Ben Wood and The Bad Ideas – Cora Cora Cora

Feb16

You will forgive us, like the band we hope, for bringing this single to your attention a little late but it is a must for all those with a bold adventure in their indie rock hearts and rapacious fever in their indie pop instincts. The track is Cora Cora Cora and it comes from UK outfit Ben Wood and The Bad Ideas, and the first song in a planned project which if all prove as striking will make 2020 a highly busy and successful time for the UK band.

January saw the launching of a 12 month campaign which will see the London based band release a single per month for that period, songs set to feature guest performances from the likes of drummer Nick Maybury (Juliette Lewis & The Licks/ Scott Weiland Band) and prog pioneer Billy Ritchie (Clouds/ The 123) on keys alongside lead vocalist/guitarist Wood, lead guitarist Andy Duke (Flesh Tetris), bassist Ed Sonsino, and drummer Clive Bissell.

Cora Cora Cora as mentioned is their first offering and sees the legendary Dave Barbarossa (Adam & The Ants/ Bow Wow Wow) featuring on drums. Fair to say the track immediately gripped ears with its almost sinister melodic lure which emerged from the initial blast of rhythmic temptation. That fruitful hook continues to wind across the song, increasing its intoxication as Woods potent tones swing on the creative threads of the band led by Duke’s ever magnetic craft.

It is a captivating encounter which is only grips tighter with its post punk seeded shadows and rhythmic nagging and erupts to greater heights with its enlivened chorus and increasingly virulent sound.

The track is superb and a thrilling introduction to the band’s proposed endeavour so go grab now before its greedily anticipated successor is uncaged. Ben Wood & The Bad Ideas are out to grab your ears and attention and already it is easy to feel it could be a done deal.

Cora Cora Cora is available now via Back2Forward Records.

https://www.facebook.com/BenWoodTheBadIdeas/

Pete RingMaster 16/02/2020

She Made Me Do It – Scorched

Feb6

She Made Me Do It is a band which weaves compelling adventures not only in sound and the web of flavours making up its character but also from the rich shadows within the depths of both and the duo’s imagination. Across a host of releases and tracks it has provided a kaleidoscopic landscape of intimation and contagion which has maybe been no more compelling than within new EP, Scorched. Its five tracks share intense enterprise and rich drama, the release a bold venture into the outfit’s creative psyche and one eagerly tapping into the cinematic conjuring of the listener.

The successor to their acclaimed Drenched EP, Scorched finds the twosome of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard, The Selecter, Bow Wow Wow, Flesh For Lulu) infesting their alternative electronic rock with the richest tapestry of genre varied threads to escape the London based pair yet. Theirs has been a proposition always embracing the ripest essences of punk, new wave, post punk but the new encounter borders on the ravenous in its seizing of fresh diversity.

Scorched opens with the band’s new single, Love’s Demise bounding in on a tide of voracious rock riffs and swinging rhythms before the swiftly joining tones of Dax show just as much hunger in their melodic enticement. Crewdson’s guitar continues to snarl as its infectious nature aligns with that of Dax, hard and punk rock spices taunting as electronic fingers tease in the riotous but controlled stomp.

The rousing start is only accentuated by Fun and Games, a track which lit up the airwaves with its uncaging as one of last year’s best singles. A calm but keenly coaxing electronic pulse dances in ears first; it’s subdued but apparent skittishness soon surrounded by a contagion of air splattering beats and attention burrowing hooks, it all courted by the delicious dark bassoon-esque grumble of the bass. The infection loaded stroll is soon equipped with greater temptation as Dax brings her perpetual craft and captivation, alt pop and punk insisting on uniting with the track’s rock instincts to dig deeply and relentlessly under the skin.

Throughout both, shadows lurk if in a subdued state but now flood the sounds within the EP’s stunning third track and our senses. It is a cover of The Cure’s Three Imaginary Boys, a slice of already undeniable greatness given a whole new breath of drama and potency. Crewdson and Dax draw out the anxiety and tension of the original, increasing both as they escalate the post punk heart of the original. It is pure drama, emotions caught in a dense spiral of apprehension and inescapable contagion as the band equip the song with a cinematically claustrophobic air soaked in an emotional cold war amidst a crepuscular soundscape.

The equally exceptional Poison Aura follows, it too a dark senses consuming address of ears and thoughts even with the golden glow of Dax’s voice an absorbing light across the track’s caliginous tone and post punk nurtured landscape. The encounter ignited the imagination as much as ears as again a theatre of intimation provided a palette of suggestion so easy for the imagination to paint with.

For all the thick ravenous shadows the band breeds, each track is a surge of greedy catchiness too, the band’s pop instincts fuelling the heaviest dark and equally the most boisterous light, final track Fatal Confidante epitomising all in its esurient virulence and pop punk featured tenacity. As much as the EP’s tracks infest ears and imagination with the creator’s craft and fascination, all invade feet and body with a matching zeal, the last song on offer unscrupulous in getting the listener bouncing.

With a cover any band on a similar endeavour will have to truly go some to match and a striking quartet of inimitable and unique She Made Me Do It goodness, the sensational Scorched confirms the duo as one of the UK’s most exciting and imaginative encounters; one we have already been enslaved by and do not apologise for urging all to check out with even greater lust.

The Scorched EP is out now, available @ https://shemademedoit.bandcamp.com/album/scorched-e-p

https://www.shemmdi.com/ https://www.facebook.com/shemademedoitpage https://twitter.com/SheMMDI

Pete RingMaster 05/02/2020

She Made Me Do It – Drenched

Jan30

pic by @dcmusicvideos

There is nothing better than an encounter which immediately enthrals attention and appetite but is only scratching at the depths of temptation and adventure within. The Drenched EP from She Made Me Do It is one such offering; a release which instantly had ears pricked and the body bouncing but was just revealing the seeds to blossoming levels of imagination and seduction.

The four track release is another in a long line of rich enticement from the duo of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard, The Selecter, Bow Wow Wow, Flesh For Lulu) and one of the pairs’ most deviously tempting offerings. From start to finish it is a magnetic almost teasing fusion of dark shadows and elegant radiance bound in an equally rich mix of punk, new wave, post punk and alternative rock adventure. The successor to their 2017 album, The Frantic Legion, the compelling exploits of Drenched sees the band’s sound even more defined yet bolder in its adventure and tapestry of flavours. Through the captivation and intimation of Dax’s golden yet often almost portentously lined vocals and the descriptive yet rousingly tenacious antics of Crewdson’s guitar to the suggestive caresses and intriguing shimmers of their keys, She Made Me Do It create a captivating web to immerse in and dance with.

Produced by Crewdson and with Joe Holweger providing drums, Drenched opens up with the swiftly irresistible Bones. Straightaway post punk tendrils escape Crewdson’s guitar, their clinging hues something akin to the claws cast in the past by the likes of Leitmotiv and Sex Gang Children. Escalating these lures by the second, the track builds into a lumbering but lively stroll where Dax soon springs her own potent temptation as bass and drums steer the dark throes of the song’s canter; the punk hues of guitar only adding to its anthemic and equally predacious swing. Inescapably infectious but with that great edge of danger and intimidation, the song, as indeed the EP, needed a mere play to get under the skin and only burrowing, deeper and deeper thereon in.

The following Broken Morning is a just as skilful manipulator of ears and appetite even as it instantly reveals a much warmer and calmer nature. That is no chain to an instinctive catchiness and creative eagerness though, the song devilishly impossible to resist joining in with especially when faced with one contagion laded chorus and again a swinging energy which enlivens the body and spirit of song and listener alike. There is something, if right now indefinably, familiar to the track but a hue which only adds to its compelling design and persuasion.

Ashes is next up, electronic pulses gently but firmly resonating before the dirtier breath of the bass joins up quickly followed by the similarly beckoning strains of guitar and voice. A song which relishes its electro pop instincts as fully as its rock ‘n’ roll heart, it offers a tapestry of flavours and creative twists, all as unpredictable as the track is unsurprising in its voracious zeal and stirring enterprise.

The release ends with the melodically celestial beauty of Time, a song of intimate and spatial elegance over an earthbound spine that just as easily ignites the imagination as the siren-esque flight above. It is a hauntingly mesmeric conclusion to a release which as we said just grows more impressive and tantalisingly by the listen. It is a heavier, more guitar driven rocker than predecessors but equally richer in its melodic and broad weave of flavours and adventure; a must in anyone’s book.

The Drenched EP is out February 1^st on Catranstic Records with pre-ordering available @ https://shemademedoit.bandcamp.com/album/drenched-e-p and https://shemmdi.com/store

https://www.shemmdi.com/ https://www.facebook.com/shemademedoitpage https://twitter.com/SheMMDI

Pete RingMaster 30/01/2019

Perfect Pop Co Op Sampler – Impulsive Compulsions 01

Dec5

As we all look for the perfect gift for loved ones this time of year, the irrepressible UK indie label Perfect Pop Co Op are giving one to all music lovers. Free with the December issue of their magazine, Impulsive Compulsions 01 brings together 13 tracks from six unique bands and seven projects past and present borne from within the Perfect Pop Co Op family; quite simply a baker’s dozen of the best and most mischievous songs and artists you could wish dangling from the stocking on your various speakers.

From start to finish, the album teases and flirts with the imagination as it dances with ears; getting off to a mighty start with Scant Regard. The band is the solo project of London-based guitarist/writer/producer Will Crewdson renowned for his work with the likes of Adam Ant, The Selecter, Johnette Napolitano, Flesh for Lulu, Bow Wow Wow, She Made Me Do It and Rachel Stamp, which he co-founded. Taken from his snare of an album, the wonderful Skipping Over Damaged Area which was released earlier this year, Destroy (We’re Here to) is a salacious flirtation of electro punk/ synth pop intimation; a viral infection which could even have the walking dead dancing to its hook spun, groove strung, guitar driven, funk sprouting machination.

It is a glorious start which sets the tone to the sampler, each track unapologetically individual in sound and character but united in DIY imagination, devilish intent, and sonic goodness as proven immediately by next up Impulsive Compulsions by Pony Virus. The band is the original incarnation of The Scratch and the track a tantalising piece of post punk shoe gaze as haunting as it is infectious. The song is a slice of weird with hues of eighties bands such as The Passage, The Wonder Stuff and Inspiral Carpets; teasing with these somewhat familiar spices in a whole new recipe sounding as fresh now as it did back in the day. The Scratch itself provides its own piece of temptation later in the album’s playlist with Teen Idol, itself a ridiculously magnetic encounter which had us hooked from the first rumbling growl of bass. Currently on hiatus after releasing a quartet of greedily devoured albums, the band’s sound s pure pop/indie punk romping blessed with seventies DIY adventure and inescapable contagion.

Through the sinister dark electronica bred dystopia of Age of Control in a remix by creators Rogue Sector, a track which also haunts ears and thoughts whilst teasing hips to gather momentum with its electronic dissonance, and the wonk pop punk bred Limited Ambition swung through ears by Andreas And The Wolf, temptation and captivation to the album only deepened. Both bands have debut albums in the works and each has been given a rich teaser through their contributions to Impulsive Compulsions.

Andreas And The Wolf also provide the radio show which this album has mutually sprung from with Perfect Pop Co Op, all favourite artists being greedily featured over time, none more so than the following pair of Dislocated Flowers and The Tuesday Club. The first of the pair gives AudioBiological to the parade of aural independence, an invasive psych rock track inciting the body to erupt as it corrupts the senses with its imposing and invigorating instrumental incitement. Unshakeable favourites and friends to The RR, The Tuesday Club simply infested the passions with Too Pure To Live, a slow swing of a creative virus directing hips and imagination like a puppeteer. The band has unleashed numerous gems over the past few years but this track alone shows they are creating not only their finest escapades but some of that fuelling the independent rock scene.

And the goodness just kept coming, just confirming already the thought we had rattling around the brain that this is an essential, indeed must have release. The Venus Overload kept the suggestion bubbling with their encounter Without Doubt, a sixties nurtured psych pop lure echoing the band’s major inspiration, The Velvet Underground, but with its own compelling persona.

Further into the album, the poetic drama and stark atmospheric breath of Sometimes When I Dream simply infested thought and appetite, the dark soundscape from Southdown Laundry Club, a project created by Pete ‘Joyless’ Jones (Department S) and Andrew Trussler (Rogue Sector) as mesmeric as it is chilling.

In its own way, Dead Marchers is just as tenebrific and haunting, the track by Bleeding Soul Angels an inviting smog of psych and dark pop with a raw edge to its contagion while the following Dream boy doin’ well had the body bouncing with its punkabilly stomp. The Bleeed is an offshoot of four members out of The Tuesday Club when it was a seven strong rascal, and features the devious swings of drummer and gentleman Terry Super Cockell, who since its creation has passed away. The band has vowed to return this year and on this scoundrel of a track we for one cannot wait.

The album is finished off by firstly Waiting for the Walls to Come Down from The Dodo. A band made up of Andy Scratch, Steve Filth and John the Bassist, who released one album in 2010 before the side project was put aside, they had the body bouncing like it was on a string with their contribution. Mixing sixties pop and seventies new wave to try and describe its epidemic of temptation, the track is another in a perpetual line of major treats, the last coming with album closer Way it goes. From Reverse Family, a project headed by the reported missing but maybe we know better (wink wink) Dermot Illogical, the band have just completed their 2018 epic task of releasing 365 songs over 365 in weekly EPs, an epic adventure in sound and pleasure we are still catching up on such its size. Way it goes gives all the reasons with its Adam & The Ants-esque, swing spun chicanery for you to go check it out too and the band’s debut album it comes from, My Songs About Life – Mid Crisis.

There are a host of truly great independent labels out there right now and Perfect Pop Co Op stands right there on the frontline and as mentioned all songs and artists have been featured on the Andreas and the Wolf radio show which equally we can only heartily recommend; the album in celebration of one year of their shows and fifty issues of the Perfect Pop Co Op magazine.

The Perfect Pop Co Op Sampler – Impulsive Compulsions 01 is out December 11^th free with the new issue of the Perfect Pop Co Op magazine.

https://theperfectpopco-op.bandcamp.com/ https://perfectpopco-op.co.uk https://www.facebook.com/perfectpopcoop/ https://perfectpopco-op.co.uk/magazine/

Pete RingMaster 5/12/2018

Dave Barbarossa – Mudsharks

Aug15

Some musicians have the most distinctive style and enterprise that it is easy to know who they are just from a burst of sound. When it comes to drummers for us here it is not so easy but one man has a touch and style to his rhythmic imagination that it is impossible not to recognise. That artist is Dave Barbarossa and he has just released a rather irresistible new EP as part of the Icon Series.

2013 saw the publishing of Dave’s excellent debut novel Mud Sharks and the new EP adds its apparent connection through its title. The Mudsharks EP provides three instrumentals uniting his trademark style with electronic intimation and endeavour; at times marrying the rhythmic sound which ignited so many musical journeys in the seventies with his just as potent exploits through more recent projects such as Cauldronated.

The EP opens with Buttercup Girl, a slice of tenacious dance music with summer fervour in its keys and melody and flirtatious incitement in its rhythms. Like a flight through spatial climes but with earth bound muscularity pulling at its exploration, the track has the body bouncing and imagination conjuring in no time.

It is a rousing start though one for us swiftly eclipsed by the following pair of tracks. First up is Keep Walking, a piece which strolls along with relentless tenacity through cosmopolitan air over a more defined urban landscape. Dave’s rhythms just shape the imagination; suspense and drama fuelled by his web of swings as a cinematic weave is cast by electronics and synths. Quickly addictive and more so by the listen, the song reveals itself a viral persuasion.

The closing arousal of the EP’s title track is the perfect union of nostalgia and new. MudSharks harkens back to the irresistible rhythmic exploits of Bow Wow Wow but incitement draped in thick electronic intimation and drama amidst the floating lures of vocal harmonies. As its predecessors, it masterfully lures thoughts into painting adventures whilst turning hips and feet into its puppet.

Dave Barbarossa has been integral in numerous major treats and now the Mudsharks EP can be added to the list.

The Mudsharks EP is out now on download and Ltd. Edition Cassette Tape via Icon Series.

https://www.facebook.com/dave.barbarossa https://www.facebook.com/iconseriesrecords/

Pete RingMaster 13/08/2018

Scant Regard – Skipping Over Damaged Area

May10

Pic by Thomas Triton

A body infesting, imagination twisting kaleidoscope to the hope and insanity of the world we shape, Skipping Over Damaged Area is the senses ravishing new captivation from Scant Regard. An album of unscrupulous hooks, electronic virulence, and guitar carved intimation, it surges through ears casting a realm of suggestion and reflection as devilish as the themes inspiring its creative antics leaving hope, fear, and sheer pleasure in its wake.

Scant Regard is the solo project of London-based guitarist/writer/producer Will Crewdson. He is a musician few can have failed to have been consciously or unknowingly pleasured by. Whether with the rock escapades of Rachel Stamp, which he co-founded, and She Made Me Do It or through his work with the likes of Adam Ant, The Selecter, Johnette Napolitano, Flesh for Lulu, Bow Wow Wow and numerous other bands he played guitar for, Crewdson is a guitarist who has been in demand because of his instinctive ability to incite and bend the imagination as well as simply ignite songs and ears alike. Scant Regard has been an adventurous showcase for his craft and skills across four previous albums, Skipping Over Damaged Area a riveting new addition to their ranks.

Exploring various shades in an overall theme “of the apocalyptic destruction and devolution of the planet we live on”, Skipping Over Damaged Area is a tenacious maze of styles and flavours glazed with a sci-fi nurtured intrigue. At times it is like a warped soundtrack to a seventies TV show such as UFO, Space: 1999, or Doomwatch but with a dark lining in its every move; corrupting hope and light at a turn, tempering their threat in the next.

The album opens up with the swiftly addictive Mostly Accidental, electric pulses exploding on impact as it swaggers into view with an almost predacious swing. Instantly electronic suggestion and animation dances and flirts on the senses, thick doomy hues underlining the brewing Westworld-esque imagery conjured in thoughts by the instrumental piece which fully comes alive once Crewdson’s guitar explodes on the imagination.

It is an outstanding beginning, one to be honest we had to listen to twice before moving on upon our first listen to Skipping Over Damaged Area but quickly matched in strength and temptation by Fuck Everything. Repeated samples of its title float across a landscape of attitude, another electronically woven tale which immerses the listener in an evolving cascade of light and dark, fun and irritancy driven by inspiring shards of guitar.

The following Ill Gotten Gains is a corruption of sound and reflection; an addiction breeding ground with melodic lures aligned to dark deeds. At times it lies somewhere between the evolution of Martyn Ware and Ian Craig Marsh’s project British Electric Foundation into their band Heaven 17 but with thicker shadows and dare we say even more infectious boldness.

Similarly Destroy (We’re Here to) has an eighties electronic edge to it around hooks and melodies which border on the salacious. Like the musical voice to a modern day Mars Attacks, the track waltzed over the senses, sending them spiralling as the imagination conjures. Simultaneously feet and hips were given a good smile wearing work out before BIGBLACKSHADES creates a conspiracy of sound and suggestion with its cold wave meets industrial espionage. Electronics and guitar again unite in a dark interpretation of life, its funkiness contrasting yet complementing the song’s voracious dynamics.

A lighter climate accompanies the outstanding Car Crash on Pluto, the track like something akin to Fred Schneider colluding with Helldorado as they glide the cosmos upon surf rock fuelled winds, while Hemi Demi courts indie rock tenacity within its electro pop enterprise as again seventies flavoured hues spice its rock ‘n roll.

Through the celestial smoulder of Traits, a track with lava hot melodies veining a volatile shimmer, and the hook carrying electro smoking canter of Sublineage Blues, ears and imagination are drawn into further incendiary drama while Posthistoric springs a more intensive atmosphere and adventure to navigate as a bubbling undercurrent of catchiness snaps, crackles and pops. All three simply tantalise and captivate as the imagination fantasises, Crime and Retribution in turn sparking the same responses with its brooding electronic groans and emerging guitar spun cold war clamour.

The album closes with Blue Moon Juice, a collage of vivacious sounds woven into a canvas of rockabilly bred devilry; imagine a psychobilly Yello and you get a hint of the track’s irresistible lure as it brings the album to a forcibly magnet conclusion.

Skipping Over Damaged Area is a prismatic insight and incitement for body and thoughts. It impacts on numerous levels, pleasures on every one. Crewdson is no stranger to attention and acclaim and can expect plenty more with what just might be his finest moment yet.

Skipping Over Damaged Area is out now on download and CD @ https://scantregard.bandcamp.com/album/skipping-over-damaged-area

https://scantregard.com https://www.facebook.com/scantregardpage https://twitter.com/scantregard

Pete RingMaster 09/05/2018

Pussycat and the Dirty Johnsons – Dirty Rock ‘n’ Roll

Dec15

pic debbie-attwell

As the band work and finish material to grace a new album, British rockers Pussycat and the Dirty Johnsons have linked up with Dirty Water Records for the long awaited digital release of second album Dirty Rock ‘n’ Roll and quite simply if you missed it first time around and have an instinctive appetite for insatiable bordering salacious punk infested rock ‘n’ roll, than it is a must.

Formerly in a band just called The Johnsons, the Basingstoke hailing trio is fronted by the wild feline wiles of vocalist Puss Johnson with founding guitarist Dirty Jake (Feckle, Lube) and drummer Filfy Antz (The Krewmen) alongside uncaging their own raw and incendiary antics. It is an explosive combination which saw their 2010 debut album Exercise Your Demons earn many plaudits as too over the years a blistering live show seeing the band share stages with the likes of The Jon Spencer Blues Explosion, Thee Oh Sees, The Fuzztones, Mad Sin, The Damned, 999, The Polecats, The Creepshow, The Rezillos, Bow Wow Wow, The Meteors, The Vibrators, Resurex, DragSTER, Trioxin Cherry, and Atomic Suplex. Three years later, Dirty Rock ‘n’ Roll was the cause of even greater eager attention and acclaim upon Pussycat and the Dirty Johnsons; a spotlight sure to be regenerated by its digital uncaging ahead of as mentioned a new album.

Featuring eleven tracks spun from attitude loaded threads of everything from punk, garage rock, glam, psychobilly, garage punk and any other form of rock ‘n’ roll you wish to offer, Dirty Rock ‘n’ Roll is an explosive riot for senses and body alike. Produced by Alex McGowan and featuring guest double-bassist Phil Bloomberg of The Polecats on a couple of tracks, the album instantly prowls the listener as opener Burying The Bodies settles in to place, once set continuing to stalk but with an infectious swagger led by the biting beats of Antz. Straight away there is an obvious devilment in the band’s sound and the lusty roar shared by Pussycat, her presence and delivery a snarling seducing. With big hooks and winding grooves, the slab of predacious rock ‘n’ roll is an irresistible start to a release proving to be unrelenting in its fiery creative and aggressive incitement.

Hell Bent is swift agreement, its whining grooves courting flying rhythms and Pussycat’s plaintive cries, all united in another tenacious track which eyes you up with distrust yet reveals the most compelling enterprise amidst mouth-watering unpredictability before Livin’ With Mum And Dad sees the band move from raw rock ‘n’ roll into a more seventies flavoured encounter as much glam rock and power pop as it is old school punk. For personal tastes, it lacks the bite and spark of those around it but with its Pistols-esque hook and caustic catchiness there is no escaping being sucked in.

front-cover_RingMasterReview Psychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.

The scuzzy blues punk of She Don’t attacks and excites next, its corrosive character and sound as virulently infectious as anything upon the album while Mirtazapine uses similar strains of flavouring for its own individual trespass. With a touch of post punks Bone Orchard to its untamed garage punk challenge, the track is a superb mix of rapacious restraint and unbridled furor taking ears and imagination into the darkest shadows of the fiercest volcano.

There is no let-up of the enjoyably exhausting confrontations as Why Do You Hate Me? sears the senses with its punk rock lava around a rhythmic tempest while Dirty Li’l Dog, with the magnetic craft of the Polecat returning, leaps around with uninhibited rhythmic rioting as blues guitars embrace numerous other spices around the carnival barker leadership of Pussycat.

The final trio of songs just epitomise the variety and devilish imagination in the band’s songs; Sort Yourself Out a fuzzy blend of growling punk and toxic blues within The Pirates like rock ‘n roll and Souvenir simply one glorious invasion of garage punk with a scent of The Cramps, Animal Alpha, and In Evil Hour in its unique best track earning triumph.

Closed out by the adrenaline fuelled and feeding Hideous, a final belligerent detonation of rabble-rousing incitement, the outstanding Dirty Rock ‘n’ Roll is its title and so much more. It might not be a new release but it deserves this new exposure and Pussycat and the Dirty Johnsons the fresh attention ahead of what can only be anticipated as another uncompromising uproar.

Dirty Rock ‘n’ Roll is available digitally through Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Pussycat-and-the-Dirty-Johnsons-Dirty-Rock-n-Roll/p/75045471/category=2793895 with physical options @ http://thedirtyjohnsons.com/shop/4564430166