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

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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

http://thedirtyjohnsons.com   https://www.facebook.com/thedirtyjohnsons/   https://twitter.com/Dirty_Johnsons

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

Thirteen Shots – Self Titled

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Though the band is no longer active, the hunger and want for Thirteen Shots continues to be vocal. The new release of a self-titled compilation album is a dose of their raw and voracious horror punk sure to be devoured and earn many more belated fans as it treats ears to the best of the band as a free proposal. Bringing together fifteen tracks spanning the band’s releases, one previously unreleased track, and an irresistible live take of the band’s mighty track Graveyard Stomp, the album is an offer no fan or horror punk loving newcomer to the British outfit should and will be able to resist.

Formed by the now Hamburg, Germany residing Johnny Rose and featuring Lewis Manchip, George Chick, Joe Dempster, Chelsea McCammon, and Tom Fenn in its line-ups, the Birmingham hailing Thirteen Shots unleashed a distinct and rousing form of rock ‘n’ roll as seeded in sixties garage rock and blues as horror punk itself. From debut album Vaudeville of 2012, through subsequent releases such as Tales That Start With A Whisper the following year, the 2014 White Noise EP, and their final outing through second album Black Smiles last year Thirteen Shots pushed their boundaries and expanded their sound without losing the incisive rough diamond roar which marked them out from day one. The new compilation brings it all into one thrilling place; all together for one final stomp.

First track is the fiery rock ‘n’ roll of Cobradeer, an encounter which flies from the traps, drops into a predacious prowl before bursting into a rush of fiercely slapping rhythms and ferocious riffs led by the distinct vocals of Rose. It provided a rousing introduction to Black Smiles originally and makes the same attention grabbing impact here before passing ears over to the flesh dropping infections of band classic Zombies From The USSR. Cored by a delicious Caped Crusader like hook, the track expels raptorial grooves and vocal incitement in a battle cry/warning rising up against undead hordes which just gets under the skin and into the psyche.

cover_RingMasterReviewThe variety in the band’s sound has been an open book and illustrated in the garage blues blaze of Nekrosexual and the following drama of Bewitched as well as across the album. The first is a scuzzy roar while the second again uncovering a hook which just fits an eager appetite, uncages predatory basslines and irritable riffs as Rose scowls in the colourful horror punk confines of the excellent encounter.

Within the Thirteen Shots catalogue numerous tracks were like beacons to their presence and sound, arguably the most tempting being Danzig. A tribute to the obvious, the song is a swinging punk brawl wearing its influence clearly but casting is own horror punk ‘n’ roll character with more hooks and temptations than a stripper at a fishing convention.

Punk rock in varying degrees is also an ever present in the band’s sound, Get In My Crypt for example simply fuelled by it in its virulent charge wrapped in metallic flames while other songs like Night Of Sin infuses it into their own individual imaginations, it a liquor soaked blues rock proposal with searing grooves and restrained but heavy rhythms. The outstanding Dead Girls Don’t Scream takes the vital essence into a psychobilly spiced romp, like Misfits meets Resurex while wearing a New York Dolls t-shirt. It is also another of those songs which the band is particularly memorable and noted for, a rock ‘n’ roll stomp to get lustful over.

Through the writhing blues grooved Padded Cell Blues, the scuzzy heavy metal Sabbath-esque riff loaded crawl of Doom, and the severely infectious rockabilly lined stroll of First American Sweetheart, the album does what all good compilations should do; reveal and celebrate the depth and invention of its focus. The last of the trio especially whips up the spirit with its hard rock grooves and garage punk contagion offering something akin to Turbonegro meets The Heartbreakers.

Grooves are equally a major tempting within next up Tales That Start With A Whisper, twisting within ears with salacious intent as the track shares classic/glam rock misbehaviour equipped with the spiciest hooks before Black Eyed Girl enters with a flirtatious and slightly sinister prowl like a dark dusted feline seductress swinging melodic hips to blues bred flames.

There have been a few songs from the band too which have blossomed to greater heights over listens rather than with an instantaneous convincing; the raw shuffle of Black Smiles being one which proves its point perfectly amongst its companions on the album though gaining its first ever outing here, Creak’n The Coffin needs little time to grab ears and the passions. A contagious punk driven slab of rock ‘n’ roll, it stomps and roars with all the flavours the band has consistently shown itself so adept at weaving into their raucous proposals.

The album is completed by the sultry blood red romance of Lost Soul with its mariachi laced smoulder and finally that stomping live roar of Graveyard Stomp, which while drawing eager participation, reminds us what we are all missing from the band at each and every venue they graced.

There are certainly tracks we would have added to the album, This Looks Like A Job For Batman for one, but Thirteen Shots is undoubtedly the life and creative voice of the band to a tee and a certain must for all punk ‘n’ roll fans. Go check it out and grab a rare and free treat @ http://thirteenshots.bandcamp.com/ with a possible very ltd edition CD possible if demand is high and similarly a final UK tour from the band if they are wanted; so go tell them @ https://www.facebook.com/thirteenshotsband

Thirteen Shots is also available for FREE from Google Play and available to stream from Spotify and Deezer from Undead Artists.

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Army of Walking Corpses – K.M.D.

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The claustrophobic worm sodden ground has parted once more to see UK horror punks Army of Walking Corpses emerge with their new ravenous EP. Consisting of six tracks which align themselves to the dead with predatory rabidity, K.M.D. is a captivating and thoroughly enjoyable romp of blood drenched, flesh decaying confrontation. It is a striking proposition which is sure to awaken an appetite in newcomers and greater greed in fans for their potent sound. Arguably band and their songs are still engaged in feeding expectations than creating startling surprises but in providing thrilling and compelling arguments with each song, the Nottingham quartet easily encourages patience to happily wait for their evolution to find that unique presence.

Coming to life in 2009, Army of Walking Corpses has become a strong and greedily consumed proposition around their home county and surrounding areas. Created by guitarist Machine who brought in vocalist Le Mang and drummer Nikolai Von Plaskenheimer before after a search finding the deathly skills of bassist Frankenfiend, the band has made its mark sharing stages with the likes of The Meteors, Massive Head Trauma, Skeleton D, Trioxin Cherry, and Crimson Ghosts, the band taking their name from one of the German band’s songs. Their first three track demo caught some attention whilst their first official release, the Deadmen Walking EP pushed the band into a stronger spotlight. 2012 saw the band share a four track split 7” EP called Bloodgods with Crimson Ghosts, a well-received encounter which now is set to be lost in the acclaim for K.M.D. and its furious venom.

Mixed by Andreas Frank of Casket Garden Studios and clad in the artwork of Darkwave Art founder and artist Matthew Vickerstaff, K.M.D. instantly flirts with the imagination as marching feet draw in Invasion of Mutant Slugs. The track explodes from a sonic mist with nostrils flaring and rhythms rampaging feverishly as riffs scrape away the surface of the senses with their sonic rapacity. Vocalist Le Mang adds his grizzled tones, strong intimidation ripe in his pleasing growl yet aligned to a melodic vein, much like the music, which entices from within the tempestuous delivery. There is a feel of Necromantix meets Resurex to the opener which only adds to its carnivorous persuasion and formidable sound, every essence merging for a powerful and gripping start to the release.

The song flows easily into the following Xenocorpse Brainstew which from a haunting melodic coaxing unleashes metallic sinews and a predacious stalking as it consume and intimidate ears. It is a dramatic and intensive start which loses its edge once the song settles into another adrenaline fuelled but predictable charge, its early atmosphere lost in a fury of accomplished but less gripping animosity. Nevertheless the song holds an anthemic lure and contagious strength which easily holds attention and appetite before the excellent Never Alone regains rigorous control with its Misfits like croon of vocals and expansive sonic colour. Le Mang shows he is potent whether crawling venomously over ears or in seducing them with a clean call whilst musically the song rages with coarse and virulent suasion if maybe without exploding into the fury hoped and expected. The heavy metal veining surging throughout the track adds another rich hue to the savagery, providing more evidence of the diverse promise within the band and sound.

One Eye Blind seeps from its predecessor next, enveloping and writing across the senses with a rhythmic barbarity and scourge like riffery. It is another raw and healthily abrasing storm with the continuing to impress vocals backed powerfully by the group calls, stealing the show. Once again Misfits is an easy comparison but there is plenty more to devour and be intrigued by, especially its gothic drama and ambience as it seamlessly evolves into Lost (in the Shadows). The track is a glorious rain of crippling rhythms and scarring riffs which for the first time seems akin to the intro compared to previous songs and their leads. As with its predecessors, the onslaught is unrelenting in its energy and charging gait, drawing on inspirations mentioned already but flourishing within those seeds to sculpt its own infection clad enticement of rabid intent and barbarous tenacity to light the passions even further.

The best track on the release makes way for the closing Man or Beast, an enthralling and just as impressing journey through the cavernous depths of primal darkness. Leaning even deeper into the band’s metal spawned enterprise aligned to their corrosive horror punk endeavour, the track continually twists and shifts across its excellent hostile landscape. At times it lurches into the most vehement scythes of extreme metal and serpentine vocal malevolence whilst in others simply gnaws incessantly on ears with psychobilly bred voracity.

It is an impressive end to a great encounter, one you can only imagine pushing Army of Walking Corpses across the radar of a great many more horror punk and rock ‘n’ roll fans. True it is lacking real originality but as said earlier if the band continues to satisfy and excite with songs like this we can happily wait a little longer for something more distinct.

K.M.D. is available now @ http://www.aowcstore.com/product/k-m-d-e-p

https://www.facebook.com/armyofwalkingcorpses

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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Grumpynators – 666 Rpm

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What do you get if you merge psychobilly, hard rock, and hungry metal into one bruising riot? Whatever it is called Danish band Grumpynators is probably the best at it, certainly on the evidence of their latest EP 666 Rpm. Rife with rousing and aggressive rock ‘n’ roll or what they call Danish Motorbilly, the five track release is a thrilling muscular storm which unleashes all the primal pleasures inside with hungry energy and rapacious devilment.

Formed in Copenhagen in the January of 2011 by ex-members and crew of Taggy Tones and Volbeat, Grumpynators made their live debut at the Danish underground festival Barnyard Rumble in the August of the same year going on to build a big reputation for their performances which has also seen them tour with Magtens Korridorer in 2012 and Volbeat earlier this year. Musically the quartet of vocalist/guitarist Emil Øelund, guitarist Christian Nørgaard, double bassist Jakob Øelund, and drummer Per Fisker create a presence and confrontation which is like being accosted by the joint animosity of Motorhead and Nekromantix wrapped in the shadowed intent of Johnny Cash, Resurex, Social Distortion, and Volbeat. Equally the band has a distinct flavour which sets them apart from the rest, first shown with their first demo EP late 2011 and evolved into real brute force with 666 Rpm. The new EP is an instigator for limbs and instinctive passions to raise a storm and enjoy rock ‘n ‘roll at its riveting best.

As soon as the rampaging hypnotic beats of Fisker open up first track No Monsters In My Bed, an instantaneous connection Grumpynators+30827045331seeded in a personal love of psychobilly erupts, the spine of the impending song spawned from the same passion. The choppy riffs and potent bass slaps confirm the stance and poised around the Lemmy like growls of Oelund makes for a formidable and infectious lure to which defences crumble immediately. Stomping across the senses like a gang of lustful rockabillies on a Saturday night cruise, the track punches and prods the ear potently with rhythmic provocation and guitar lashes which coursing with sonic flames which leaves the passions alight. Virulent in its addictiveness and merciless in its ability to have limbs and voice joining in its charge, the song is incendiary glory which steals top honours on the release straight away though it is seriously challenged as the other songs state their declarations.

The following Paranormal Heads equally has sinews and aggressive breath unleashed from its opening seconds before sculpting an epidemic of infectiousness which is impossible to resist. Its presence has a more heavy metal/rock intention and body which merges essences of The Meteors into the more dominant demands of again Motorhead and the likes of Anthrax and The Wildhearts. Once again it is a track which recruits the listener into its dirty honest sounds with ease and leaves lungs and senses gasping for breath once it takes its leave.

1985 has a swagger and blues lilt to its slower crawling gait aligned to a southern psychobilly call which swings and lures the senses and body into a teasing hard rock waltz. As it progresses the song expands and opens up sonic flumes of enterprise and melodic rock flames which sizzle on the flesh before that confident croon of the track returns to command further physical union from its recipients.

The release is completed by the stalking Miss You and then Grumpynator. The first song again brings essences of cowpunk and rockabilly into a feisty metallic boil of sound and invention which erupts to singe the senses and feed the now fully evolved hunger for the release. With a Volbeat meets Mad Sin and Tiger Army with strong whispers of Metallica and Flogging Molly to its seduction, the song brings ardour into another pinnacle of lustful submission whilst the final song is unrelenting heavy metal/hard rock  you can only compare to Motorhead in sound and quality.

It all makes for an exciting and impossibly satisfying release which marks Grumpynators as a band set to ignite and push rock music on with striking power and efficiency in the near future. Volbeat now has a real rival as Denmark’s best metal/rock band, though to be honest every rock ‘n’ roll band in the world had better watch out as Grumpynators is coming to challenge their status and they do not accept no as a response.

http://www.grumpynators.dk/

10/10

RingMaster 22/07/2013

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The Grave Slaves -Roam with the Dead

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The perfect soundtrack to the rampage of the darkest ruinous shadows expelled from head stone violated revengeful corpses; Roam with the Dead is a storming unrelenting feast of prime psychobilly veined with venomous whispers of punk, rockabilly, and horror punk. Unleashed by Orange County rioters The Grave Slaves, the album is an irresistible and mischievous maelstrom of essential sounds and thrilling energy conjured into an encounter which is tagged as gothabilly. The release is a treat which devours the ear and passions in exchange for the deepest ravenous rewards and unbridled pleasure, it is a two way rapture which leaves one drooling with lust for much more.

There is not much to the background of the band we can tell you about apart from the quartet of vocalist/guitarist Jaysin Graves, lead guitarist Blood Sweat Brett, bassist Sideshow, and drummer Johnny Nails being the perpetrators of the lingering passion which erupts for their tasty sounds, but their sensational release we can enthuse about with knowledge and ardour. Consisting of fourteen graveyard screams forged upon thunderous rhythms, barbarous bass brawls, and hunger driven riffs, the album seizes the heart from the opening strains of track one right through to its final parting spiteful whisper. It draws from the wells providing the previously mentioned sounds before filtrating them through the band’s own expressive venom for a stirring rampant treat.

Opener Suicide breezes in on sirens and an announcement giving fair warning of the carnage to follow. Leaping on all brave enough255440_421125601279594_1964325353_n to stick around the song bursts into romping bass taunts and scarring riffs driven by the impressive vocals of Graves. The track is one which does not venture too far from its core and arguably from the sound one expects from a psychobilly track but nevertheless feeds every desire you could have. The great solo from the guitar of Graves is an additional pleasing flame within the open tempest of villainous musical intent on the charge.

From the strong start things really pick up through firstly the haunting throes of What Have I Become and then a sensational trio of violations soon after. The second song on the release though dances with the ear like a demonic dervish brought through sizzling guitar caresses and exhausting energy. Again the rhythms of the song demand attention but make full payment with their anthemic potency whilst the vocals and heart of the track breathes vibrantly from within a Misfits/Calabrese like gait.

The impressive three prong attack which takes things to even greater triumphant lust comes in the feisty shapes of Outlaw, Maybe Tonight, and Lies. The first track is a delicious uproar of provoking rhythms and compelling riffs surrounding a contagious groove and middle finger charged vocals. It has an air of Nekromantix and Skitzo to its defiant tone and easily has one submissive to its towering excellence. Maybe Some Day is the same in effect, the slowly dawning prowl of the track lifting to a compelling stroll once into its stride. Again the vocals of Graves and the group chants ignite the need to join in whilst the sounds ripple with sinews which ebb and flow through skilled enterprise. The gentler surge of the song leads to the rampaging glory of Lies, a track which grabs the heart and whirls it on a fevered dance of deathly rhythms and expressive melodies. More horror punk than psychobilly in many ways it is a sensational brew from the two genres and pure contagion.

Every track in all honesty is immense and deserves a mention but further personal favourite and highlights come in the psycho pop Devil In Disguise which includes a great flame of harmonica from guest Tony The Harp Man G, the Resurex/Zombie Ghost Train spiced Blood Red, and the excellent instrumental Grave Slaves World which is borne from the same infection causing creative depths that Tiger Army plunder so well.

The schizo treat Crazy Psycho and the final aggressive bruise Till Death also create greater sparks within but every song on the album is a dark tempest to relish and devour with lustful eagerness. Roam with the Dead is a furnace of beatitude and The Grave Slaves one of the best emerging bands within psychobilly and dark tainted rock n roll.

https://www.facebook.com/GraveSlaves

RingMaster 16/01/2013

Copyright RingMaster: MyFreeCopyright

Thirteen Shots: Vaudeville

Hear that creaking and the scraping of fingernails on wood in the dead of night? That is the sound of UK horror punk band Thirteen Shots rising from the cold earth to unleash their debut album Vaudeville. Consisting of eight crypt borne tunes the album stomps and fiddles with the senses with an eager and infectious lingering charm and mischief. The album might not be flawless but it is fresh, vibrant and thrilling, an attention seeking bundle of fun.

The Birmingham based band creates a sound that combines sixties garage rock, horror punk and rock n roll with occasional infusions of psychobilly. It grabs with an eager bony hand to lead the ear in a gravestone leaping tour through realms of the dead and superheroes, each and every detour either a mesmeric wanton skeletal dance or a dirty riled up roughage of sound. Always fun, often silly and at times leaving one wondering why, the release simply does what it says on the tin, offer a full on varied entertainment that makes no apologies in having fun, this is Vaudeville.

Miss Eerie opens up the casket of Vaudeville, a decomposed love song with throbbing bass and firm rhythms spiked with acidic guitar tones and riffs. Part Misfits, part Thee Exciters, and more Johnny Thunders the song is a solid piece of punk rock. The band do not go hell for leather at any point almost having a slight reserve in their intentions but this allows each to shine and bring a distinct part to the sound, from the crisp attack of guitarists Izzy and Joe with eager backing vocals to match, the sinister basslines of GMT (George), and the bone rapping beats of drummer Chelsea, the band find a clean yet dirty mix that brings a strength to this and each song.  With the keen punk vocals of Johnny Roxx Rose scraping up and bringing forth the lyrics there is a accomplished feel to all songs even if some are more successful than others.

This strong start steps up a gear with Inspector George. A recognisable grooved bass and guitar riffs teases the ear whilst the drums bring a metallic punch to open up the listener before the surge of punk energy. The song switches back and forth keeping things interesting and only the feeling the song wants to explode into something more vigorous at times but never does brings a slight question against it.

     Boogie Man continues in similar vein, again suggesting there is more waiting within to spring out but never realised, still it is a very agreeable track that leaves its swagger behind long after it departs. This point marks the moment the album really kicks up some dust as the next three songs prove what a current great band Thirteen Shots is and the distinct promise they have within them for the future. Danzig, and yes you know its theme without us saying, is a hypnotic slice of horror punk, bringing a flavour of the man without stepping on toes and taking the effect too far. This is rock n roll of the Devil and a thoroughly pleasing thing for us mortals.

This Looks Like A Job For Batman leaps in next with cape flying; the band twisting the legendary theme riff into a Meteors flavoured psychobilly taunting that is delicious. With added ska punk grooves and touch of The Adicts it is a gem that demands instant replay before moving on. The song is a must and sets itself up for best track on Vaudeville until the following Dead Girls Don’t Scream makes its claim. A New York Dolls wrapped rock n roll with essences of Misfits and Resurex pours out of the track, a full rounded flavoursome treat that carries a sing-a-long lure and contagious hook to ensure it cannot be denied.

The release is completed with the easy going temptress that is The Graveyard Stomp and the American Rock Song before it.  The Graveyard Stomp is all about instant bonding with very obvious hooks and riffs you have heard often elsewhere and that many bands have played with to far less fun. American Rock Song is a good garage rock/punk song but does not quite live up to the rest of the songs , its taste a little bland in comparison but taken as a separate entity works very well and is easy to return to.

Vaudeville is great fun, a strong album that sets Thirteen Shots as a band with an impressive future. Maybe right now their own distinct sound is still trying to break out but it will surely come and with this much of a pleasing release that is a promise that breeds a great anticipation.

Ringmaster 02/04/2012

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Thirteen Shots – Danzig

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