Born in Australia and now residing in Nashville, TN, singer/songwriter Bex Chilcott – better known as Ruby Boots – creates music that slightly betrays both her homeland and her adopted city. In fact, she manages to cross genres with ease, rarely standing still long enough to adopt any genre as her own. Her 2018 album DON’T TALK ABOUT IT that supports that claim.
Gene Loves Jezebel occupy a musical universe that is all their own. The distinct vocals of Jay Aston and the unique chemistry between his bandmates James Stevenson, Pete Rizzo and Chris Bell has led the band from the dungeons of Goth to the lofty highs of anthemic Rock and everywhere between. It doesn’t matter if they’re tackling a haunting ballad or a riff-roaring rocker, Gene Loves Jezebel remain one of the most riveting yet under-appreciated bands of our generation. And with DANCE UNDERWATER, their first studio album in years, it is time that you put that band back on your radar and pay attention.
For nearly 20 years, Guilderland, NY-based Wounded Bird Records has been quietly reissuing a plethora of CD titles that are generally geared for collectors but most definitely appeal to causal music lovers as well. Not a label to focus on one genre, Wounded Bird has just about every musical style covered – from OC punks Agent Orange to Jazz legend Joe Zawinul. In between, you’ll find releases by the golly-ricious Jim Nabors, Hard Rock heroes Montrose, former Eagles members Don Felder, Joe Walsh and Timothy B. Schmidt and way too many others to list. In the early days, Wounded Bird was a straight reissue label – no bonus tracks or liner notes. However, over the years, they’ve started adding bonus material to some of the releases, which makes them even more exciting.
Haircut 100 was quite the band in 1982. Their debut album, PELICAN WEST, was the product of six very different personalities that came together to create one fantastic album. From Latin to Funk to Pure Pop, the album blended the band members’ musical influences perfectly. The thought that the album was created by a group of kids just barely into their 20s was quite astounding. Even today, that timeless album is just as thrilling as it was when it came out 35 years ago. The lads in H100 were in the midst of recording their second album when lead singer/songwriter Nick Heyward left to pursue a solo career. For a brief moment, it seemed like that was the end of the line for H100 members Marc Fox, Les Nemes, Phil Smith, Graham Jones and Blair Cunningham. Thankfully, the lads still had something to say…
WHERE THE LIGHT SHINES THROUGH: THE BIGGER PICTURE 1981-2017
If you are familiar with veteran UK band Sad Lovers & Giants
, then I am confident that you are already a fan. For those who have yet to experience SL&G, then pay close attention – they are soon to become your favorite new/old band. On May 5, 2017, the always-amazing Cherry Red
label will be releasing WHERE THE LIGHT SHINES THROUGH: THE BIGGER PICTURE 1981-2017,
a five CD set that is a must-have if you are a fan of SL&G and ‘80s Post-Punk and New Wave music in general. The band’s legacy is celebrated in this set which contains pretty much all the tracks from their albums EPIC GARDEN MUSIC
(1982), FEEDING THE FLAME
(1983), THE MIRROR TEST
(1990), TREEHOUSE POETRY
(1991) and MELTING IN THE FULLNESS OF TIME
(2002) plus singles, EP tracks, radio sessions and rarities. A stunning set to say the least.
ONCE UPON A TIME IN THE WEST(WORLD):
As the leader of British outfit The Pack, singer, songwriter and guitarist Kirk Brandon’s unique musical vision was far too adventurous to be constrained by the limits of Punk Rock so he folded that band and moved forward with new ideas. By 1980, he had formed Theatre Of Hate, which included bassist Stan Stammers, saxophonist John Lennard, guitarist Steve Guthrie and drummer Luke Rendle. During their first two years of existence, the band released a few studio singles as well as a live album, HE WHO DARES WINS. By the time the band entered the studio to work on their debut full length, Guthrie had departed and Brandon took over all guitar duties. With The Clash’s Mick Jones in the producer’s chair, TOH began work on what would become a milestone in Post Punk history – WESTWORLD! With a mix of tribal rhythms, Spaghetti Western riffs, Post Punk guitar slashing and Brandon’s passionate wailing, Theatre Of Hate was a band unlike any other. While the band was known for their live performances, they took on a different form in the studio. Pre-dating his Big Audio Dynamite recordings, Mick Jones brought a lot of his experimental ideas to the sessions, which worked extremely well with Brandon’s vision. The end result is still being talked about today…
While TOH folded in 1983 – making way for Kirk’s next project, Spear Of Destiny – their musical legacy lives on. The band has reformed with various line-ups over the years and are now making waves again with both a new album (KINSHI) and a deluxe three CD edition of WESTWORLD. This excellent reissue on Cherry Red includes a remastered version of the album alongside non-album singles, Peel Sessions, alternate mixes and a live concert taped during the WESTWORLD tour. Still sounding fresh and invigorating, this expanded edition is the definitive version of an album that helped pioneer Post Punk in the UK.
Stephen SPAZ Schnee sent off a few questions to Kirk Brandon, who was gracious enough to take the time to respond…
John Watts is one of those rare gems in the music business – a singer/songwriter who continues to reinvent himself with each release and yet manages to retain his unique musical vision. Like any good art, his past releases still ‘feel’ contemporary even though they were created at another moment in time. Best of all, his musical output has continued to reach new heights with each album – he’s never released a bad full-length in a nearly forty year career. Whether he is operating under his own name or the Fischer-Z moniker, John Watts is undeniably the most under-rated artist to emerge from the Post-Punk/New Wave era of the late ‘70s.