Tag Archives: rock and roll

Michael Toland: ROCKIN’ IS MA BUSINESS: Blurt’s Rock & Roll Roundup Pt. 2



And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock, and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. Go HERE to read Dr. Denim’s first installment of the series. (FYI: links to key audio and video tracks follow the main text.)


As leader of the now-legendary Lazy Cowgirls, Pat Todd created a canon of blazing roots/punk rock & roll that should serve as a textbook for anyone who reveres both Johnny Cash and the Ramones. When the Indiana-born longtime Los Angeleno shifted focus (barely) toward the Americana side of his personality with the Rankoutsiders, he stuck to the same standards – four chords, blasting guitars, a kickin’ rhythm section and more soul than a Baptist church on Sunday. Blood and Treasure (Hound Gawd!), the band’s fourth LP, is another stellar example of Todd’s vision. Jolted by the six-string team of Kevin Keller and longtime foil Nick Alexander, the ‘outsiders rip through blues and ballads, C&W and R&R, with an expertise that should be the envy of bands half their age. Todd’s songs eschew clever wordplay and ironic distance to simply channel the man’s heart from his sleeve to yours, whether he’s fighting bad love (“Tell Me Now,” “I Hear You Knockin’”) or working class despair (“This Counterfeit World,” “Just Another Broken Day”). He won’t give in, though, stating his case most effectively in never-surrender anthems “Stand Up and Sass Back” and “Don’t Be Sellin’ Emptiness.” Blood and Treasure shows Todd and the Rankoutsiders once again reinventing ragged but right by being simply unable to do wrong.

Capsula Santa Rosa

Fronting a freewheeling blend of Detroit hard rock, Nuggets garage punk, dirty Cramps-a-billy and grungy surf, all given an acid sheen, Spain’s Capsula have been blasting away for nearly 20 years to a devoted audience far smaller than it should be. But the Argentina-bred power trio have never let that – or anything, really – get them down, and that same joie de vivre infests Santa Rosa (Vicious Circle), the band’s eleventh album. (Twelfth, if you count its stint backing up Ivan Julian on Naked Flame.) Tempering its live energy a tad (note: if this band comes to a club anywhere near you, do not hesitate), Capsula polishes its songwriting to an even more potent shine, balancing full throttle burners like “Tierra Girando” and “Candle Candle” with midtempo psych poppers “Moving Mutants” and “They Are New Models.” The trio even successfully ventures into ballad territory on “Past Lives.” Proof that great bands can keep getting better. Birth of Joy comes from the same spiritual place as Capsula, but, with the bass replaced by keyboards, trucks in a more expansive sound. Get Well (Long Branch/SPV), the Dutch trio’s sixth album, picks up where its last studio LP Prisoner left off, pushing the psychedelic and jamming tendencies to the fore while not losing the band’s intense rock & roll drive. That proves BoJ equally adept at both short/sharp/shocked bangers like “You Got Me Howling” and “Blisters” and drawn-out epics “Numb” and the title track. Perhaps not the revelation Prisoner was, but a progression, for sure.

CS3 12in Jacket Template 17.indd

With a name like Dr. Boogie, you’d expect a band beholden to John Lee Hooker, or at least ZZ Top and Canned Heat. In this case, though, you’d be wrong – the L.A. quartet owes its soul to the New York Dolls and the heyday of glam and protopunk on Gotta Get Back to New York City (Dead Beat). “Down This Road,” “Queen of the Streets” and the title track rock hard with that ever-so-tricky mix of Chuck Berry and aggression, while “Really Good Feeling” verges on power pop. The biggest surprise is “Together,” which adds a disco beat and “doot-doot” vocals for a dandy variation on the formula. Boasting a clever, “why didn’t anyone think of this before?” name, Indonesian Junk romps straight outta Milwaukee with an impressive self-titled debut album (Rum Bar). Throwing glam rock, protopunk, power pop and R&B-flavored garage rock into a centrifuge, the trio shakes it all down until it comes out as uncomplicated rock & roll. “Black Hole,” “Little Malibu” and “Indonesia” show off a band that rummages through the past, takes what it wants and leaves the rest to rot. Surprise bonus: a cover of Jayne County’s “Fuck Off.”

Ricky Warwick - When Patsy Cline Was Crazy (And Gu... - Artwork

Though best known for leading U.K. punk & roll band the Almighty and his current frontman position with Black Star Riders (the group that grew out the latter-day revival of Thin Lizzy), Ricky Warwick started banging guitar in imitation of Johnny Cash and Bruce Springsteen. Despite his schedule with the Riders, the Irish native found time to knock out a double album that serves both sides of his personality. When Patsy Cline Was Crazy (and Guy Mitchell Sang the Blues)/Hearts on Trees (Nuclear Blast) ranges from the hard-edged heartland rock of the first half (“Son of the Wind,” “Johnny Ringo’s Last Ride,” “The Road to Damascus Street”) to the mostly acoustic folk rock (“Said Samson to Goliath,” “Disasters,” a cover of Porter Wagoner’s immortal “Psycho”) of the second. Not out of line for a dude whose first professional job was playing second guitar on a New Model Army tour. German singer/songwriter Conny Ochs takes a similar tack on his third solo album Future Fables (Exile On Mainstream), though he prefers to mix his folk and rock rather than segregate them. Fielding melancholy introspection and cautiously optimistic progression, the record sounds like Ochs decided to blend his twin lives as acoustic troubadour and badass rocker, giving “Golden Future,” “Piece of Heaven” and “No Easy Way” a grit most singer/songwriter records rarely achieve.


If Kiss had succumbed to its 70s glam rock tendencies instead of its 80s hair metal fantasies, maybe it would be half as cool as Watts. The Beantown quartet kicks the requisite amount of gluteus maximus on third LP The Black Heart of Rock ‘N Roll (Rum Bar), happily rebooting riffs from the Stones, ZZ Top and the Sweet as it’s the first time anything like it has ever been heard. “She’s Electric’ and “Strut Like a Champ” brandish serious swagger, “Stage Fright” boogies like Marc Bolan if he’s been born in Texas and “Bye & Bye” reveals the bruised heart under the bravado. If the U.S.A. has ever produced a rock & roll band inhabiting the same dimension as the late, great Dogs D’amour, Watts is probably it.


Led by singer/songwriter Victor Penalosa – younger brother to Hector of the Zeros and Flying Color, cousin to the Escovedo clan, current drummer for the Flamin Groovies – the Phantoms bop all over the map on their self-titled debut (Rum Bar), from power pop (“Baby Loves Her Rock N’ Roll”) and country rock (“One For the Road”) to snotty punk (“Chump Change”) and no-nonsense rock & roll (“Tears Me Up Inside,” “Ditch Digger”). Add the driving heartland rock of “Two Lane Black Top” and Chuck Berry boogie of “The Ballad of Overend Watts” and it’s a party. The band has a solid grasp on anything that requires a backbeat and loud guitars, while Penalosa’s memorable melodies and appealingly plain singing tie it all together. You can probably be forgiven for casting aspersions toward the Two Tens – after all it’s a co-ed duo with a male guitarist and a female drummer, and debut album Volume (Ugly Sugar) was mixed by Detroit super producer Jim Diamond. But the L.A. act is no White Stripes wannabe – the band is far more enamored of 60s garage rock than Zeppelin blues. All the better to rock sweet pop tunes “Sweet as Pie” and “Watching Me” and pounding thrashers “Life” and “Rush Out” into the dirt.


Despite coming from Portsmouth, New Hampshire (or maybe because of it), the Connection has established itself as one of the best 60s-inspired power pop bands going via Little Steven-endorsed rekkids like Let It Rock and the stupendous Labor of Love. So it’s a good time to reissue the quartet’s debut New England’s Newest Hit Makers (Rum Bar). Fresh-faced and sparkling, the record gets down to business quickly and efficiently via “Stop Talking,” “My Baby Likes to Rock N Roll,” “I Think She Digs Me” and other nuggets analogous to the Beatles’ A Hard Day’s Night era. Delightful. Seattle’s Navins apply similar energy to power poppy tunes that boast melodies by the jangleful on debut LP Not Yourself Today (Green Monkey). Named after Steve Martin’s character in The Jerk, the band (which includes ex-TAD man Gary Thortensen) certainly exhibits a sense of humor, but is no joke, showing serious craft and heart on the winsome “Oceans,” the jamming “Wallet Full of Signs” and the crunchy “Never Wanted Nothing.”


Singer/guitarist Eric Knoxx slung strings for rockin’ surf/lounge band the Vice Barons for several years, but finally uncorks his larynx on Saturday Night Shakes (Rum Bar), the debut album from his new outfit the Backseat Angels. With a nod toward the upbeat melodies of old school punk/pop like the Boys and a wink toward the swagger of bubblegum glamsters like the Sweet, Knoxx and co. bang out hard candy delights “Teenage Rock’n’ Roller,” “To Be a Better Man” and “My Baby Wants to Brainwash My Mind.”


Hailing from Seattle, the town that kicked off the whole garage rock thing back in the 60s with the Sonics, the Wailers and – RIP Jack Ely – the Kingsmen, Liquid Generation takes direct inspiration from its forebears on Quarter to Zen (Green Monkey). Recorded in 1983 and unreleased until now, scrappy snarls like “Hang Up” (a gem from the Wailers’ catalog), “Nothing” (via the Ugly Ducklings) and “¼ to Zen” would’ve landed the band on the Get Hip label and on tour with the Chesterfield Kings had it come out when it should’ve. NYC’s Mystery Lights get even more faithful to the old school on their self-titled debut (Wick) – close your eyes and you’d think this was recorded in 1965. As such, it sounds like a bunch of kids with loud guitars, a handful of chords and a few drugs fueling their rock & roll fantasies. It would almost be too retro for its own good if not for the quality of the songs – the blistering “Melt,” the wide-ranging “Before My Own” and the surprisingly psychedelic “Flowers in My Hair, Demons in My Head” scratch the Nuggets itch as well as anything from the original era.


The blues is, of course, one of the bigger planks in rock & roll’s platform, and bands will never stop using it as the crux of their raison d’etre. So it is with Jane Lee Hooker. The NYC five-piece takes on everyone from Muddy Waters and Howlin’ Wolf to Ray Charles and Otis Redding on its debut album No B! (Ruf). But since these ladies have backgrounds in punk and hard rock – specifically Nashville Pussy, Bad Wizard, Helldorado and the legendary Wives – they simply can’t help rocking the hell out of the likes of Waters’ “Mannish Boy,” Albert King’s “The Hunter” and Charles’ “I Believe to My Soul.” The band’s rip through Johnny Winters’ “Mean Town Blues” hews far closer to the members’ previous day jobs than anything that came out of Memphis. Whiskey-and-cigs singer Dana “Danger” Athens’ original “In the Valley” fits right in alongside genre classics and deep cuts. Northern Ireland duo the Bonnevilles stick to an original program on Arrow Pierce My Heart (Alive Naturalsound), but also punk up the blues like Chess Records filtered through the Standells. “I’ve Come Too Far For Love to Die,” “The Electric Company” (not a U2 cover) and “The Man With the X Shaped Scar On His Cheek” rock raw and dirty, not a million miles away from what the Black Keys were doing in their early days.

Left Lane Cruiser BIB

For the last decade, Fort Wayne, Indiana’s Left Lane Cruiser has practically defined the idea of punk blues. Beck in Black (Alive Naturalsound), compiled by original drummer Brenn Beck from the albums on which he appears, collects tracks from the then-duo’s earliest days up until right before the band became a trio on last year’s barnburner Dirty Spliff Blues. The Cruiser’s rawboned bottleneck ‘spunk stomps and stammers on “Zombie Blocked,” “Circus” and the mighty “Sausage Paw,” one of six previously unreleased tracks. Shawn James is more of a blues traditionalist than Hooker, Cruiser or the Bonnevilles, but only in the sense of staying acoustic on his latest LP On the Shoulders of Giants (self-released). Wielding a pair of resonator guitars and recording at Sun Studios, the big-voiced Arkansan lays down deep blues like “Back Down” and “When It Rains, It Pours” that would crush boulders if played through a Marshall stack.

Blues Pills - Lady In Gold - Artwork

The blues is more of a feel than a form for international (counting members from the States, France and Sweden) quartet Blues Pills. Second full-length Lady in Gold (Nuclear Blast) finds the band folding in flavors of psychedelic soul into its groovy rawk stew, which suits brassy singer Elin Larsson on tunes like “Rejection,” “You Gotta Try” and “Won’t Go Back” (all hidden in the final third, oddly enough). Ultimately, though, the band is still about fairly frill-less rock & roll – check “Bad Talkers,” “Little Boy Preacher” and the especially catchy title track. Bonus: a menacing, rocking take on Tony Joe White’s “Elements and Things.” Hailing from Sudbury, Ontario, Sulfur City plays groovy blues rock with a political edge on Talking Loud (Alive Naturalsound). With an electric washboard, a powerful howl, a 60s sense of social outrage and a thing for the Devil (who appears in “Johnny” and “Sold”), leader Lori Paradis cuts a striking figure. Aided and abetted by guitarist/co-writer Jesse Lagace, she sometimes lets her band lapse into a Grateful Dead choogle that sucks the energy out of the performances. But when she and the band grit their teeth, via the swampy “One Day in June,” stomping “Tie My Hand to the Floor” and fiery “You Don’t Know Me,” they show a lot of promise.


Remember when alt.country meant more than folk singers with tasteful bands backing them up? The Right Here does. Sounding on debut LP Stick to the Plan (Rum Bar) like the Old 97’s if they’d just come off a particularly debauched tour with Motörhead, the Minneapolis (of course) quartet takes two-stepping melodies and C&W progressions and thrashes the hell out of them while keeping the songcraft intact. From blazing cowpunkers “Til the Wheels Come Off” (which sounds like a classic set-closer) and “Judge Me When I’m Sober” to the tear-in-your-spilled-beer ballads “Drunk and Rolling Around” and “Fall Asleep, Hate Yourself, or Leave,” the Right Here rips and tears at your heartstrings as often as your ears (and your air guitar). Austin’s New Mystery Girl also fields a rootsy vibe on Crawl Through Your Hair! (Gutsy Dame), but calling them just another band of that ilk is a mistake. Singer/songwriter Chrissie Flatt and guitarist Eric Hisaw have deep roots in country and Americana music, but also a smart pop sense and a raw attack, while rhythm section Bobby Daniel and Hector Muñoz did many years with Alejandro Escovedo. Add quality songs like “Stepping On My Toes” and “I’m Not Ready to Let Go” and a rollicking rip through the New York Dolls’ “Subway Train” and you’ve got something more developed than just roots rock.


The Kingbees were contemporaries of the Stray Cats, but never hit the same heights. That’s partly because the trio simply wasn’t as stylized as Brian Setzer’s crew, and partly because the group’s neorockabilly wasn’t as flashy about its retro stylings. That’s especially evident on second LP The Big Rock (Omnivore), originally released in 1981. Singer/guitarist Jamie James and co. worry less about 50s trappings than in simply continuing the tradition, making streamlined confections of the title track, “She Can’t ‘Make-up’ Her Mind” and covers of Charlie Rich, Buddy Holly and Carl Perkins.


On the way to recording their second LP, the Muffs lost rhythm guitarist Melanie Vammen and traded drummer Criss Crass for ex-Redd Kross basher Roy McDonald. The changes did the band good, however, as evidenced by Blonder and Blonder (Omnivore). Originally released in 1995, the record reflected no radical departures from the self-titled debut. Instead the band refined its melodic punk & roll, with sharper hooks, wittier lyrics and a more aggressive attack. (Credit McDonald, whose spirit animal is clearly Keith Moon, at least in part for the latter.) “Ethyl My Love,” “Oh Nina” and “Laying On a Bed of Roses” rock recklessly without ever losing their grip on the hooks, while “Sad Tomorrow” and the waltz-time “Funny Face” demonstrate growing lyrical sophistication. The Doug Sahmish “Red Eyed Troll” and mostly acoustic “Just a Game” show a group growing beyond its self-imposed boundaries. Blonder and Blonder represents the Muff growing from strength to strength. As with last year’s reissue of The Muffs, this edition adds a gaggle of bonus tracks (including the album-worthy “Become Undone” and “Born Today”), informative liner notes from bassist Ronnie Barnett and Shattucks’ song-by-song commentary.


Careening out of control like a bus driven by a tweaker, Sleeping Beauties reclaim punk rock bash ‘n’ crash for a younger generation with their self-titled debut (In the Red). Slavering meat-eaters “Meth,” “Hands” and “Bobby & Suzie” filter garage rock through the prism of ADHD-addled high school dropouts; “Slumber Party” adds a shit-kicking (if barely recognizable) C&W beat. “Merchants of Glue” and “Addicted to Drugs” pass for ballads, with pretty melodies rolled in the dirt and left to dry in the sun – “South Eugene” even goes full on acoustic. The Pacific Northwestern quintet lays claim to real songwriting chops, which means even the most crazed numbers hold up beyond the initial energy rush. Like the long-gone Squirrel Bait drowning in the Johnny Thunders side of its personality, Sleeping Beauties buries a sensitive soul under a nightmare of squalling guitars, blaring vocals and chemically-assisted insanity, and may very well be what rock & roll is all about.


Michael Toland also writes about metal for BLURT. Go HERE to read the latest installment of his blog, “Throwing Horns,” in which he covers himself in goat’s blood and genuflects before the likes of Cobalt, Melvins, Death Angel, Candlemass, Dust Moth, Lord Mantis, and more.




The Backseat Angels – Saturday Night Shakes bandcamp:



Birth of Joy – “You Got Me Howling”:



Blues Pills – “Lady in Gold”:



The Bonnevilles – “I’ve Come Too Far For Love to Die”:



Capsula – “Dali’s Face”:



The Connection – New England’s Newest Hitmakers bandcamp:



Dr. Boogie – “Get Back to New York City”:



Indonesian Junk – s/t bandcamp:



Shawn James – “Hellhound”:



Jane Lee Hooker – “Mannish Boy”:



The Kingbees – The Big Rock trailer:



Liquid Generation – Quarter to Zen bandcamp:



The Muffs – Sad Tomorrow”:



The Mystery Lights – s/t bandcamp:



The Navins – Not Yourself Today bandcamp:



New Mystery Girl – Crawl Through Your Hair stream:



Conny Ochs – “Killer”:



The Phantoms – s/t bandcamp:



The Right Here – Stick to the Plan bandcamp:



Sleeping Beauties – “Meth” (live):



Sulfur City – “Ride With Me”:



Pat Todd & the Rankoutsiders – “Just Another Broken Day”:



The Two Tens – Volume bandcamp:



Ricky Warwick – “The Road to Damascus Street”:



Watts – The Black Heart of Rock-N-Roll bandcamp:





MICHAEL TOLAND: Rockin’ Is Ma Business – Blurt’s Rock & Roll Roundup Pt. 1

Rockin part 1

And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. (FYI: links to key audio and video tracks follow the main text.)


“Rock & roll is dead!” has been screamed out in print and online so many times in the last ten (twenty? thirty?) years it’s as much of a cliché as its polar opposites “Love live rock” and “rock & roll is here to stay.” It’s both true and false. If we’re talking about the time when rock set the cultural bar for the music business, that time is long over, unlikely to ever return. But if we’re talking about the music itself, no way. Even if rock & roll rarely hits the commercial heights of Ye Olden Dayes (and every generation has its own take on what YOD are), it thrives onstage, on record and in people’s hearts. Just dig a little deeper than what the Billboard charts, hip music rags or coolhunters claim, and it’s there, fingers still bleeding. And that’s the music this column concerns itself with – the bands who never stopped believing and never stopped kicking out the jams, motherfuckers, no matter what hills need climbing, barriers need smashing and eardrums need shredding.

But what do we mean when we say “rock & roll?” After all, rock bands still chart from time to time – Nickelback still sells a gazillion records, and the Foo Fighters aren’t hurtin’ for cash or poontang. We dig the Foos (not Nickelback – there’s a special circle in hell reserved for the powers that be that foisted that abomination onto rock radio), but what they do isn’t quite what we’re talking about. We’re looking not only for riffs and melody, but groove and attitude, and an awareness of rock history beyond the rise of Nirvana. Punk, power pop, garage rock, rockabilly, glam, action rock and their various spinoffs and offshoots are this column’s meat. Our patron saints include Chuck Berry, Little Richard, Jerry Lee Lewis, the Rolling Stones, the Faces, the MC5, the Stooges, the New York Dolls, the Who, T. Rex, Cheap Trick, Lynyrd Skynyrd, the Ramones, the Clash, the Saints, Rockpile, Joan Jett & the Blackhearts, the Plimsouls, Hanoi Rocks, the Dogs D’amour, Nikki Sudden and the Nuggets and A Fistful of Rock ‘n’ Roll compilations. Current and recent practitioners include the Hellacopters, Turbonegro, Diamond Dogs, the Wildhearts, Biters, the Happen-Ins, the Bluebonnets, the Hormones, the Breakers, the Jim Jones Revue, the Blessings, Les Breastfeeders, the Paybacks, JD McPherson, the Supersuckers and on and on and on. We may not be able to define it precisely, but we know it when we hear it.

Enough exposition. Get out your air guitars, stretch your hips and let’s dig into some rock & records…

Photo by Peder Carlsson

Photo by Peder Carlsson

When Swedish rock godhead the Hellacopters split, leader Nicke Andersson didn’t stay idle for long. Imperial State Electric started as a one-man-band, but quickly evolved into a four-headed monster featuring Datsuns frontdude Dolf de Borst, among others. Honk Machine (Psychout/Sound Pollution), ISE’s fourth album, bursts with the kind of straight-shooting rock & roll nuggets you’d expect from such an aggregation. With Andersson in charge, it’s no surprise that the Hellacopter aesthetic – a finely-crafted mix of Detroit power rock, garage rock and rootsy arena rock – dominates, which means “Guard Down,” “Let Me Throw My Life Away” and “It Ain’t What You Think (It’s What You Know)” balance air guitar riffery, singalong melodicism and ass-kicking mojo in just the right ways. But, contrary to initial impressions, ISE is not Hellacopters II. De Borst takes center stage on the garage popping “Maybe I’m Right,” while guitarist Tobias Egge pens and sings the power popping “Just Let Me Know.” Andersson himself steps outside his usual boundaries, adding a heavy dose of winsome melodicism to “Lost in Losing You,” “Colder Down Here” and “All Over My Head.” He even indulges his soul jones (already displayed in his Scott Morgan-fronted side project The Solution) for the raw R&B ballad “Walk On By.” The first ISE record to equal those of the band from whose loins it sprang, Honk Machine is more than the sum of its parts while still remaining in the wheelhouse of its beloved primary creator,

Black Trip Shadowline PRINT

Outside of his own music, Andersson also lets his influence trickle down by producing likeminded acts. Under Andersson’s watchful eye, his fellow countrymen in Black Trip practically give themselves a makeover on Shadowline (Steamhammer/SPV/Threeman). Whether it’s by virtue of Andersson’s distinctive production style, which emphasizes clarity over crunch, or simply an evolution in songwriting, the Swedish quintet moves away from the ‘80s street metal of its debut to a melodic strain of earthy hard rock via “Die With Me,” “Subvisual Sleep” and the title track. “Clockworks” and “Berlin Model 23” keep throwing some of the original horns, but otherwise this is a definite shift, one that suits singer Joseph Tholl well. Andersson also co-produced Heads Held High (Century Media), the second LP from Dead Lord. Inspired by Thin Lizzy and like minds, the (imagine that) Swedish foursome shares some aspects of the Andersson rawk vision – riff-oriented, melodic, burly without steroid abuse. But leader Hakim Krim has his own vision, not to mention a distinctive vocal style, letting “Farewell,” “When History Repeats Itself” and “Cold Hearted Madness” sound like Dead Lord more than Nicke Andersson Presents: Dead Lord.


The Swedish rawk revolution continues via Honeymoon Disease, now unleashing debut album The Transcendence (Napalm) following last year’s Bellevue Groove EP – both co-produced by Andersson. Led by guitarists Jenna and Acid, the Gothenburg quartet adds a pinch of garage rock spice to its Detroit/London stew, bashing out the basics with talent and verve. Powered by catchy riffs and Jenna’s controlled howl, “Fast Love,” “Gotta Move” and “Bellevue Groove” will get bodies and air guitar hands in motion. Amazingly, Andersson isn’t involved with Spiders on their latest EP Why Don’t You (Spinefarm), but that doesn’t stop all three songs from rocking righteously, particularly the title track and a shockingly crunchy take on ABBA’s “Watch Out.”


A class- and practice mate of Gary Clark Jr., Eve Monsees, like her old pal, has never been a stickler for blues orthodoxy. You Know She Did (Serpent), her third album with her band the Exiles, uses the blues and R&B as a base, but this is definitely a rock & roll record. Opneing trio “One Glass,” “Follow the Thread” and the title track sound like unearthed gems from a lost era – you could put them on Nuggets and they’d be highlights. The quartet also distinguishes itself with country (“Footnote”), pop (“Easy to Be Sorry,” Jackie DeShannon’s “Don’t Turn Your Back on Me”), Bo Diddley bop (“Rock, Paper, Scissors”), an approximation of the Band ( the Glen Clark-Delbert McClinton tune “I Received a Letter”) and, of course, the blues (both parts of “Mr. Devil”). Simple, straightforward songs performed with skill, taste and verve – rock & roll done right.

Dirty Streets

Dirty Streets has a similar strain of deep blues running through its DNA. Like the Exiles, however, the Memphis trio uses it as part of the foundation, not the building, on its fourth record White Horse (Alive Naturalsound). Rather than essaying the heavy garage blues of previous platters, the Streets polish big-ass boogie rock, driven by the meaty riffs and plainspoken soul of frontguy Justin Toland (no relation). “Good Pills,” “Think Twice” and “When I See My Light” blast beautifully, and the ballad “Dust” provides an appropriately mystical alternative. Nikki Hill draws more for the classic R&B era, from Sam Cooke to Etta James to Irma Thomas, but with a serious streak of rock & roll blood. Heavy Hearts, Hard Fists (Deep Fryed), the New Orleans diva’s second LP, pours traditional soul chops through a rawk filter, resulting in rippers like the Chuck Berryesque “(Let Me Tell You ‘Bout) Luv,” the butt-rockin’ “Hotshot” and the burning title cut. Keep an eye on this kid – she’s gonna kick all kinds of ass.


With a title like Out of Space (SRA), you’d expect Hound to be a cosmic affair. Instead the Philly trio seems more interested in Harleys than spaceships – the band’s second album riffs on roaring biker rock (“Emotional Collapse,” “Super Junkie of Being Free”) and heavy blues (“Stone Carvin’ Man,” “Cold Blooded”). The record nods to metal in the doom-mongering “Over the Edge,” but otherwise gets the motor runnin’ and heads out on the highway. Off to the west in Detroit, Against the Grain hops its turbocharged hog for fourth LP Road Warriors (Self Destructo). The quartet seems to be mainlining anything with an electric guitar and high bpm, mishmashing Motörhead, Black Flag, the MC5 and Iron Maiden into a reckless rush of raging riffery. “Til We Die,” “Coming In Hot” and “What Happened?” waste no time blazing from one end of bad road to the other. Breathless.


Sonny Vincent comes from the punk ‘n’ roll end of the spectrum, but he’s got as much Little Richard in him as Sex Pistols on Bizarro Hymns (Get Hip). Recorded in 2011 with the late Scott Asheton, Vincent kicks out the jams old school, bashing out bent romance on “Forgive You, Forget You” and “Till There Was You,” getting wistful on “Picture Book” and “Crystal Clear” and raging against the universe on “Faster Pussycat” and “Don’t Give a Fuck.” Vincent’s been amazingly consistent over the years, in part by sticking to exactly what he does best, and Bizarro Hymns nails his vision perfectly. (Go HERE to check out a live video of Vincent that we posted not long ago.) Like a meaner, sleazier Foo Fighters, British foursome Turbowolf takes its punk roots and injects them into the post-Nirvana rock world on second LP Two Hands (Spinefarm). The band’s thrashing energy elevates “Invisible Hand” and “American Mirror” far past generic AltRock-o-Rama status, and its willingness to play with more danceable rhythms on “Nine Lives” and “Solid Gold” gives it an intriguing versatility. Chris Georgiadis’ glam-damaged rasp doesn’t hurt, either. Gentlemans Pistols, meanwhile, don’t have a single strand of punk rock DNA in them. But the Leeds quintet bashes out Hustler’s Row (Nuclear Blast), the difficult third album with similar no-fucks-to-give ‘tude. Straight-up hard rock and boogie are the order of the day, given a smartly melodic kick by leader James Atkinson and ear-bleeding muscle by guitarist Bill Steer of Carcass. “The Searcher” and “Personal Fantasy Wonderland” lay it all out.


Australia has a lock on rock thanks to being the spawning ground for both AC/DC and Radio Birdman (and their various progeny). The Vendettas, interestingly, don’t sound much like either branch of the rock & roll tree on Bystander & Destroyer (self-released). The band avoids the sleaze and metallic blues of the former and the punk-infused BÖCisms of the latter for straightforward, turbocharged melodic rawk with a mean streak. Attempts to keep balls from the wall meet with mixed success (thumbs up to “Anyone Can See,” not so much to “Blackened Heart”), but pedal-to-the-mettle rockers “Wasted,” “Hard Times” and “Wake Up Call” kick groovy ass, and Stevie Reds’ soulful howl puts even mediocre tracks over. British outfit the Jokers puts forth a similarly bullshitless brand of neo-classic rock on Hurricane (Steamhammer/SPV). Adding some 80s sleaze to the 70s revivalism of bands like the Black Crowes, the foursome kicks through “Lockdown,”sways through “Summer Time” and trips through “Dream.” For that Aussie hard rock charge, plug into Rolling in Town (Steamhammer/SPV), the second album from Argentina’s 42 Decibel. Sounding like Bon Scott fronting Rose Tattoo, the band betrays no innovative impulses, but pulls no punches on boogie blasters “Rude and Fast,” “Short Fused” and “Burning Down the Road.”

B Smoke

While never exactly hip, Southern rock ebbs and flows in popular appeal, usually depending on whether a current act nails it. After a few records trying to please both classic rock and modern country audiences, Atlanta’s Blackberry Smoke finally quits worrying about it and just does its thing on Holding All the Roses (Rounder). That means some country (“Lay It All On Me,” “Woman in the Moon”) and folk (the quite lovely “Randolph County Farewell”), but mainly the band just gets down to rock & roll business via songs like “Let Me Help You (Find the Door),” “Fire in the Hole” and the title track. No muss, no fuss, no nods to contemporary production or guest stars – just old-fashioned rawk Southern style. While genre cops might argue whether or not the Bottle Rockets deserve the Southern rock tag, the band certainly has its fans in that camp. (And hey, they covered Skynyrd’s “Gimme Back My Bullets” the first time I saw them play.) The Festus, MO quartet’s latest album South Broadway Athletic Club (Bloodshot) maintains the band’s standards: good songs, performed against various rootsy backdrops, with a lack of pretentiousness that makes Bruce Springsteen look meta. Check out the jangly “Big Lotsa Love,” the folky “Smile” and the grungy “Building Chryslers.”

SATAN'S SATYRS_Don't_Deliver_Us_album_cover_WEB

As plenty of wackjob TV preachers would tell you, rock doesn’t have to be metal to let the devil ride shotgun. Guitarist Thomas Sciarone lived that concept as part of the late, lamented Dutch act The Devil’s Blood, the melodic hard rock pathfinder for current Satanic panic revivalist Ghost. Teamed with singer Milena Eva, Sciarone dispels some of the brimstone stench from the Blood with Gold. That’s not to say No Image (Profound Lore), the band’s second album, wouldn’t make a good soundtrack to The Sentinel or Rosemary’s Baby, but dark rockers “Old Habits,” “Taste Me” and “Tar and Feather” aren’t nearly as obsessed with Luciferian shenanigans as Sciarone’s previous employer. Though not as soaked in Olde Worlde Magick as Gold, Satan’s Satyrs still give off a distinctly devilish vibe on Don’t Deliver Us (Bad Omen), the Herndon, VA trio’s third LP. Seemingly unable to decide between garage rock and proto-metal, the Satyrs instead spew out quirky nuggets of fuzzy doompunk, sifted by bassist Clayton Burgess’ glam-inflected whine. Boogie back to Beelzebub via “Germanium Bombs,” “Creepy Teens” and “Full Moon and Empty Veins.”


Michael “Denim” Toland, from Austin, got a fresh pair of ripped Levi’s for Christmas this year. He also authors the BLURT feature & blog “Throwing Horns,” our recurring roundup of new metal albums.




Against the Grain – Road Warriors bandcamp:



Blackberry Smoke – “Too High”:



Black Trip – “Berlin Model 32”:



The Bottle Rockets – South Broadway Athletic Club bandcamp:



Dead Lord – “When History Repeats Itself”:



42 Decibel – “Midnight Teaser (Evil Woman)”:



Gentlemans Pistols – “The Searcher”:



Gold – No Image bandcamp:



Honeymoon Disease – “Higher”:



Hound – “Over the Edge”:



Imperial State Electric – “All Over My Head”:



The Jokers – “Run For Cover”:



Satan’s Satyrs – “Germanium Bomb”:



Spiders – “Why Don’t You”:



Turbowolf – “Rabbit’s Foot”:



The Vendettas – Bystander & Destroyer bandcamp:



Sonny Vincent – Bizarro Hymns teaser: