppet Theatre – Norwich (UK)
Apr 18: City Varieties – Leeds (UK)
Apr 24: Sugar Club – Dublin (IR)
Apr 26: Leicester Square Theatre – London (UK) (SOLD OUT)
May 01: Eastwood Park theatre – Glasgow (UK)
May 02: The Mining Institute – Newcastle (UK)
May 08: Century Theatre – Coalville (UK)
May 09: Dancehouse Theatre – Manchester (UK)
May 15: The Lane Theatre – Newquay (UK)
May 16: Blakehay Theatre – Weston-Super-Mare (UK)
May 30: Camden Rocks Festival – Camden (UK)
Ginger Wildheart is currently writing the Songs & Words book, which forms part of his brand new PledgeMusic campaign. The book will chronicle the stories behind his songs, spanning from the early days of The Wildhearts, to the record-breaking release of 555%. But in order to complete one particularly notable period of time, we’d like you send in your questions about the songs released as part of the Singles Club back in 2001. This saw the ambitious plan to release a 3-track single every month for a year (which may sound familiar to those of you who are G•A•S•S• members!). Sadly, the project didn’t see its way to completion, but it did give birth to 18 new solo tracks (3 of which were finally released on the A Break In The Weather, which is still available on iTunes).
Ginger is including stories behind the making of these songs, the feelings surrounding the singles, the disappointment felt when the idea was shelved, etc. Please send anything you’d like to know, and see written about in the Songs & Words book in to questions@gingerwildheart.net.
As a reminder, here are the song titles that came out of this project:
I’m A Lover Not A Fighter
Don’t Let Me Die Lonely
Thailand Uber Alles
And This Time I’m Serious
Re-inventing The Wheel
Blinded By Absinthe
Virtual Love
Energetic O
Where Did Everyone Go?
Cars & Vaginas
You, Me & B.T.
Not Bitter, Just A Little Disappointed
The Saga Of Me & You
Naked Innocence
A Better Man
The Saga Of Me & You
Naked Innocence
The Dying Art Of The Chorus
Ginger Wildheart has released his newest single “Honour,” recorded by himself and Courtney Love, which will be part of his G•A•S•S• project.
He has also announced his upcoming UK tour, where he will be performing his Songs & Words show, spanning material from The Wildhearts, Silver Ginger 5, Clam Abuse, and his myriad solo material. He has also brought back his Hallowe’en Hootenanny as well, with all dates below.
Apr 11: Old Rep Theatre – Birmingham
Apr 24: Sugar Club – Dublin
Apr 26: Leicester Square Theatre – London
May 01: Eastwood Park Theatre – Glasgow
May 09: Dancehouse Theatre – Manchester
May 15: The Lane Theatre – Newquay
Oct 30: Slade’s Room – Wolverhampton (The Nightmare Before Hallowe’en, with Hey! Hello!)
Oct 31: Slade’s Room – Wolverhampton (Hallowe’en Hootenanny, with The Ginger Wildheart Band)
Having spent part of 2014 as a member of Hole frontwoman Courtney Love‘s touring band, the very prolific Ginger Wildheart has confirmed details of his 50th birthday shindig, to take place at London, Kentish Town HMV Forum on 17th December 2014. The venue was the scene of The Wildhearts first London headline show as an album band twenty years ago, the very same gig where Ginger wore a white tuxedo in honour of his mother’s birthday, and the video for ‘Suckerpunch’ was filmed – obviously a venue close to the Geordie in Wonderland’s heart!
One of the most successful crowd-funded artists of all time, Ginger will be playing hits from his many projects, including the Wildhearts, his solo albums and Silver Ginger 5 and will be joined by many (as yet unannounced) guest appearances.
In addition, Ginger has also announced that on 2nd February 2015, he will be releasing a brand new song, co-written with Miss Love, ‘Honoured‘, a live version of which is has been released on Youtube, and can be viewed below:
And, as if that isn’t enough, Ginger has a new online fanclub, and the single is currently available through Ginger’s new multimedia fan site GASS (Ginger • Associated • Secret • Society) and was released on itunes on the 1st December 2014. GASS is a multi-tier fan club for Ginger Wildheart fans. By signing up you gain access to exclusive content including a year’s supply of new Ginger songs (36 in all!), and much more!
You can visit http://g-a-s-s.co/main/ for more details.
Your man is certainly giving Devin Townsend a run for his money in the busy stakes!
Steve Tovey
The return of rival event Sonisphere to this year’s UK rock calendar meant that Download has to seriously step it up to retain its title of heavyweight champion of rock and metal. The crowded festival market appears to have reduced attendance figures from last year yet there are several tempting morsels on the bill to intrigue the discerning rocker.
Legendary post-hardcore (that’s pre emo for those who weren’t born till the 90s) crew Quicksand manage to make several new converts on the Pepsi Max stage if attendance for their set is any indication. Walter Schreifels hasn’t lost his youthful energy dancing in between the scything guitars of ‘Fazer’ although the absence of anthem of disaffection ‘Dine Alone’ is damn near criminal. This glaring omission aside the band appears energised with bassist Sergio Vega clearly glad to be reunited with the group despite enjoying greater success with Deftones. ‘Landmine Spring’ brings their abridged set to a close. Just imagine what it would have been like if they were firing on all cylinders.
The New Yorkers may not have lived up to the immense hype surrounding them yet they were a good excuse for skipping most of Black Label Society’s set on the main stage. New record Catacombs Of The Black Vatican is decent, but Zakk Wylde’s performance feels contrived with all the over-reliance on pinched harmonics and some indulgent soloing. The former Ozzy Osbourne fret mangler’s status as a highly decorated guitar legend cannot be denied, but today’s performance felt tired like a flower withering in the afternoon heat.
Main stage performance of the day had to go to Symphonic metal act Within Temptation. Rightfully proud of new album Hydra, Sharon Den Adel leads her band mates through a set of rousing choruses and bombastic strings. ‘Let Us Burn’ is as fine an opener as you will find, Den Adel hitting every note effortlessly while encouraging the crowd to join in. Playing both ‘Dangerous’ featuring Devil You Know/ ex-Killswitch Engage vocalist Howard Jones and ‘And We Run’ with rapper Xzibit was perhaps a little ambitious with neither man on hand to deliver his performance in the flesh. The latter particularly gives Sharon little to do during the rap section although it can’t be denied it is a fine slice of pop metal.
If anyone could make the most of a big stage appearance it would be horror rocker Rob Zombie. All the theatrics you’d expect from the man himself are here yet sound trouble and the lack of quality new songs hampers the party somewhat. Club anthems like ‘Living Dead Girl’ still impress and the sleazy grind of ‘House Of 1000 Corpses’ deliver fine hooks but Zombie flings himself across the stage often sounding out of breath as he does so. Zombie certainly knows how to pack in the hits and deliver a thrilling stage show but today’s performance was nothing we haven’t already seen from the groovy ghoul before.
Anathema are simply spellbinding. Transcending genre boundaries with a set of ethereal beauty having again raised the bar with their Distant Satellites opus. The Cavanagh brothers are in fine voice tonight bolstered by a lush sound mix which accentuates every nuance of their performance. ‘Fragile Dreams’ begins a jaw dropping performance of raw emotion while Lee Douglas performance on ‘The Lost Song Part 3’ would make the lips of even the hardest headed quiver, its’ soaring melody both heart-breaking and uplifting all at once. Confidently signing off with the title track of the new record, the Liverpudlians deliver a life affirming performance capable of connecting with so much more than just the traditional rock and metal crowd which makes you wonder why they aren’t headlining arenas the world over.
The dry sardonic wit of Mikael Åkerfeldt remains as sharp as ever. ‘The Devil’s Orchard’ from Heritage still stands up live, but little can compare to the mighty rendition of ‘Demon Of The Fall’ and the crushing ‘Deliverance’. Opeth may be done making death metal records but live the band is focussed on retaining the diehard fanbase they have fought to build up over the years with a set of faithful classics.
Avenged Sevenfold make their debut headlining appearance tonight. They may not have twenty plus years of hits to rely on but you have to credit M. Shadows and company for attempting to step up. Unfortunately when most of your songs lift parts from Metallica, The Misfits and AC/DC liberally it won’t be a set that can retain all in the crowd’s attention. Instead it was time to visit the second stage to witness pop punks The Offspring turn deliver a pleasant if unremarkable feast of nostalgia with a set that included the entirety of their breakthrough record Smash.
Groggily emerging to greet yet another sunny day Saturday sees death metal crew Dying Fetus opening the main stage with their brand of technical death metal yet the real intrigue is in the identity of mysterious masked outfit Iceman Thesis? who manage to perform a song on both the Pepsi and Red Bull stages back to back. Their brand of Metalcore bluster, rumoured to comprise members of Pitchshifter, Funeral For A Friend and Hundred Reasons it will be of great interest to see where this clandestine mob appears next.
Sticking with the Pepsi stage Mancunians Collibus deliver a stellar set of tunes from their rousing opus The False Awakening. Vocal dynamo Gemma Fox is all smiles as she leads the band through a set of intricate yet accessible numbers ably flanked by bassist Rick Kershaw and guitarists Dan Mucs and Stephen Platt with Aliases sticksman Darren Pugh locking down a tight groove. Showing much promise, this progressive metal crew possess the power of many classic metal acts with a knack of producing heavy, groovy riffs. ‘The False Awakening’ itself sees the audience raise their hands in the air to sway along with Fox. It’s an impressive showing from an act who have only begun to give us a glimpse of their potential.
Gaining plaudits from artists like former Metallica bassist Jason Newsted, youthful Brits/Yanks Marmosets pop rock is played with vigour, but Becca McIntyre’s screaming vocals feel over done in an attempt to pander to the more metal orientated members of the audience. That aside the Yorkshire quintet have plenty of catchy melodies despite their lack of power.
If it’s power you are after then it was all about the force of Massachusetts mob Killswitch Engage. Guitarist Adam D has dialled down the quirky banter and onstage goofing off which threatened to overshadow the band’s masterful Metalcore anthems. Instead today we get a more focussed and hungry KSE looking to push themselves back to the top of the food chain.
Tearing ourselves away from the main stage we manage to grab a glimpse of Orange Goblin. Man Mountain Ben Ward is clearly loving the day, drinking in the sunshine and blasting out gritty heavy metal like ‘Scorpionica’. Since quitting their day jobs altogether the Goblin has gone from strength to strength turning in another fine showing leaving the stage white hot for Monster Magnet. Dave Wyndorf is in fine form with acid fried salvos like ‘Space Lord’ still going down a storm.
Clearly Wyndorf is growing old disgracefully but nothing prepares us for how good the Newcastle party machine that is pop rockers, The Wildhearts! Kicking off with ‘Vanilla Radio’ Ginger and company stick to the classics turning out ‘I Wanna Go Where The People Go’ and ‘29xThe Pain’. A truly beautiful moment occurs before the latter when Ginger touches on the passing of acclaimed photographer Ashley Maile dedicating the song to his memory.
When it comes to showmanship however none match the flamboyance and presence of Twisted Sister. Dee Snider and company may not have released a new album in over a decade but you can’t deny that their canon speaks for itself. Few frontmen have such a way with an audience with joking about low flying planes coming into nearby East Midlands airport reminding him of 9/11 while ‘I Wanna Rock’ remains an anthem that transcends generations.
If it is the cutting edge of extreme metal you are after then Poland’s Behemoth are just the ticket. New platter The Satanist continues to be the album of the year for many and on tonight’s performance you can’t fail to see why. The stage is adorned with blazing lamps creating the required atmosphere of evil. What sets Behemoth apart from so many contrived extreme metal acts is the humanity of their performance. Nergal’s brush with death has made him even stronger as an artist and a more dynamic and fearless performer. Older material like ‘Conquer All’ is well received but the rapture that greets recent works like ‘Blow Your Trumpets, Gabriel’ and the spine-chilling closer ‘O Father, O Satan, O Son’ are delivered with a passion and burning intensity that simply cannot be faked. Tonight’s triumphant performance should lure many new converts and whet their appetite for their return to the UK in December.
Another former Ozzy Osbourne fretmangler Jake E. Lee opens festivities on Sunday with his group Red Dragon Cartel. The group have attracted headlines for all the wrong reasons recently with issues with agents, cancelled shows and other Spinal Tap type shenanigans. Looking gaunt and frail, Lee himself still appears an able player but today’s set is embarrassingly loose and shambolic with a murky sound mix that only further hampers proceedings. Retreating after a lacklustre rendition of ‘Bark At The Moon’ Lee and company seriously need to get their shit together before he further damages his legacy.
By contrast Winger are the picture of professionalism. ‘Heading For A Heartbreak’ has the crowd in the palm of their hand and despite the rain beginning to fall spirits could not seem higher. The surprise appearance of The Dillinger Escape Plan’s Liam Wilson at the climax of their set is as heart-warming as it is a shock, with Wilson grinning like a star struck fanboy.
It’s of comfort to know there are some musicians who are unafraid to hog the spotlight and put on a show. Joshua Todd of Buckcherry is one such character, preening and declaring “I’ve got big balls” the heavily inked rocker is a throwback to the days of uninhibited abandonment swaggering through ‘Lit Up’ and sleaze anthem ‘Crazy Bitch’ without a hint of self-consciousness. He’s everything a proper rock star should be.
Unfortunately the fun machine has a spanner thrown in the works when Frankie Palmeri and Emmure arrive touting their puerile, misogynist lyrics and macho bluster. The New Yorkers are everything that non aficionados of heavy music believe it to be. Luddite cretins and immature man-boys who belt out contrived testosterone fuelled detritus with no depth of emotion other than self-hatred and a “woe is me” mindset.
Thankfully Sepultura are on hand to show how it’s done. The Brazilians turn in an admirable shift with Derrick Green and Andreas Kisser looking fired up and ready. A sweet seven song set is highlighted rousing opener ‘The Vatican’ and an expected, but crushing ‘Roots Bloody Roots’.
Quite why rapcore chancers Crazy Town still exist beggars belief. The band plough through their tired shtick about smoking weed and “da ladeez” as if it was still 2002 not 2014. One hit wonder ‘Butterfly’ aside it’s a set with very little entertainment value. Not so secret “surprise” band Black Stone Cherry may have spoiled the surprise with an errant post on their Facebook page but no one seems to care about that. ‘Rain Wizard’ and ‘White Trash Millionaire’ are Southern Rock done right and new single ‘Me And Mary Jane’ has hit running right through it. Big choruses and watertight musicianship.
Philip H. Anselmo is in a playful mood this evening. Blasting out Pantera’s ‘Hellbound’ and featuring a cameo from former bassist Rex Brown on ‘A New Level’ it’s as close as we’re going to get to a Pantera reunion, at least for now. Material from his solo album and Superjoint Ritual are well received, but the crushing finale of ‘Hollow’ will only have fans wishing that Vinnie Paul can be coaxed into returning to the stage with his former brethren.
Today’s main stage has played host to Bon Jovi axeman Ritchie Sambora and Winger giving the hair rock contingent someone to root for. How ironic then to see a band whose purpose was to lampoon the excess of 80s rock further above them. Steel Panther bring bananas, spandex, big hair and the baring of several breasts of female audience members during ‘17 Girls In A Row’. Some may find their antics somewhat juvenile considering that the ‘Panther spend as much time telling jokes as they do playing tunes but their irreverent banter makes for many smiles.
A future headliner for many, Alter Bridge deliver a set of typically uplifting arena rock with Myles Kennedy showing he is possibly the best pure singer in rock right now. The newer material has benefited from an injection of heaviness in the guitars and Kennedy’s model looks certainly have won many admirers. Surely the next album should see them crack the glass ceiling of festival headliner?
Before we get caught up in all the arena rock nostalgia of Steven Tyler and company there is time to check out a few songs of math rock’s enfants terrible The Dillinger Escape Plan. Greg Pucato snarls and flails around the stage, but the bass heavy mix negates the subtleties of ‘Farewell Mona Lisa’. The crowd joins in on the clean chorus regardless but the jazzy textures of D.E.P. songs seem to confuse as many as they convert. Knowing the New Jersey natives penchant for noise terrorism that’s probably the intention.
Aerosmith may not have written a new album in over a decade but the Boston hit machine pull out a mean showing. Defying age, Steven Tyler belts out the notes to ‘Livin’ On The Edge’ in a manner that no sixty something should be able to do. Joe Perry is another story however. Slowly morphing into his hero Keith Richards the legendary guitarist’s lead vocal performance on ‘Freedom Fighter’ is somewhat shaky as is the cover of The Beatles classic ‘Come Together’. This small blip aside Aerosmith remind us of how many iconic classics they have produced from emotive ballad ‘I Don’t Wanna Miss A Thing’ to a soaring ‘Dream On’ they make the vast grounds of Castle Donington feel very intimate indeed. Leading the crowd in a chant of “Fuck Curfew” the rebellious rockers launch into ‘Mama Kin’ bringing a hit-packed set to a close. It’s debatable how much fuel “The Toxic Twins” may have in the tank but if this is the last time they headline here they sure went out with a bang. In the face of increasing competition, the UK’s heavy hitter put in another decent shift this year.
ROSS BAKER
