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

pic debbie-attwell

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_RingMasterReviewPsychobilly 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

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Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

Them County Bastardz – Sick Daze

TCB Press Photo

Sick Daze is an album which reminds us that just maybe we all can slip into the mistake of taking our metal and heavy rock too seriously and that dirty rock ‘n’ roll which is just out to have brawling fun, is as potent and enjoyable as any technically and inventively driven proposition. That is not to say that the new album from Canadian stompers Them County Bastardz is lacking skill and open enterprise, but the seven track romp is all about the heavy riot and thumping devilment of old school metal crossed with voracious country bred rock ‘n’ roll.

Hailing out of Leamington in Ontario, Them County Bastardz rouses up the energies and emotions with a sound taking the southern ferocity of a Pantera and Black Label Society and the grooved predation and attitude of a Bloodsimple and Crowbar, and adding it to the roars of a Hellyeah and Volbeat. It is a brew which does not hold many surprises but relentlessly hits the sweet spot if those kinds of flavours ignite the appetite. It is a head-banger’s heaven with all the spicy grooves and toxic attitude you could wish in a mercilessly bruising and contagious encounter. Sick Daze will probably not top many best of lists come December but in favourites line-ups expect the album to be a persistent regular.

Things are instantly careering into riotous behaviour as opening Drive By spins its sonic wheels and unleashes its unbridled energy in a wall of thumping beats from drummer Jim Kay and the grouchy riffery of guitarists Brien Alexander and Mike Rennie. The song hits its intimidating stride within seconds, the dusty tones of vocalist Andrew Watson stirring up air and mischief as bassist Tyler Wickham adds darker predation to the anthemic belligerence. Neck muscles and voice are just as swiftly enlisted as the track continues to raise controlled but insatiable hell, sirens swarming in the background as band and song begin the album’s mayhem.TCB Cover - Sick Daze

The great start is straight away eclipsed by the excellent In The Country. Opening with police despatch checking out the identity of the band which leads to a panicked alert, the track simultaneously builds up its rhythmic and sonic defiance, an impending attitude led by the thick vocals of Watson who in turn is backed the band’s equally infectious calls. Its full gait and assault still has a somewhat restrained aggression but is merciless in its stalking of ears and inciting of pleasure, especially with things like cow bell mischief adding to spicy blazes of guitar to further ignite the addictively cantankerous persuasion of the song.

Buzz Kill keeps body and emotions locked and loaded on the album’s weighty temptation; the aggressor providing a rowdy but again controlled stroll with abrasing riffs and vocal attitude speared by a groove which is as virulent as it is predatory. Littered with the scorching scythes of Alexander’s guitar, the track is another formidable antagonist upon Sick Daze but matched and surpassed by the bestial treat Metal For Mark which follows after the skit intro of It’s Not Metal which lies between the two tracks. Volatile and viciously captivating, the ravenous Metal For Mark slips into its fury the raw infectiousness of Rob Zombie with the corrosive essences of Prong. Each spicing up the bootleg brewed rock ‘n’ roll snarling from the Canadian rednecks southern ‘breeding’, with extra irresistible tang.

The best track on the album leaves the closing pair of The Bastard and Rise Up some height to match and truthfully they miss its plateau but with a melodically catchy and anthemic magnetism to the first of the two and the final song offering a grizzly growl of southern rock, satisfaction and enjoyment are overflowing in response to their brawly hell-raising.

Sick Daze is rugged rock/metal which relishes a musical and physical quarrel, and only has the appetite to kick up a storm and lead the listener into salacious devilry. Ok it might not be setting down new adventures as such but there is a time to be reminded what rock ‘n’ roll is all about, and this year’s comes with Them County Bastardz.

Sick Daze is available now via Smokehouse Records digitally and on CD @ http://themcountybastardz.bandcamp.com/releases

http://www.themcountybastardz.com/   https://www.facebook.com/ThemCountyBastardz

RingMaster 26/02/2015

Copyright RingMaster: MyFreeCopyright

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