The Spaceballs – Self-Titled

Recently when covering the new album from Bad Luck Gamblers we pondered how big and potent the psychobilly scene was in their native Brazil. Investigation revealed it is pretty good and growing and so it appears, going by the new album from fellow countrymen The Spaceballs, is the region’s rockabilly scene.  Hailing from São Paulo, the band also recently released a new album in the shape of a self-titled debut which quickly had ears hooked and bodies bouncing.

Consisting of vocalist/guitarist Ale Marinho, double bassist/vocalist Marcelo Zarra, and drummer Jeff Billy, The Spaceballs have a sound seeded in and proudly showing inspirations from the likes of Stray Cats, Eddie Cochran, Elvis Presley, The Rhythm Shakers, Bill Haley, and Billy Lee Riley, essences all providing strong flavouring which added with the bands own craft and imagination makes for a refreshing romp. It is a proposition which mixes the familiar and new with tenacious enterprise and an open passion for the genre it embraces; an invention and energy openly fuelling their first attention grabbing album.

The album opens up with I Have Fallen In Love and quickly has ears relishing a classic rockabilly melody but one with its own magnetic nature as rhythms stroll and vocals add a harmonic caress to the senses. That Bill Haley essence is alive within the song, Cochran’s too but equally there is something of The Reverend Horton Heat to the swiftly magnetic shuffle and enticement of the song. In saying that, it also reveals plenty which is distinct to The Spaceballs, in tone and character which continues in the following Be My Valentine. With the clipping lure of beats and the vibrant throb of Zarra’s bass, the song quickly has feet involved and hips swinging, Marinho’s chords equally potent while entangling the song’s melodic boisterousness and country scented smile.

Showing an Elvis thrust of its hips, next up Rockabilly Ghost soon eclipses its predecessors, the song a mischievous tempting of melodic hooks, angular riffs, and lively rhythms as vocals play. As with those around them, you feel you know the song at heart but it never has expectations met as the song with a touch of UK band The Stargazers to it, flirts and swings with body and imagination.

There is a meatier air to Never Enough straight after, the track bringing a psychobilly edge to its bold stroll, a lining which expands The Spaceballs sound and invention as well as their imagination as the track twists and turns along its captivating length with sultry melodies wrapped in further sonic heat. That broader adventure of sound continues with Just Go Away, its mix of surf inspired melodic strands and old school rock ‘n’ roll flavours a magnetic enticement matched by vocals and the flirtatious rhythmic lure of Zarra and Billy.

Good times continue to insist and impress as I Will Always Rock, with more than a hue of The Shakin’ Pyramids to it, has the listener swiftly hooked on its compelling canter. Once more there is no stopping physical participation with the excellent track which is as fresh as it is familiar, traits and success employed and found as potently by Lost in The Desert with a resourceful and almost mischievous appetite. The closing track alone has all the qualities which make The Spaceballs sound and album a highly appealing opportunity for rockabilly fans to discover and explore something new. It also makes for another thoroughly inviting gateway into what seems a very promising and exciting not forgetting varied Brazilian rock ‘n’ roll scene.

The Spaceballs album is out now @ https://thespaceballs.bandcamp.com/album/the-spaceballs

http://www.thespaceballs.com.br/    https://www.facebook.com/thespaceballs/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

Norm And The Nightmarez – Psychobilly D.N.A.

After the stomping triumph of their debut album two years ago, anticipation here for a successor from Norm And The Nightmarez was always heading towards the lustful side. Psychobilly Infection was a devilish treat of the trio’s distinctive multi-flavoured psychobilly; a rousingly virulent bout of “wickedly contagious and warped rock ‘n’ roll” which Psychobilly D.N.A. has now only gone and eclipsed.

The Norm And The Nightmarez sound is a magnetic blend of old school psychobilly drawing on and infusing the heart and creative blood of early day and beyond rockabilly and rock ‘n’ roll. Formed by guitarist/vocalist Norm Elliott (Mickey & The Mutants/ Phantom Zone/ The Bionic Krugerrands), the Birmingham based band’s line-up is a fluid proposition around the core of Norm and his lively and imaginative songwriting, as further evidenced by his solo single She last year. For Psychobilly D.N.A., Norm has enticed the striking craft and enterprise of drummer Paul Mummery and double bassist Nile ‘The Rev’ Robbins; a threesome which just feels like they were meant to be as the album sparks the instincts from start to finish.

Inspirations to Norm include the likes of The Meteors, The Cramps, Johnny and Dorsey Burnette, and plenty of artists making up the Sun Records catalogue as well as various rockabilly and psychobilly offerings over the decades. They are essences which proudly and uniquely spice up Psychobilly D.N.A. from start to finish, immediately teasing ears within opener Thank You Very Much. A tribute to Elvis, the track is a contagion of anthemic beats and spicy grooves around Norm’s vocal homage. Within seconds hips are swinging and feet a blur to the lively temptation pouring from the speakers, vocal chords swiftly engaged too as the rockabilly nurtured track provides a collage of stirring enterprise bred by the trio.

The following Misery is just as forcibly infectious, its psychobilly instincts colluding with tangy melodies while being driven by the pulsating slaps of The Rev on darkly taut strings. Vocally Norm is as inviting and potent as his flair with grooves and hooks; it all matched by the eagerly landing beats of Mummery as smile sparking humour fuels the lyrical heart of the encounter. As its predecessor, the song quickly enslaves attention and enjoyment before Bury Me With My Guitar reinforces the album’s already firm hold with swinging rhythms and nagging riffs. A web of inescapable and inventive hooks invading body and imagination like a mix of The Polecats and Tiger Army infested by the spirit of Johnny Burnette, the track is a glorious trespass dictating movement and pleasure with ease.

The album’s title track steps up next, providing its own invasive catchiness and irresistible demand on the senses and limbs. The vocal backing of The Rev and Mummery is as sinisterly flavoursome as Norm’s lead as darkly toxic groves and niggly riffs all add with instinct rousing rhythms to psychobilly manna for ears and appetite.

That hunger for the album’s body and spirit ailment is instantly nourished again by the opening of The Sun Burned Down, The Rev’s shadow soaked bass line pure temptation soon joined by just as flavoursome crisp beats and the toxic beauty of guitar melody. Narrating the demise of planet earth, they combine like a final sultry sunset, seducing with portentous beauty as Norm’s vocals echo their apocalyptic radiance.

It Made Me Lose My Mind surrounds the listener next, its rhythmic palpitation alone a delicious infestation infused with the psychotic grooves of Norm while the following and irrepressible Wild Wild Woman carries a great Gene Vincent / The Shakin’ Pyramids groove before the band spice up Voodoo Street with some early Stray Cats sultriness. All three show the variety honed within and shaping the album and its creatively energetic character, a success nailed down once more in the unquenchable flirtation of the sci-fi bred Timeslip where hooks and grooves command as rhythms control whilst throughout Norm takes the imagination on a time defusing romance for yet another impossible to resist defeat of inhibitions.

Old school textures wind around psychobilly seducing for The Devil’s Gate next, its smouldering atmosphere as blood red as the dark moon shining upon is toxic tale. The track is sheer captivation, maybe not quite holding all the sparks of songs before it and certainly of successor Bad Evil Woman, but another treat to devour greedily. It is fair to say that an even lustier response was nurtured by the second of the two, a song offering another chorus which simply demands participation whilst its grooves and rhythmic enticement take swift control of body and intent with not for the first time within Psychobilly D.N.A., a touch of Leiber and Stoller like spicing colouring the songwriting.

As shown by previous releases Norm also has a handy knack at composing instrumentals which grip the imagination with their suggestive characters and melodic endeavours, Lynch Mob another fine example with it’s on the run intrigue and creative espionage. With The Rev and Mummery simply compelling too, it is an easy to get lost in adventure passing keen attention over to the fifties spawned Love You Little Baby, a scintillating track anyone like Eddie Cochran, Sweet Gene, and Link Wray would embrace in their discography.

The rhythmic voodoo of Night Fever is enough alone to send the passions into ecstasy next; the song blossoming into a boisterous bout of mouth-watering fiercely enterprising psychobilly equipped with feverish grooves and passion ensnaring hooks as rhythms cast a relentless tapestry of temptation. The track is superb but still overshadowed by the album’s outstanding closer.

To Victory is a canvas of battle strewn valour and destruction; a bold romance of bravery treated with honesty and reality as basslines eagerly prowl and beats scythe across the sonic and vocal dexterity of Norm. It is a glorious end to an album which infests every aspect of the body and emotions to leave instinctive and unbridled pleasure in its wake.

Norm And The Nightmarez might by primarily tagged as psychobilly but trust us, their sound and certainly Psychobilly D.N.A. is something any heart for rock ‘n’ roll in its various broad flavours over the decades will beat excitedly to.

Psychobilly D.N.A. is out now via Western Star Records on CD @ https://western-star.tmstor.es/cart/product.php?id=30216

and through https://www.raucousrecords.com/norm-nightmarez-psychobilly-dna-cd.html

https://www.facebook.com/Normandthenightmarez/

Pete RingMaster 03/11/2016

Copyright RingMaster: MyFreeCopyright

Thee Infecteds – The Macabre Tale Of The Harlots Curse

Imagine Misfits meets The Meteors with the salacious touch of Demented Are Go and the thumping might of Grumpynators involved and you get a sense of the treat to be found within The Macabre Tale Of The Harlots Curse. The debut album from British rockers Thee Infecteds is a bloody stomp of garage punk and psychobilly; a slab of rock ‘n’ roll weaving its own distinct cavalcade of horror bred escapades from familiar and fresh creative cadavers in sound and enterprise, and one rather irresistible blood lust.

Hailing from Newcastle, emerging from its dark mausoleums this year, Thee Infecteds draw on inspirations from the likes of Johnny Cash, Eddie Cochran, Hank Williams, Link Wray, Wayne Hancock, Motorhead, The Meteors, Demented Are Go, and The Cramps among many sparks for their own rousing exploits. They are flavours which at times openly shape The Macabre Tale Of The Harlots Curse but only add to its swift attraction and lingering hold on ears and imagination.

Playing like an aural Tales From The Crypt, each song an episode of blood and death shown in a theatre from where exits “all go down”, the album gets down to business after the introduction of Feature Presentation with The Harlots Curse. With a great cavernous air to its atmosphere, the track opens on the steely riff of Anth Bundy’s guitar, it soon joined by the menacing kisses of Sean Sinner’s beats and further riffs alongside the intimidation of upright bass slapped by Ruby Morgue. It is a carnivorous proposal guided by the potent tones of vocalist Howlin’ Jimmy, he not so much a barker but a narrator to your demise at the whim of the song’s curse.

It is a rousing start quickly matched by the strolling swagger of The Razors Edge, the song a mix of catchy hooks and fifties rock ‘n’ roll guitar courted by the already irresistible presence of Morgue’s bass. Each plucked string is a dark conspirator for ears and imagination more than matched by the tangy enterprise of pick on string by Bundy and Jimmy’s straight to the point attack. The track is too brief but an unstoppable appetite pleaser before the adrenaline fuelled Creepy Crawler has its moment of attention swiftly sealed. With a bit of Guana Batz to the song, its stomps around with attitude and creative barbs which soon has hips swinging and feet bouncing, Bundy’s salty grooves additional pleasure as the song blossoms on its repetitive character.

Both Skulls and It’s Them! keep the album in top gear and pleasure unbridled, each embracing an unmistakable Misfits influence woven into their own highly addictive and virulently infectious guises before Intermission allows a momentarily breather for mopping up sweat and ice cream. Eager involvement is a given throughout the album but the pair demand and receive some of the most zealous with the second of the two leaving the body breathless.

Never Go To Heaven is a less boisterous incitement next, at least initially, it’s gentle coaxing all melodic seduction and strolling rhythms as Jimmy romps alongside yet one more riveting bass riff as it heads towards a tenaciously feisty shuffle. The track does not quite find all the sparks which ignite its predecessors yet still has voice and body hooked before moving over for the lusty enticement of Lay That Chainsaw Down. Hooks and riffs are an enticement which enslaves the senses and imagination with ease, all teasing within a rolling canter under the commanding guidance of Sinner.

The thumping beats and melodic lures of Happy Jack are also an entanglement impossible to throw off, unbreakable chains further provided by the delicious throb of bass while its thick success is only eclipsed by that of Your Love Makes Me Itch, a song which is pure slavery as its nagging bass rhythms and repetitious hooks play with and seduce the imagination. The song is a web of slimline strands of barb littered lines from all concerned, and a united weave which is as rich and thick in temptation as anything on this and many other genre similar encounters in recent times.

The dirty, dark, and destructive romance of True Love Dies brings the album to a close; a Gene Vincent meets P. Paul Fenech flirtation which just hits the spot dead centre before it is time to make for the Exit and the inevitable journey.

With a real lust for good psychobilly/horror rock incitements here our wants are demanding. The Macabre Tale Of The Harlots Curse delivers on virtually every level whilst providing one seriously rousing and enjoyable excuse to unleash the blood lust.

The Macabre Tale Of The Harlots Curse is out now and available @ https://theeinfecteds.bandcamp.com/album/the-macabre-tale-of-the-harlots-curse

https://www.facebook.com/theeinfecteds/

Pete RingMaster 13/10/2016

Copyright RingMaster: MyFreeCopyright

Warm crypts and sizzling corpses: an interview with Norm Elliot of Norm And The Nightmarez

Wickedly contagious and a diversely warped fusion or rockabilly and psychobilly at its most incendiary best, Psychobilly Infection the debut album from Norm & The Nightmarez is one of those standard forging releases which breeds inspiration and exhilaration. Thirteen tracks of intrigue lit and passion drenched rock ‘n’ roll, the album is a storm of rapacious creativity flourishing in decades of influences and twisting them in something new and template casting. The band is the creation of vocalist/guitarist Norm Elliot, already renown with Mickey & The Mutants and their impressive first release last year. Norm & The Nightmarez is a new kind of a riveting beast and we seized on the chance to find out more when Norm kindly spared his time to let us explore his history, the album, psychobilly and much more…

Hi Norm and many thanks for sharing your time with us.

Before we talk about Norm And The Nightmarez and debut album Psychobilly Infection, tell us about yourself and your musical history up to previous band Mickey And The Mutants.

Hi Pete … I was born in Northern Ireland, to escape the troubles we moved to Birmingham England when I was 4. I’ve been here ever since. I picked up a guitar when I was 13 and found I could play it quite easily, it was the 1st thing that actually made sense to me, school just went over my head and bored the shite outta me. I joined a R’n’R band after 2 weeks of playing, then developed into Rockabilly and then I discovered The Meteors and my life changed forever. I formed a psychobilly trio called the Phantom Zone, we were OK and supported all the new upcoming bands including The Guana Batz, The Stingrays, and The Vibes. I then travelled the world for years just playing my acoustic around bars developing my writing skills on the way.

Has rockabilly/psychobilly always been the main source of your strongest musical pleasure personally and creatively?

Simply: YES !!! It’s in my blood, when it’s there, it’s there for life.

You have seen and been involved in numerous decades of the psychobilly scene here in the UK, would you say it’s in one of its healthiest moments right now?

I was there very near the beginning, then as I say travelled the world, it’s amazing to see how big it’s become again. Its healthier than ever and an amazing scene to be involved in, full respect to those that kept playing, they saved the music I love and I thank each & every one of them for that. Also people like The Bedlam Crew and Little Jo, her MySpace was one of the 1st psycho related sites I came across and I’m sure that played a huge part of the returning scene.

We mentioned Mickey And The Mutants, how did the link up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh come about?

I was in my own Crampish Garage band called The Bionic Krugerrands and Mick liked what we did, and my guitar style so asked me to join him. I said no many times but then my drummer left and as I was at a loose end I caved in, I’m glad I did. Then the drummer he had left and we found Hodge, simple as that really.

I may be wrong but I get the impression that you are happier and more fired up creating and driving your own bands than playing in other’s projects, though I hasten to say that your own penned songs and vocals on the MATM album Touch The Madness do not suggest that to be fair.

No, you’re correct, I love to create and have a deep passion for what I do and after 37 years of creating music in one form or another I know how it works so understand the process and what to do to get the best out of it. It was fine working with Mick and he was kind enough to listen to my input, and you know what? We made one hell of an album Hodge, Mick ‘n’ Me and I’ll always be proud of it.

What are your strongest inspirations would you say in sound and your guitar style?

Guitarists: Cliff Gallup, Grady Martin, Paul Fenech, and Ivy Rorschach

Songwriters: Nigel Lewis, Paul Fenech , Johnny & Dorsey Burnette, and Leiber & Stoller.

Artists: Most of the Sun Rockabilly’s and various Rockabilly and Psychobilly over the years.

Norm And The Nightmarez has just released its first album, the undeniably brilliant Psychobilly Infection. There seems to have immediately spread a swift and lively buzz about the band and release. Would you say this has been the most dramatic impact a band or release you have been involved in has made?

HELL YES !!! But as soon as we heard the album mixed, myself and Alan Wilson knew we had created something special. That’s from a punters point of view not from an arrogant stance. I’m thrilled with the way it turned out!.

Did you have any expectations or hopes beyond simply having people like it once it had emerged in the studio?

Oh Yes, I want to play this devils music all over the world as much as possible, I’m never happier then when I’m onstage doing this material, it honestly sends me wild, sometimes I have to rein myself in a bit for fear of injury ! Whatever you see me do onstage is from the heart, nothing is staged or acted, any scream, any grimace any movement, it just gets into my bones and transports me to a place I love to be.

You seem to have found the perfect blend of rockabilly and psychobilly on the album, both teasing and seducing without overpowering the other. Has this been an instinctive and natural find or something you have cultivated over time?

Purely and Simple Instinct!!!

I get the impression that the band is very new as a presence; is that the reality and were the songs on the album bred after its emergence or do some have a longer history to them?

I just sat down over a weekend and wrote the songs as I always do, on my own with my acoustic. A few were already in existence but most totally new. I think I’ve had Sex Kitten for about 30 years but never used it till now.

How did you meet drummer Frank Creamer and bassist Mark Bending and how easy was it to get them on board for the album?

Frank Creamer was briefly around in the late part of the early days so I kinda knew him a little from then and I got Mark Bending from an advert I placed.

I am right in believing the band has a different line-up for live shows now?

Yes you are, I have a very talented young buck called Jake Lyon on drums, he has a degree in music and filled in with the Mutants on a couple of gigs, I’ve honestly never worked with such a gifted live drummer. John Goodey is on double bass, he’s been in rockin’ bands for the past 30 years plus and is an awesome double bass player.

Tell us about the recording of Psychobilly Infection, was it all smooth sailing?

I honestly can’t remember much about it, it went by in a flash and as ever recording with Alan Wilson was really pressure free. I did the ground work and preparation before I went in and as a trio we practiced hard for it. We did have one hiccup as the bass player’s bass wasn’t up to it and Alan wanted to make it special so Steve Whitehouse put his underpants on over his jeans and saved the day by driving his own personal bass over for us to use in a super hero styleeee.

Any tales you can tell us from that time, any solicitous meetings or the occasional salacious summoning? 😉

Yeah, there were the 9 prostitutes, two if which were lady boys (I can’t tell you who had them ) and the mountain of coke night !!!. Nah, only kidding, all quite boring really we just concentrated on getting it bang on, capturing the threat and suspense we wanted to create. Early nights and Earl Grey!!!.

Is there a particular moment or aspect to the album which gives you the biggest chill and tingle of satisfaction and pleasure?

It all gives me a tingle I just honestly cannot believe how amazing it’s turned out, though if I’ve got to pick one moment it’s at the end of the 2^nd lead break in the song Psychobilly Infection just before I start to sing, it’s like a Buddy Holly dum dad dum da dum, dum dum, it just moved me and I get a thrill now every time I do that bit live, its ace.

What is on the near horizon of Norm And The Nightmarez?

The Beldam Breakout festival in September & a lot of gigs booked, to be honest amazing stuff is coming in daily but we’re up for anything and just wanna get out there both in the UK and around the world and play, play, play.

Thanks again for talking with us, any final thoughts to leave us pondering?

Norm & the Nightmarez are here to stay, come to a show and see for yourselves … come get the PSYCHOBILLY INFECTION !!!.

And finally tell us five of the most important or simply thrilling releases which have had a part in your evolution as a musician and songwriter.

In Heaven – The Meteors

Elvis Presley – Sun Sessions

Johnny Burnette Rock n Roll Trio

Stray Cats – Stray Cats (that’s the 1st album only )

Gene Vincent & the Blue Caps – 1st two albums.

Sneaky Bonus ::: Sex Pistols – Never Mind the Bollocks

Of course, there’s also Eddie Cochran, Billy Fury, Buddy Holly, The Ramones, The Undertones, The Clash, all the Rockabilly Sun Recordings etc. etc. 🙂

Hey thank you Pete, it’s been fun mate.

 

Read the review of Psychobilly Infection @ https://ringmasterreviewintroduces.wordpress.com/2014/07/29/norm-and-the-nightmarez-psychobilly-infection/

https://www.facebook.com/Normandthenightmarez

Pete Ringmaster

The Ringmaster Review 01/08/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

MFC Chicken – Solid Gravy

If their debut album Music for Chicken had feet and emotions exhausted from its unrelenting revelry and thrilling sounds then have paramedics on speed dial as its successor Solid Gravy is a much more voraciously devilish and creatively incendiary stomp. Created by UK band MFC Chicken, their new album just rampages through ears and passions like an insatiable cyclone of mischief and feverishly flavoured rock ‘n’ roll.

The seeds of the band began with Canadian Spencer Evoy who moved to London on what he called a pilgrimage to the recording studio of Joe Meek. The vocalist/saxophonist found himself on Holloway Road and seduced by the aroma of a fried chicken shop began busking to raise funds to feed his grumbling stomach. His sounds caught the attention of bassist Bret Bolton living above said shop who called out to the musician below. Their meeting and mutual interests led to the formation of MFC Chicken days later, its name coming from the now closed down establishment at the heart of their meeting. Enlisting guitarist/vocalist Alberto Zioli, keyboardist/vocalist Reverend Parsley, and drummer Ravi Low-Beer, the quintet and their blend of rock ‘n’ roll, rhythm ‘n’ blues, surf, and garage rock found an eager and voracious appetite around the city and further afield. Music for Chicken helped push that spotlight into a world-wide attention with the band constantly touring and feeding the globe their vivacious sounds. Now with bassist Fernando Terror recruited MFC Chicken has struck again not only in their unrelenting touring but with another exhilarating new album.

The Dirty Water Records released Solid Gravy sets off as it means to go on with Chicken ‘Bout You, teasing percussive coaxing playing around a devilish riff to instantly seduce attention and appetite. A spoken suggestiveness equally plays with ears and thoughts to help widen an already breaking smile, the band swiftly enticing the ladies with a winking narrative and the fiery flame of sax from Evoy matched by the delicious sonic lure of guitar. It is ‘merely’ the lead in to the album but already firing up the passions which the riveting Pocahontas enslaves further. The track roars as you would expect from the off, roguish chants setting the scene as a tribal stomp of forceful rhythms alongside acidic guitar enterprise crowd and dance around a spinal lure provided by the pulsating bass. The track does not arguably surprise with its rampant sound and resourcefulness but certainly sets a powerful wave of greed and satisfaction in motion.

(Get Outta The) DJ Booth blazes in ears next, its initial flame of guitar offering a Johnny Kidd and the Pirates like bait which the song relaxes into and strolls purposefully within from there on in. The song strides with a fifties gait under a pungent web of sonic invention and punchy keys which catches the breath, a Little Richard and Jay Hawkins texture and spicing adding to the pleasure. Its potent presence is instantly matched by the outstanding Voodoo Chicken, its sixties garage rock rascality aflame with the ever scorching sax invention of Evoy, irresistible hooks, and a quite infectious air to its overall endeavour.

From one pinnacle on the album to another, one of the very best tracks on Solid Gravy comes in the thrilling shape of I’m Her Pet. Grinning with an open swagger and flirty attitude, the track bounces along with keen restraint whilst rhythms jab tauntingly and gruff vocals aligned to a spicy guitar roam and show their wares with skilled temptation. As with many of the songs there is a familiarity to it though as with most, it is undefined for the main as evidenced in the following flurry of Hot Friend. With melodic impishness thrusting its hips around like a girl gracing the dance floor of The Cavern Club back in the sixties, the instrumental flings its recognisable yet unique bait at the passions with little thought of subtlety or restraint.

Both the perky (Show Me The) Gravy, Baby with its animated sax and guitar sculpted culinary plea, and the virulently contagious Don’t Wanna Talk About Chicken with its juicy ribs of choice hooks and bass seducing, keep the album sizzling in thoughts and emotions, the second of the two especially tasty with its intermittent raucous flight of caustic rock ‘n’ roll around an irritatingly addictive chorus. Their inescapable tempting is soon backed up by the refreshing romp of Well Now, its Eddie Cochran/ Johnny Burnette touch another healthy variation to the voice of the album. It is as catchy as new velcro and a party for body and passions, one more song in the batch of fourteen impossible to avoid joining in with.

The surf fuelled premise of M.F. Sea Chicken washes spiritedly over senses next, its shimmering air and smouldering beauty within a fiery net of sonic persuasion and heavily suited rhythms pure toxic beauty merging the warmth of Jan & Dean with the warped causticity of The Ghastly Ones, and the twisted pop of The B52s. Its lingering instrumental prowess is soon lost though in the swing of Chicken Shack and the blues rapacity of Horseshit. The first is another incitement of rhythmic hips and flowing melodic frivolity led by a mischievous intent whilst the second of the two explores ears with a raw mix of Ray Charles and Fats Domino and a strong whisper of King Salami and the Cumberland 3.

The album comes to a close with firstly with the sultry rockabilly majesty of White Leather Boots and lastly the ridiculously captivating creative and lyrical devilment of Dirty Little Bitch, both tracks exceptional teases of fire bred sax invention and uncompromising hooks aligned to similarly unrelenting rhythmic enticement. Both also show the depth and expanse of the invention and sound of the band to leave lips licked and passions full.

As impressive as their debut was MFC Chicken have turned their charm, diablerie, and colourful sound into a much stronger and irresistible proposition with Solid Gravy, and still they leave you feeling hungry afterwards and not only for them.

Solid Gravy is available now via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/store-2/#!/~/product/category=2749876&id=36716523

https://www.facebook.com/MFCChicken

9/10

RingMaster 30/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

The Kings Of Outer Space – How To Fly A Rocket

There is not a great deal we can tell you about UK rockabillies The Kings Of Outer Space, but one thing we can declare with loud confidence is that their new album How To Fly A Rocket is one exhilarating trip you will just want to climb on board with. Hailing from Bristol, the quintet has earned a fine reputation for their live performances, invigorating sound, and their impressive debut album Cosmic Debris. Released via Western Star Records, as its predecessor, the new album offers thirteen riotous dances of irrepressible and addiction causing temptation, rockabilly brought with passionate mischief and riveting enterprise. There is no pretence to be what it is not; the album and its tantalising contents just honest fun driven rock ‘n’ roll at its exciting best.

Themed from the likes of science fiction sexual teasing through to shadow draped mysteries with numerous energetic exploits in between, How To Fly A Rocket takes barely seconds to have ear, senses, feet not forgetting emotions engaged and belted up for the soaring journey of opener P.G.I.T.U. Introduced with a galactic announcement, the song instantly cups the ear with a delicious melodic tease of guitar with swipes of muscular rhythms drawing in the excellent upright bass croon brought by Greggsy and the great vocals of Giggsy. Straight away you know what you are going to get from song and album, the uncluttered and precise devilry of the guitars and their irresistible hooks matched by a rhythmic seduction. Feet and voice is the song’s plaything pretty much from its opening and chords too, whilst the track impressively manages to have a familiarity to it but also a fresh originality. Not for the first time on the album the band offers essences of other genres with a subtle craft, punk and country just two spices which add ingenious individuality to tracks and release.

The next up 44 opens with an accordion dance provided by guest Ian Norrys, a Parisian breath toying with the opening romp of beats and guitar coaxing from Mickey and Matt. Straight away it offers a distinctively different treat, the variation continuing across the album with each song having its own character and personal toxicity for the heart. From the canter of the second track the album next steps into the menacing mystique of Fall From Grace, the shadowed romance of danger embellished with an excellent harmonica flame from another guest musician in Paul Lynch. Paced by equally heated guitar craft and the rhythmic stepping of drummer Steve, the union makes for a countryesque slightly Cajun invitation which only stokes the fires all the more.

The following Daggertrap twists around the senses with a psychobilly and surf rock mix, the instrumental one of those pieces which has feet hoofing across the floor and emotions in close attention as it lingers welcomingly long after departure, the same which can be said of the excellent Monkey Alarm. Impossibly contagious the track is an old school rockabilly cored slice of rapacious recruitment of the emotions. With an impossible to resist joining chorus and a rampant energy to its stomp, the track is another infection drenched pinnacle with the diablerie of King Salami & The Cumberland Three and the punk grit of Guan Batz.

Both Watch Me Burn and Creepy Crawl keep the release on the highest plateau, the first with a more antagonistic attitude to vocals and its darker but still magnetic sound whilst its successor is a tantalising prowl of sinisterly goings on brought to the imagination upon a gliding shadow and brooding almost taunting seductive tones. There is no decline in thrills with the easy going Cochran like Haunted Man or the smouldering Smilin’ Eyes either whilst the brilliant Cosmic Thrust just climbs up another rung with its rhythmic shuffling and melodic fascination embroiled in more rockabilly enslavement. The warning groove which erupts halfway through sends the track into the deepest reaches of rapture, its Buzzcocks like toxin pure discord touching manna.

From the enticing country twanging Long Dry Summer the album bows out with the space dwelling glories of     Moon Buggy Baby and Rocket Ride, the first a planetary crossing love affair with Gene Vincent guile, and a touch of cheesiness   which just works, and the final song a simple but energised contagion again merging vintage rockabilly and surf rock into a potent fascination. How To Fly A Rocket is nothing less than pure joy, a release which also touches thoughts of band such as The Stargazers, Mickey & The Mutants, The Ghastly Ones, and The Phenomenauts but stands distinctly as The Kings Of Outer Space at the end of the day…a great album for good times.

https://www.facebook.com/pages/The-Kings-Of-Outer-Space/110452709023793

9.5/10

RingMaster 10/09/2013

Copyright RingMaster: MyFreeCopyright

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Thirteen Shots – Tales That Start With A Whisper

After the success of their excellent debut album Vaudeville just over a year ago, UK horror punk n rollers Thirteen Shots teased the appetite further with songs like Zombies From The USSR, a track which made up one of their contributions to a split release with fellow raisers of the dead, Trioxin Cherry and Raizing Hell. Little did it and fellow song Get In My Crypt fully reveal was the step forward and extra adventure the Birmingham quartet had explored for their outstanding new album Tales That Start With A Whisper. Employing even richer flames of numerous genres and decades, the nine track release is a riot to ignite the senses and passions, a seemingly uncomplicated yet fully involved feast of dirty decaying invigorating rock n roll.

Formed in 2011 by vocalist Johnny Rose and guitarist Joe Public, long-time friends who moved from the hard rock sound they had earned a good name for into bringing a unique form of horror punk n roll, Thirteen Shots immediately drew attention with the release of debut single Danzig in the September of their first year. Completed by guitarist Izzy, bassist GMT, and drummer Chelsea, the band had over 300 downloads within a week of the release of the single. As the year rested in its grave and the new broke free, the five-piece entered the studio to record their first album, Vaudeville which was self-released on April Fool’s Day 2012. With a subsequent re-release via Psycho-go-go Records, the album drew great and eager acclaim and set the band up for two full tours across the UK. With the band also having gnawed and infested audiences alongside the likes of Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and more, across the years and finding great appetite for their sounds not only from fans but people such as Michale Graves through that first single, Thirteen Shots stand at the gate to the widest recognition within all shadowed corners of rock n roll, the new album promising to be the key to swing the iron clad entrance wide open.

As their previous releases, Tales That Start With A Whisper finds the band infusing elements and textures of sixties rock n roll, garage blues, and horror punk with plenty of spice from psychobilly, punk, and rock, but this time it is all sculpted into brawling encounters which are more rounded, sure of their intent, and in league with each other whatever their individual stance in attitude and style. Whereas Vaudeville at times lost its way and has an undulating effect, its successor is one big eclectic bang on the senses; simply the band has come of age with a maturity honed into their sound for one insatiable and perpetually rewarding treat.

Opener Death Jam 2000 steps forward with a Jerry Lee Lewis like fired up hungry rockabilly call, with blues driven guitars flaming up the air and the vocals of Johnny snapping at the ear. With punchy rhythms caging the senses the song romps across the senses for the perfect start, simple, dramatic, and inciting not forgetting exciting. It is an easy introduction to the release which hands over to the outstanding Zombies From The USSR, an anthemic lure which never loses its potency and success no matter how many times you face its charge. With an intimidating riff driven gait and challenging breath, the song prowls and claws at the emotions, its crowding unrelenting stalking of the ear a restrained but deceptively quick and lethal hook to match the raptorial groove and vocal recruitment; it is the perfect soundtrack to any George Romero or modern zombie film. Having heard the song enough times to recall its declaration and words before remembering the names of all family member there is still the impossible to resist itch to hear the song at least twice before moving on to the rest of the album such its addictive hold.

The excellent Bewitched comes next, its scuzzy breath a fire within the garage punk unpolished embrace of the belligerent sonic confrontation and rhythmic caging. The bass of GMT is an exceptional temptation, its throaty grizzled snarl a contagious predator to menace and pushed the shadows of the song forth from behind the burning flames of the guitars. It is not the most infectious of the songs on the album but still consumes the passions with unbridled vehemence leaving Psycho Jukebox to work on the addiction side of things. Starting off with an Eddie Cochran like beckoning, the song then merges ska carved strokes and surf rock persuasion for a ridiculously catchy persuasion whilst its chorus is where the storm has its wildest greedy moments. Again bass and drums steal their share of the limelight with skilled mischief and again a different tone to their invention whilst the guitars simply sizzle with enterprise and swagger.

Get In My Crypt is another fiery garage punk rampage that sparks full participation and ardour, everything from guitar to vocals and harmonies to rhythms conspiring to leave an exhausted rapture clinging to its refreshing corpse whilst Nekro Sexual is a salacious and provoking slice of dirty devilry, a b-movie driven suggestiveness with a chorus of ‘Stomp On my Balls’ which defies anyone not to shout it persistently during and long after its devilment.

The album closes firstly with the brilliant title track, a groove laden addict making beats of a track writhing in classic/glam rock misbehaviour and horror rock roguishness not forgetting hook loaded grooves which would do the Buzzcocks proud. It is followed by two live tracks, Dead Girls Don’t Scream and This Looks Like A Job For Batman which tells you all you need to know about the band on stage and why you should not miss them if at a venue near you.

Anticipation and expectations were high going into the album but Thirteen Shots and the Freaky Pug Records released Tales That Start With A Whisper left them behind in their triumphant and impressive flesh chomping attack. A must have album for all horror, garage, rock, and punk fuelled fans.

https://www.facebook.com/thirteenshotsband

9/10

RingMaster 26/04/2013

Copyright RingMaster: MyFreeCopyright

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Sound Of The Suburb: Self-Titled

Formed in late 2005, North London band Sound of the Suburb has earned a good reputation around their local area of East Finchley for their enjoyable live shows of cover songs. A ‘pub band’ of the finer persuasion, their energetic performances has brought strong responses and an equally firm fan base their way not only to their versions of classic songs but also their self-penned compositions which they brought into their shows since 2008. Now with a collection of only original songs the band is releasing their debut album, a release packed with variety and fun.

Based in Hampstead Garden Suburb (The Suburb), the quintet of vocalist Rafael Landicho, guitarists Chris Berlingieri and Martin Ross, bassist Steve Phillips, and drummer Mike Solomon, wear their influences and tastes on their sleeve and openly within the songs on their album. The release rather than mixing up essences of rock, pop, rockabilly, and folk rock into a distinct and unique sound prefers to devote individual songs to one flavour which works as well as it fails. The result is a release which feels like one of those old Top of the Pops record compilations where some songs persuade the passions and just as many do not. The album is like one assumes their live shows, a record catering for numerous tastes with at least one song but lacking a real identity of its own. Despite that it is a lot of fun and raises numerous smiles along the way.

Opening track Take A Chance immediately woke up the ear and passions with its rockabilly stroll within a classic rock n roll presence. The guitars jangle and tease with accomplished mischief whilst the bass romps with a heavy lilt and with the smouldering guitar solo mid song it is a pleasing and satisfying start. With the flavour it is steeped in a favoured treat here hopes were high for the album but instantly dashed by the following ‘70s Girl. The first single from the release, the track is a classic rock soaked companion with a punk edged chorus ripped from the late seventies though the exact source escapes as this is written. With dulled cow bells and blues drizzled guitar the song is an accomplished and catchy encounter if lacking a spark to really lift it to greater heights especially alongside its strong predecessor.

One of the biggest flaws upon the album is the vocals sad to say. Though the first two songs suited the style and voice of Landicho others such as Run Against The Wind and Missunderstood suffered from his flattened and at times weak delivery. With reflection and a different approach it is not a defeating problem but does on the album defuse the promising strength of some songs. It has to be said though on the opener and the endearing folk tinged The Ballad Of East Finchley he equally adds to the stronger engagement as the sounds.

Further tracks like Power Of Attorney and Salvation fall short of hitting the mark whilst still being decent enough songs to please a pub or party audience who want to have fun and entertainment, something to be fair the album as a whole easily succeeds in. Splitting the pair is the best song on the release, I Gotta Know (Twangy), another rock n roll treat with rockabilly urgency. With a potent Eddie Cochran tease to its exhilarating presence it, along with the first song, suggests this is the area where the band should explore as it is no coincidence that the really exciting and successful moments on the album, where it truly comes to life, are rockabilly stemmed.

      Sound Of The Suburb is an album which may flounder for many but equally could find a greedy appetite in others especially if they are looking for, like the band provides live, a great backing soundtrack to a party of some sort where attention is divided in many directions but the body wants to feel accomplished eager sounds to dance to.

Website: www.soundofthesuburb.com

6/10

RingMaster 23/03/2013

Copyright RingMaster: MyFreeCopyright

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