Norm & the Nightmarez – Wild ‘n’ Rockin’

There is no denying if there is a sniff of psychobilly or rockabilly in a release we instinctively lick our lips and with real zeal if it comes under the moniker of Norm & the Nightmarez. The band has been the source of tracks and albums which have unerringly ignited our appetite for those and aligning genres past and present so you can imagine we had a spring in our step when the gent behind the outfit sent over their new 7” EP, Wild ‘n’ Rockin’ containing four rich slices of what Norm and co do best.

Northern Ireland born but living in Birmingham since the age of 4, vocalist/guitarist/songwriter Norm Elliott has been stirring up the psychobilly scene long before his latest band was a spark of an idea. The eighties saw him step forward with The Phantom Zone, an outfit which supported the likes of Guana Batz, The Vibes, and The Sting-Rays in its time. Numerous other projects followed before Norm linked up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh for Mickey & The Mutants, the band releasing the outstanding album, Touch The Madness in 2013. From there Norm created Norm & the Nightmarez and has released a pair of equally impressive albums in Psychobilly Infection of 2014 and Psychobilly D.N.A. two years later. There was rumours that the band might be calling it a day or at least on a hiatus but thankfully last year it was re-energised and now in fresh inspiring form as proven by Wild ‘n’ Rockin’.

The band’s sound has always been more adventurous than the psychobilly tag suggests. It is undoubtedly psychobilly bred, nurtured, and perpetually grounded in its first love but also keenly embraces the cleaner cut rockabilly from the fifties onwards as well as further diversity inspired by both styles. It is that fact which EP opener Too Rockabilly deals with; a song going eye to eye ball with all dismissing its imagination and rich flavouring as not psychobilly, presumably accusations the band has had to dismiss despite their music always doing the talking. The rousing track opens with a juicy rockabilly chord, immediately bursting into a swinging canter with rhythmic predation as melodic tendrils entangle ears and Norm’s vocals challenge. The throbbing double bass of Chrissy Royle alone had us bouncing, the ear clipping beats of Dave Prince egging on even greater participation whilst Norm had vocal chords in league and hips swinging to his melodic antics with ease. There are essences of Ray Campi meets The Sharks to the track but as always the case to date, it is a song pure Norm & the Nightmarez.

It is followed by Bop, a track living up to its name once initially teasing with a flirtatious guitar lure. Again the body was soon lost to its manipulation, its core hook infesting the psyche as rhythms again brought the bounce in body and spirit alive. As with the first, decades of rockabilly and especially its early Sun days are embraced in its psychobilly groove, the wondering if Johnny Burnette fronting The Meteors might sound something akin to this brought about by its attributes.

The B-side to the EP starts with Catwoman; its dark salacious antics immediately toying with the senses as the guitar courts and preys on the imagination. Primarily a deliciously seductive instrumental with melodic finesse and shadow clad threats crossed by almost portentous yet encouraging echoes of its title, the track needed little time to enslave.

That success was just as quickly inspired by the closing stomp of Lonely Avenue. Considering selling its soul from the off, the encounter gallops through ears reaping melodic rewards and dark temptations; the trio spinning a web of each with their inventive craft and enterprise. It might escape the clutches of the horned one but is a devil in itself and had ears hungry for more, addiction increasing with every devouring.

Among so many great previous tracks, the four within the Alan Wilson produced Wild ‘n’ Rockin’ just might be the most thrilling bunch yet from the band. Certainly with the great artwork of Sherrie Gunstone similarly flirting from the front cover, they are some of their most contagious and arousing. Rock ’n’ roll is indeed the devil’s music and Norm & the Nightmarez’s sounds quite possibly the most devilish of them all.

Wild ‘n’ Rockin’ is out now on 7″ coloured vinyl via Western Star; available @ https://western-star.tmstor.es/cart/product.php?id=37163

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

Pete RingMaster 05/06/2018

Copyright RingMaster: MyFreeCopyright

The Masonics – Obermann Rides Again

Giving an instinctive passion for rock ‘n’ roll as big a work out as hips and feet, UK rockers The Masonics recently uncaged their ninth album, Obermann Rides Again, offering fourteen slices of their feverishly distinctive and tenaciously addictive sound. The trio rock and rumble through their new proposal with more of the beat infected garage punk which has seen them become the leaders of the Medway Beat first instigated by Billy Childish. In saying that, it equally breathes and roars with freshness again bringing something new and inspiring to ears and the scene around them, and most of all raw zeal and excitement to the listener.

The band consists of vocalist/guitarist Mickey Hampshire who was in the Milkshakes in the early 80s with drummer Bruce Brand who had played alongside Childish a few years earlier in the Pop Rivets and bassist John Gibbs once of Scottish group, The Kaisers. As The Masonics, the threesome have persistently cemented their position as one of the heads of British garage rock/punk with a sound becoming one of the essential inspirations of the ever eager charge of the genre’s young pups.

Released by Dirty Water Records as a limited 500 copies editions ahead of a series of limited vinyl and download releases from The Masonics’ back catalogue, starting with Outside Looking In and a new singles compilation, Obermann Rides Again swiftly reveals why the stature of the band remains stately. It all starts with I Ain’t Hurting For You and a guitar twang which provides the spark for a strolling jangle and rhythmic incitement forcibly engaging ears. The magnetic vocals of Hampshire are soon adding their lure; the boisterous sounds around him echoing his honest unfussy delivery. Within a handful of seconds feet are physically involved, appetite and those instincts just as eagerly hooked before the excellent opener hands its pliable slave over to the even more energetically captivating and persuasive Don’t Torment Me. With a Bo Diddley like stomp at its heart, the track twists and turns in its relentlessly vigorous shuffle with rhythmic rowdiness and sonic vivacity its virulent fuel. Rock ‘n’ roll was never meant to be flamboyant or polished to clean-cut limpness and this superb roisterer and its dirty ways proves why.

Your Dangerous Mind has a less undisciplined bounce, its saunter more flirtation than aggression and just as irresistible as Hampshire with grainy texture croons, backed by his cohorts within tangy grooves and hip inciting rhythms. The r&b essences of the song are just as ripe as its brisk punk serenade, chaining a body and imagination which is soon firmly hooked again by the sultry rumba of I Don’t Understand Her Any More. As with most tracks, a collusion of decades is at masterful play, sixties garage pop and seventies surf rock hues potent spices as too the fuzzy buzz of organ in the gentle but keen canter of a song.

Rhythm ‘n’ blues dexterity becomes even wilder in next up You Don’t Have To Travel; the beat swinging, hook casting romp has a flush of King Salami and the Cumberland 3 to it,  a more mild-mannered but no less devilish cousin enjoying juicy melodies and the temptress vocal charms of Ludella Black alongside Hampshire. It also pushes the already keen diversity of sound within the album on again, as even more so does I’m The Unforgiver. The track is glorious, a dark rock ‘n’ roll saunter with Cajun spicing evocatively colouring attitude loaded vocals, the fiery shimmer of harmonica, and heavily loping rhythms. It infests ears and psyche like the mutant offspring from a dirty union between Th’ Legendary Shack Shakers and Ray Campi; quite simply it is garage punk to get truly lustful over.

The following and equally outstanding You’re A Stranger leaves body exhausted, senses punch drunk, and spirit ablaze next with its contagion loaded punk rock carrying a touch of The Mobbs to its rowdy exuberance while You Won’t See Me Again finds a predacious edge to its swinging, deviously catchy garage rock bred swagger.

Throughout the whole album, there is no escaping the physical manipulation of Brand’s nefarious beats or Gibbs infernal rhythms whilst Hampshire’s wiry melodies and jangling melodic hooks are trespasses more often than not breeding slavery. All are at bold play in the beat punctuated blues flamed I’m A Redacted Man and straight after in the smouldering fifties rock ‘n’ roll/sixties pop spun What Do You Do. A procrastinating stroll and anthem for lost love and its enslaving grief, the second’s raw seduction roars with soiled Walker Brothers like charm and salty melodic spicing reminding a little of The Birds.

Come On My Little Darlin’ bounces around like a dancehall ruffian after them, sonically tempting and rhythmically taunting as a mouth harp again seduces before You Gotta Tell Me shows its blues breeding with intoxicating hooks and intoxicated keys for a salacious slab of imposing but controlled rock ‘n roll. Both tracks continue the album’s appetite igniting prowess though both are quickly eclipsed by its closing pair.

The swinging country rock a-scented beat ‘n’ roll of The Unsignposted Road is sheer infectiousness with Black back courting ears alongside the band as one passion stoking hook persists and old school melodies flame. It is delicious to the ear but too is slightly shaded by the brilliance of the album’s title track bringing devilment to its exceptional close. Punk ‘n’ roll calling on the goodness of past decades, it stomps around and grips body and soul like The Pirates, both the Johnny Kidd and seventies eras, meeting Thee Headcoats as the likes of The Blue Cats spur them on; a glorious end to an equally stirring and enjoyable album.

As suggested earlier, The Masonics are the head boys of UK garage goodness and Obermann Rides Again is evidence they are in no mood to hand over that position.

Obermann Rides Again is out now on vinyl on the band’s own Grand Wazeau Records and digitally through Dirty Water Records and available @ https://themasonics.bandcamp.com/album/obermann-rides-again

https://www.facebook.com/themasonics/

Pete RingMaster 05/03/2017

Copyright RingMaster: MyFreeCopyright

Hole In The Head – Primitive Love

HITH 2015 line-up

It is always a negative when someone says they need something like a hole in the head, but when it applies to the Finnish rockabilly band of the same name the want is completely different, especially if talking about the band’s debut album Primitive Love. It is a ten track stomp bred in a rockabilly heart but involving spicy rhythm ‘n’ blues and broader rock ‘n’ roll adventure to create something not exactly unique but predominantly individual to Hole In The Head.

The Kuopio hailing band began in 1997, founded by vocalist/guitarist Sasse Savolainen. Two 7” EPs, Tornado Ride (2000) and Trouble Cruiser (2003) were well-received successes for a band also experiencing a few line-up changes. The summer of 2012 saw the quartet of Sasse, Brother Andy Liukko (guitar, harmonica, sax), Turkka (upright bass), and Laasanen (drums) begin recording Primitive Love with Tomi Leino at Suprovox Studio, Ikkala. In the wake of the recording though Laasanen left the band with Turkka subsequently leaving too. The remaining pair decided to carry on performing as the Sasse & Andy Duo and work towards releasing the album. New impetus to Hole in the Head after its near demise came with the recruitment of Tony Lehto (upright bass) and Joonas Hiltunen (drums), the band hitting the live scene again with force further backed by the 2015 release of Primitive Love.

A strong start to the album is made by Out of Hands, the opener coaxing ears with scuzzy guitar and the winy charm of Andy’s harmonica incitement. With punchy rhythms and inviting vocals, the enjoyable encounter is an easy to climb on board canter with swinging hips and excitable energy that has feet bouncing and attention aroused. Increasingly more virulent as it stomps into its dynamic climax, the track passes an already keen appetite over to the following Bad Luck Driver. Straight away a sultry and siren-esque psychobilly tang wraps ears as the bass of Turkka gets the instincts going with its delicious dark stroll. With beats just as enticing, the track only blossoms further as blues lined tempting escapes through a flirtatious sax as the potent tones of Sasse strike up further pleasure and satisfaction, each adding to the excellent Frantic Flintstones meets Ray Campi with a touch of Roy Hawkins like song.

picture By Ville Angervuori

From one big treat to another as the dark noir mystique of The Night Walk takes over, its blues/surf blend of temptation a smouldering seduction of spicy air and sound. The resonating elegance of the guitar comes with a great sinister swell to its tone whilst the rhythms perfectly temper that intoxication with understated but pungent repetition. Already song by song, Primitive Love gets thicker and bolder in adventurous invention, a trend continuing with the swiftly magnetic Let Me Be Your Heartbeat. Imagine The Stray Cats in collusion with Tiger Army without the haunting and you have the anthemic prowess of a gripping track only broadening in varied sound with each passing minute.

Vintage Kind of Fever leaps in with tenacious rhythms and an energetic swagger next, its fifties nurtured and robustly delivered rockabilly weave littered with flaming sax, scything guitar, and a rhythmic rumble to lose the body too. Addiction is inevitable as also through the bluesabilly romp of Rude Boy Blues, a mix of rousing enterprise and fiery flavouring at times reminding of The Shakin’ Pyramids. Both tracks are superb incitements to lose inhibitions to and quickly backed by the jazzy canter of Lonely Wolf, the song a Parisian touched harmonica wielding vagabond of a song which simply leads hips into an eager sway.

Rhythmic jabs and swinging hooks are the order of the day within Knock Out Boogie, bass and guitar hooks hypnotic bait as masterful vocals and bodacious sax lead the listener on a rebellious yet controlled dance before having to make way for the sixties R&B hued blues devilry of Wolf Girl. Bounding around with the scent of The Living End and Johnny Burnette to its insatiable energy and feverish character, the song just entices and incites like a frisky temptress.

The album is closed by Bondage Love, a track living up to hopes inspired by its title with its exotic melodic landscape and addictively nagging rhythms. Like a rapture driven shindig on the banks of the River Nile, further accentuated by the Madness like smooch of the sax, the track is pure manna for ears and rock ‘n’ roll passions; a claim easy to attach to the whole of Primitive Love.

It may have taken time to see the light of day, but Primitive Love hits the sweet spot with persistent ease whilst suggesting to the world that Finland has a rockabilly/R&B band which deserves real attention.

Primitive Love is out now @ http://hith.net/wordpress/shop/

http://hith.net/   https://www.facebook.com/holeintheheadfin

Pete RingMaster 12/01/2016

Copyright RingMaster: MyFreeCopyright

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The Creeping Ivies: Stay Wild

Having been left in rapture by their previous EP Ghost Train earlier this year, the anticipation and excitement going into Stay Wild, the debut album from Scottish rock n rollers The Creeping Ivies, was near on immeasurable. Admittedly it would have had to be a car crash of apocalyptic proportions not to have found approval, but the ten track psyche buzzbombs, to steal one of their song titles, took existing expectations and hopes and elevated them into a debauchery of passion. Stay Sick is a stunning irrepressible feast of wickedness which could grace any dance floor, riotous party, or waking graveyard.

The Creeping Ivies consists of the powerful inciting vocals and carnal riffs of Becca Bomb alongside the senses slapping, primal incendiary beats of Duncan Destruction, a duo which ignites primitive urges and raw hunger for their challenging and insatiably thrilling sounds. Together they brew up a storm which plays like the bastard sonic offspring of an illicit engagement between The Cramps, Wanda Jackson, The Orson Family, Patti Smith, and Ray Campi, whilst being violated by Alien Sex Fiend. It is an unforgettable and unique cacophony of instinctive mischief bringing the fullest most invigorating rewards.

Debut EP Rock N Roll Party in November 2011 was their first full statement of intent, though the song Shake It Up had already inspired acclaim and strong responses to the band with its appearances on a couple of compilation albums. The band also landed good airplay around the world which accelerated with the Ghost Train EP, including being featured on The Bone Orchard podcast. Shows alongside Viv Albertine of The Slits and Vic Godard & Subway Sect, as well as their own gigs have only gone to place the band as one of the most exciting in the UK, something which Stay Wild will surely turn into worldwide recognition with deserved luck.  Released on December 10^th as a vinyl/download through US label Dead Beat Records, the album is a simple yet powerful trip to orgasmic satisfaction.

The album opens with the magnificent Black Cat, a track with a groove which has you scouring rooftops for the Caped Crusader and an honest swagger inviting full participation. The uncomplicated gait of the song is hypnotic enough but with the sonic scrubbing which explodes out and scorches the ear intermittently, adoration is the only outcome. The vocals of Becca demand attention as firmly as her guitar lashes, and standing side by side with the thumping rhythms of Duncan, the pair scar the air and senses with a delicious assault of lustful irreverence.

The feisty stomp of Buzzbomb rampages over the sores caused by the opener with garage punk/rockabilly energy and punchy enterprise. Carrying a spice of The Stooges, Ramones, and The Creepshow to its gait, the song is a storming treat of public disorder combined with sonic revelry and showing the variety of sound and imagination which screams out from within the album.

Madhouse Blues and Mirror Mirror step up next to fire up the passions, the first a flow of caustic strokes from Becca around her wonderfully expressive and synapse scorching vocals. The track has a punk breath to its repetitive and salty touches which steps into numerous realms of genres whilst firmly borne of the first seeds of rock n roll. It is a persistent treat taking no prisoners with its corrosive intent and sets up the second of the two with its throaty tones and ‘banshee’ squalls perfectly. The track transported thoughts to Korean horror film Into the Mirror for some reason, probably due to the The 5,6,7,8’s like spicery of the song and the sharp tingling sonics which enflame the heart throughout.

Every track on the album is a triumph and inspires the same level of wanton devotion; songs like the brilliant punk n roller Spinning, a track which is as spicy and seductive as sex, the sensational echoing tank slapper Bop Like That, the slower but equally compelling song The World, and the steamy House of Ivy, all staggering examples of the uncluttered inventive mastery and brilliance on show. The latter is a raucous maelstrom of feverish energy and body rapping beats, a sadistically teasing psychobilly binge with whispers of L7 and Bone Orchard to its striding exploits.

Completed by Rock N Roll Ghost, a song which devours the heart like a fusion of the Misfits and Horrorpops, and the final exhilarating bruising encounter of the closing title track, the sigh of deep pleasure is audible at its end and the rush to press the play button again to the whole feast of magic beyond eager. Stay Wild is simply astounding and if this was to be the only music to soundtrack the rest of our lives there would only be greedy acceptance and joy.

http://thecreepingivies.com

RingMaster 21/11/2012

Copyright RingMaster: MyFreeCopyright

King Salami And The Cumberland 3: Fourteen Blazin’ Bangers

With an interview with the high octane bundle of energy that is King Salami in the offing it is only right we take a look at the recent album from King Salami And The Cumberland 3. To be honest it came out in the tail end of last year but having looked for an excuse to delve back a few months and share this simply brilliant explosion of irresistible and excitable sounds an interview seems a good enough reason. Fourteen Blazin’ Bangers is music at its best and what it was invented for, to ignite the deepest pleasure and thrills possible within each and every one of us.

Formed in 2006 the quartet of one Japanese, one French, one Caribbean and one Spanish conjurors of fun, draw influences and flavours from the fifties and sixties and spice them up with their own contagious blend of insatiable ingenuity and energy. Consisting of former members of the Ulcers, Chinese Lungs and Parkinsons, The Cumberland 3 led by the irrepressible King Salami leave one breathless and over excited with their album. Released on Dirty Water Records Fourteen Blazin’ Bangers is a wonderfully agitated swell of movement, its brief to unleash an unrelenting explosion of infection and hyperactive melodic pleasure.

King Salami And The Cumberland 3 has riled up hearts and emotions all across Europe with the sharing of stages with the likes of The Pretty Things, The Trashmen, The Standells, The Mummies, The Bellrays, and The Cynics to name a few. Renowned for their irresistible live performances and sweat drizzled excitement, the band have translated that energy and insistent mischief into their previous singles and now this album. It brings the essence of having the band there in front of you as it plays with your senses whilst firing up the need and urgency to catch them on stage.

The album explodes into the ear with Do The Wurst, an instantaneous assault of punk fuelled rhythm & blues/rockabilly. The beats and rhythms assume full control of limbs like a maniacal puppeteer instantly whilst the guitars fire up the aggression and attitude expected from a meeting of Screaming Jay Hawkins and The Meteors. The track has one joining in with movement and voice within mere seconds and even has the most composed and reserved of us flinging a few air guitar chords into the heated air. It is the perfect opening and sets the album up for greatness no matter what follows. To be honest the album only took a couple of songs to make a believer and adoring fan of us here so excuse the drool dripping from each and every word we place upon it.

The excellent I Smell A Rat with its raw and hungry breath searches for the ear next. With garage caked intensity to the guitars it leaves a big grin on the face though not as wide as from the following Mojo Workout. If you could have improper thoughts about a song this would be the one at the centre, a bristling irresistible slice of naughtiness. King is supreme leading the thoughts and emotions into trouble like a mischievous big brother ably assisted and egged on by the rest of the band.

Every song deserves close attention as not once does the manic party within the album lull or slip into a reserved moment, but those pleasures are for you to find out and feel. The more fiery highlights though include songs like the wanton sax pleasuring of They Don’t Know, the tribal contagion that is Pawnee Stomp, the Big Bopper/Screaming Lord Sutch glory of Watcha Gonna Do Tomorrow, and Sweet Love To You where Gene Vincent meets Ray Campi and The Blue Cats in a salacious love nest.

A twisting and energetic boiling brew of rockabilly, rhythm & blues, punk, and explosive rock n roll    Fourteen Blazin’ Bangers is simply magnificent and the surest fullest pleasure one can have within the ear. With spices and passion from the likes of James Brown, Sonny Burgress, The Sonics, and The Frantic Flintstones to name a mere few you can easily tell the vibrant and pulsating sounds within the album. King Salami And The Cumberland 3 are the match to fire up every day and heart; you just need to say hi.

https://www.facebook.com/KingSalamiandtheCumberland3

RingMaster 23/05/2012

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Beat Seeking Missiles – ‘Break My Fall’/’Dr. Strangelove’

Warm, enthusiastic and completely magnetic, the debut single from Beat Seeking Missiles jumps all over the ear to offer riotous beats, melodically curved grooves, and insistent energy.  ‘Break My Fall’/’Dr. Strangelove’ knows what it has and is unashamed in bringing it directly and openly to one’s senses. It has irrepressible blends of beat and surf rock coupled with garage and heartfelt rock ‘n’ roll to merge into a sound that brings sixties vaunt alongside punk attitude and garage rock honesty, it has unbridled dirty charisma.

Released on Dirty Water Records the single brings elements of the likes of The Stones, Bo Diddley, Link Wray and in some ways The Modern Lovers. For all the artists their music does remind of the Beat Seeking Missiles as evident on the single, has a distinctive rugged sound of their own, offering influences as spices to their thick spirited creations. The band is comprised of a pedigree many bands would drool for. There is Sir Bald Diddley (from the Wig Outs/Big Wigs/Alopecia Records), Mick Quinn (dB Band and founding member of Supergrass), Kid Wig (of the Wig Outs/Big Wigs), and Bruce Brand (Pop Rivets/Milkshakes/Thee Headcoats/Masonics), a collective that certainly with this first single combine their experience and attributes into a stimulating and very exciting proposition.

Lead track is ‘Break My Fall’, a sixties lined slice of electrified raw pop. Combining a feel of the Who and the Troggs with The Stooges and The Ramones, the track flows with spiky melodies, soaring Beatlesque harmonies and tenacious riffs. The song openly wants the ear captivated, thrusting a simple but eager driven riff through its centre to allow the guitars to bring scorched diversions and enterprise to the track. The song is an excellent introduction to the band but soon left in the shade by its partner track.

‘Dr. Strangelove’ or to give it the full title on the single sleeve, ‘Doctor Strangelove, or How I Learned to Stop Worrying and Love the Beat Seeking Missiles’, is a rumble upon the senses. Part rock ‘n’ roll, part rockabilly, and part sixties enthused blues, the track is monstrous. Its persistent beats are hypnotic and the vocals dogged, the mix recalling the likes of Reverend Horton Heat, Link Wray and at times Ray Campi, plus the punk essences of a Rocket From the Crypt, It is wonderful stuff that gets better with the explosive melodic crashes and cascades within the song. The track plays with an arrogance and self belief that is irresistible and easily confirms that this is a band one needs to hear more of and go see live.

Beat Seeking Missiles are an instinctive need for your musical day, simple as that. Just trust and go listen to this single for your proof.

RingMaster 08/02/2012

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