With Just A Hint Of Mayhem

Music reviews, gig reviews, fun trivia and extra added random stuff!

‘Future Plans And The Things That Ruin Them’ EP – Fights and Fires February 11, 2022


Since forming in 2008 this Worcester-based punk rock band has lived by their motto: “If you’re not having fun, then what’s the point in working this hard?” Fights and Fires are often described as emotive rowdy hardcore punk bangers or melodic hardcore-infused punk-rock, but however you want to think of them, they deliver a sound that is exhilarating and incendiary (pun intended). Since their formation, the band have released 4 albums, an EP, two split releases, and a handful of singles, which are now completely sold out on all formats. After turning their focus to touring mainland Europe, the band has built a solid underground fanbase throughout the continent. These guys love Star Wars, professional wrestling, and superheroes. Fights And Fires, offstage, look more at home in your local comic bookstore, than at a punk rock show. But, come stage time, it all changes – it’s nice guys, playing hard, in your face music, with wide smiles across their faces. Fights & Fires are Philip Cox (Vocals and trained professional wrestler), Ryan Price (Guitar and roller coaster fanatic), Philip Cook (Guitar and Football Manager supremo), Luke Tasker (Bass and lots of hidden talents), Lee Jackson (Drums and self-confessed football lunatic). Lyrically, this fun-loving quintet is not afraid to show us their emotions and musically not ashamed to wear their classic rock and post-hardcore influences side by side on their sleeves. What you get is a cleverly crafted sound of the likes of Thin Lizzy and Motorhead, as well as US punk bands Rocket From the Crypt and The Bronx.


‘Future Plans And The Things That Ruin Them’ EP, the latest addition to their repertoire, releases February 18 through Lockjaw Records. The EP was written throughout 2020 during the various lockdown periods, countless hours were spent writing over Zoom calls between the members’ homes in Worcester, Wales and France. In the summer of 2021, the band were able to re-unite, socially distanced of course 😉, to spend a day rehearsing before heading straight into the studio to record this well-crafted and poignant EP. “The only real theme of the EP is hope. The subject matter is often about hard times or struggles but the message is always one of finding a better way or a light at the end of the tunnel,” explains vocalist Philip Cox. I am pretty sure Philip, and the rest of his soulmates know about ‘Fights and Fires are the Flowers of Edo’ and how this expression is used to describe the destruction and rebuilding of Tokyo over the centuries. As we continue to destroy what’s around us, at some point we will rebuild and improve, giving us that hope of what may lie ahead in the future. The deep and meaningful stuff to one side, what about the EP? The hard-hitting opening track, “Disposable Dogs”, is their first single to be released at the back end of 2021. Cox’s distinctive vocals lead the way with his very own expressive style, reminding me at times of Robert Smith from the Cure and even Feargal Sharkey from the Undertones. Guitarwork from Price and Cook from start to end is always raw, pacy and sharp. Nicely complimented with Taskers pummelling bass throughout, this song is made up of many varied movements, a bit like a piece of classical music. The vocals, tuneful and melodic during the chorus, are very satisfying and anthemic. I can imagine being there at their gigs, singing along with the thousands of other fans. The lead up to the chorus focuses on the angst in Cox’s vocals creating the perfect backdrop for lyrics like ‘These are the problems that we face every day, these are our problems, and they don’t go away’. During the track, there’s a satisfying instrumental break, picked guitar and pounding floor toms, shining a light on how musically accomplished this band are. A belting opening track.

“Shitty Year”, released in January, begins where “Disposable Dogs” left off. ‘My indecisions are the source of my bad luck’, no wishbones, no four-leaf clover‘, the song takes a look back at a shitty year and looking forward with hope. Philip Cox and the band deliver another well-structured piece of melodic punk, thundering along with anthemic choruses. It’s been another shitty year yeah yeah – you have to love this clever wordsmanship creating a truly pop hook. Throughout Messrs Price and Cook hit us with clean and choppy guitar interlocking with a delicious sustained distorted sound. The solid drums and driving bass do exactly what you’d expect. Just over halfway through, after an unexpected and quite satisfying key change, we are treated to a powerful bass and drum interlude, before normal service is resumed, and the band continues to thump out to the end. Just when you thought you had this band’s style and genre sussed, the next 2 tracks stop you in your tracks. In “Bed For Bones”, the chaps show us that they know how to really rock. In your face guitar work, which often sounds very Iron Maidenesque and then some well-constructed and tight rhythms, where for a moment I think I am listening to Rage Against the Machine. This track has an abundance of styles and variety – it’s a love song…not a sing-along. It’s my favourite by far. “Up, Down, Labour, Conservative, A, B, Start” goes to the other end of the spectrum. It’s a real punk banger, bouncing along and politically charged. Less anthemic and catchy choruses than previous tracks, the band releases their angst through the music and vocals. ’History just repeats itself, but we just keep on letting it, we just keep on letting it’ – it’s a powerful message and let’s just hope that we do something about it. The closing track on the EP is “Pocket Full Of Flowers”, which was released as a single back in 2020. Vocalist Philip Cox said, “The song is about the naivety of love, and how focused we can be on it to cement our happiness…So, just as a token gift of a flower to a mother is put in a pocket to wilt away, a wedding ring can too end up in a sock draw wasting away. For the first time in my adult life, I felt like I could start again and build a new better version of me.” This track returns the EP to a more melodic and singalong style life as the punky and trembling vocals pack a mean punch on top of gritty guitars sitting perfectly with the full and round sound of Jackson’s drums. It’s a catchy number, energetic and melodic.

Fights & Fires will be hitting the road throughout February 2022, in support of the new EP, with remaining shows in Lincoln, Birmingham, London, Glasgow, Edinburgh, and Dundee – Tickets are on sale now.
See them live on the following dates:
February 2022
Fri 11th – LINCOLN – Akedo
Sat 12th – BIRMINGHAM – The Victoria
Sun 13th – LONDON – New Cross Inn
Thu 17th – GLASGOW – Bloc
Fri 18th – EDINBURGH – Banshee Labyrinth
Sat 19th – DUNDEE – Rad Apples

Written by Juan Brooks

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Where’s Slater – Victoria Vaults, York – Friday 4th February 2022 February 7, 2022


This was my second Independent Venue Week gig for 2022, this time at the Victoria Vaults in York which had a fantastic overhaul during various Covid lockdowns. This night was put together by Trailer Park Promotions and it was great to meet the Head Honcho himself, Sam. The boy done good! Four bands in one night, does it get better than that? Maybe but not often! The opening act tonight was Pennine Suite who I saw for the first time in their current incarnation around two weeks ago. It is clear that the band in this expanded form has a much greater depth of sound and they use it incredibly well to showcase their canon of banging tunes. Lead singer Nick continues to build and develop his array of frontman skills. He owns it and totally understands his crowd. The band is on top form Louise’s keyboards add a sublime melodic wave to the sound. Harry proves himself to be an excellent guitarist, having switched from the bass. Meanwhile, Moses, who has only been playing the bass guitar for six months smashes a great groove. But there is clearly no stopping the band’s own nuclear reactor Louis on drums, he was insanely good. If I had to pick a highlight, and there were many, it would have to be “Impatience”, a real barnstormer!

Next up it was the turn of Silvertones who I have seen just once before, back in January 2019 when they supported the Receivers (who became Pennine Suite fact fans!) at the Fulford Arms in York. Silvertones are a power trio that puts the emphasis on power. There were moments when the guitar sounded like none other than Johnny Fucking Marr. The bass player’s vocals were reminiscent of Liam Gallagher back in the days when he was good. There was also that idiosyncratic nasal whine a la John Lydon. Their slower tunes suggested perhaps Cast or even Hard-Fi. Essentially this was an uplifting riff-laden set from a band who know their stuff.

A band that is new to me, Everything After Midnight, were next. This York five-piece was truly epic in sound and performance. Imagine Tori Amos if she took a much heavier direction with some added prog undertones, that is how Everything After Midnight sounded to me. The title track of their current EP “Still Sleeping” was majestic and at times was like a slowed-down Nightwish. Was that three guitars and no bass that I spotted? If it was then there was no negative impact on the sound. The chanty backing vocals were a perfect foil to the singer’s gorgeous, ethereal, enthralling voice. The band were tight and well-rehearsed, the drummer was a very classy player.

I first saw headliners Where’s Slater when they supported Tommyrot at this same venue back in August 2021. For that gig, they were missing two band members but still put on a great show. There is a huge 70s influence here, but they are also very much their own original band. This is a polished rock sound, made by a highly talented band. While there is a darkness to some of their songs Where’s Slater are a bunch of people that seem like they are having a hell of a lot of fun on stage. If you took the Ray Manzarek’s keys away from the Doors and added extra heavy guitar riffs then you might get closer to that Where’s Slater beautiful noise. Their cover of “Hey Joe”, a song which many people have claimed to write and which became a huge sixties hit for Jimi Hendrix, was masterfulIt wasn’t just a cover version, these boys took it and made it their own. Where’s Slater look more like a group of final year nerdy Uni students than rock gods, but when they perform they also transform into their rock n roll personas. This is a band with a bright future. Incidentally fact fans, did you know that a “slater” is also the german term for “feeling of two moments of time not colliding, staying far, far apart” (according to the band bio on Spotify anyway)

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The K’s – Fulford Arms, York – Monday 31st January 2022 February 6, 2022

Filed under: Review — justwilliam1959 @ 9:12 pm
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This was one of the many wonderful gigs that celebrated this year’s Independent Venue Week. It was at the fabulous Fulford Arms, one of the best venues in York. Headliners were the much-hyped the K’s. Did they live up to the hype? You will need to continue reading to find out because first I need to tell you about the support band. Also, this was another show from Simon of Northern Radar and so far he has never let me down! Support was provided by a great upcoming local band, YouVee. I have only seen them once before this, back when they supported one of my favourite bands, Apollo Junction at another great York venue, the Victoria Vaults back in September 2021. YouVee have grown in presence and talent in those short few months, particularly Travis Kyle on lead vocals and guitar. He really owns the stage now and is developing into a great frontman. Given that this month, February, sees their second anniversary as a band their development is as remarkable as it is mercurial. Ben Layfield’s guitar skills are easily comparable with Graham Coxon of Blur and also Steve Mason of Gene (my favourite British band of the Brit Pop era). YouVee has a kind of psychedelic pop sound with some tasteful indie elements thrown in. If I had to pick a highlight it would be their signature tune, “Ultra Violet” which is begging to have a major dance remix, it is a proper full-on indie banger. This is a band for anyone who appreciates great music. I hope they go far!

So then it was time for headliners the K’s, an unsigned band who as I mentioned earlier have been subject to much hype and occasional comments about them being just a mod band. Well on the evidence of this set they deliver beyond the hype and they are far from just a mod band. There are influences from the best of British rock in their sound, notably the Who, the Jam (no these were not just mod bands either), and the Clash. They certainly know their pop, rock, and indie history too, throwing in a little piece of Cyndi Lauper’s “Girls Just Wanna Have Fun” in one song and a bit of “Dirty Old Town” the Ewan MacColl standard made famous most recently by the Pogues. Jamie Boyle has a great stage presence, really knows how to work the crowd (and this was damned close to a full house), and is the epitome of what a superb frontman should be. There was not a dud song in the set and their energy never waned for even a moment. Lyrically there is a strong social conscience and stories of real life. “Dacton And Wanderella” is a song that early Arctic Monkeys would be proud of and they closed an electrifying set with it. The best moment for me, and there were plenty, was “Sarajevo”, an instant anthem, although “Glass Towns” possibly pushed it close. In the olden days, these lads would have been signed a long while ago and would be reaching the higher echelons of the charts on a regular basis. The K’s are a really tight band with great musical chemistry. They play with power, passion, and purpose. I hope there is a K’s album in the offing because it will be bloody brilliant. I am now most definitely a huge fan of the K’s, give them a listen and you will be too.

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‘Where Dreams Hurt’ – Vaquelin January 30, 2022

Filed under: Review — justwilliam1959 @ 6:55 pm
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Vaquelin, a band I saw for the first time on All Hallows Eve last year have just released their debut album, ‘Where Dreams Hurt’. In reviewing that gig I said, “If Led Zeppelin had sweaty, dirty, illicit sex with Bring Me The Horizon, Vaquelin would be the haunted offspring.” Having listened to the album I can confirm that I absolutely stand by that statement.” The album opens with “Soliloquy” which sets off at a sedate pace in a soft style but builds to a planet-destroying crescendo with riffs that could break the tops of mountains. “Voice Cracks & Blackjacks” has a dark, menacing undercurrent but in contrast the melodies and hooks are immense. Adrian Boudry’s vocals are supreme on this track. Having listened to the album twice I think “Iridescent Streetlights” is shaping up to be my favourite track, at least for now. At times Callum Scott’s playing borders on Mick Ronson at his peak, especially in the last part of the track where he freaks out in his own Moonage Daydream! It would fit perfectly into a 70s rock playlist, but just in style, Vaquelin are originals, not facsimiles. There are classic rock influences all over this record, but every one of them enhances rather than detracts. In a parallel Universe “The Garden” would be all over the radio. I am not sure why I think this, my mind is warped, but I would love to hear Harry Styles cover this one live.

If the Red Hot Chilli Peppers collaborated with Led Zeppelin I think it might sound like “Hyperdepressant”. Jack Stephenson’s drumming on this track is hard enough to wake John Bonham. If Muse had gone really, really heavy they may have recorded something as powerful as “Though The Heavens Fall” which smashes into you like Thor’s mighty Mjolnir at full pelt! I think the band realise that a small respite is needed after the sonic assault of the first six tracks so they give you a short but rather nice instrumental called “Interlude”, it does what it says on the tin. The towering sonic attack continues with “Mad Alice Lane” with some axe work that Slash would be proud of. For those fact fans among you, Mad Alice Lane is in York, although it is now known as Lund’s Court. Mad Alice is said to haunt this snickelway.

Vaquelin prove they have a wide-ranging talent with the quite funky “Silence”, it’s as if the Average White Band took a more rock direction. The effects that open “Six Miles Deep” before Callum Scott’s masterful riffs kick in would fit well on a film soundtrack, maybe a slasher movie. There isn’t a bad song on the album and I think this one is where every band member gives 110%. The rhythm section of Luca and Jack is monumentally magnificent. On “Rebound Effect” use their funk credentials again in the choppy acoustic sound which supports one of Adrian’s best voice performances on display here. Currently my second favourite track! The title track is the penultimate tune here and it rocks like an absolute bastard, like Motorhead with Patrick Stump of Fall Out Boy on vocal duties. Album closer “A Wave Of Poisoned Joy” is as close to a power ballad and chilled as Vaquelin come. This album is so well written, produced and played it is hard to believe that this is a debut release. This York band have the potential and ambition to do great things and I want to follow them on that journey, you should too.

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Pennine Suite – The Crescent, York – Friday 21st January 2022


This was a rescheduled show from that slack period between Christmas and New Year and I was so pleased it was rescheduled as otherwise, I would have missed it. It was also amazing to catch up with so many old friends, maybe, just maybe, we are getting back to some kind of normal. This was going to be my first opportunity to see the headliners, Pennine Suite. But before I talk about them there were three support bands who were rather spiffingly good!

The first band to take the stage was Honeytrap who I first saw back in November 2021 at the Fulford Arms when they supported Seagoth. Back then I described their set as fucking awesome! I stand by that for this show too, although I will add one word to the original two and say that they were super fucking awesome! I can sense an ancestral link with some of the finest British bands, including the Verve and the Small Faces. Kell Chambers’s vocals suggested he could give Steve Marriott and Richard Ashcroft a run for their money. His voice is soulful, passionate and at times shows he can make delicate sounds just like Kurt Cobain in the quieter Nirvana moments. Will Daniels’s guitar work is among the finest of his generation and has at least some roots back to Jonny Greenwood, John Squire, and Bernard Butler. Bassist James Butterworth kept the band ticking over with his finely tuned Rolls Royce bass lines. Meanwhile, drummer John Gilbert was absolutely on fire. This was a near-perfect set, but if you made me pick my favourite part under threat of death then I would plump for “Renegade” which was stunning. If you haven’t seen or heard Honeytrap yet then you need to rectify that immediately!

Next, it was the turn of Trueman and the Indoor League who I first saw back in October at the Crescent when they were supporting Avalanche Party. In those few months, the band has upped their game even further. Trueman is a real showman who puts across his kitchen sink, soap opera, everyday life stories like Jarvis Cocker on speed. Lyrically they are perhaps bedfellows with early Suede, the Arctic Monkeys, and Pulp, which is good company in my opinion. The band has a saxophonist this time and that broadens their sound wonderfully. As a result, they came across like a Poundland E Street Band (and I mean that in a good way) with a shot of 80s live Bowie!

 Tonight’s penultimate band was Pavilion. I last saw them back in those heady pre-Covid days of February 2020 at the Victoria Vaults in York when they supported the Golden Age Of TV. They were good then and they are even better now. Definitely one of York’s finest bands. The set tonight sounded at times like a stripped-down Cream with the odd injection of Inspiral Carpets. Olly’s guitar was at times sublime, while Noah’s vocals were first class. Even more impressive was that Olly and Noah had also played as a part of the Indoor League just before.

This was my first opportunity to see Pennine Suite live, I had seen their previous incarnation the Receivers, who are sadly no more. The band retains Nick, Louis, and Harry from that band and now they have become a five-piece with the addition of Louise and Moses. Would they just be the Receivers 2.0? Most certainly not, the expansion to a bigger band has enhanced the sound magnificently. Nick was a good frontman in the Receivers and now he is a great frontman his confidence, swagger, and voice have grown at an explosively exponential rate! There were some Receivers songs in the set, “Only Human” and “Impatience” were particular standouts. The band showed their added versatility with Louise taking vocal duties for one tune. Pennine Suite have hit the ground running and tonight they played with the firepower of a Saturn V rocket. Particularly Louis who played the drums like the fate of the planet depended on it! The Receivers are dead, long live Pennine Suite!

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With Just A Hint Of Mayhem – Singles Round-Up 2022 Part 1 January 28, 2022


This is the first singles round-up of 2022 and I certainly hope we are more prolific with singles review this year than we were in 2021. Some of these tunes came out at the tail end of last year. There are eight songs with a group of artists from Hampstead, New Jersey (2), the Netherlands, Tennessee, Hale (Cheshire) and Norwich. One of which has appeared on these pages before (The Awkward) others are new to us but I am sure this will not be their last appearance. How the hell has Rhoda Dakar not been featured on With Just a Hint Of Mayhem before? That is a huge failure on my part. Rhoda if you’re up for an interview, feel free to get in touch!

“The Man Who Sold The World” Rhoda Dakar

Rhoda first came to prominence fronting the Bodysnatchers who were a part of the whole 2-Tone explosion in the early 80s. She also gave some great vocals to the Specials and Special AKA. She released her first solo album back in 2007 and she seems very active on social media these days. Which is how I first learned of her cover of the Bowie classic “The Man Who Sold The World”. Regular readers will know that I am a huge fan of the Dame and have been critical of covers of Bowie in the past. However, Rhoda takes this song and makes it her own. On paper turning this song into a reggae tune shouldn’t work. But this isn’t on paper and it is bloody marvellous. Rhoda maintains the dark, weirdness of the lyric while singing over a sunny, somewhat jaunty reggae track. Her voice is impeccable and raises the song a few notches from other versions. This ace cover is impossible not to like!

Hard Way to Go” – Megan Knight

New Jersey native Megan is a talented singer-songwriter whose songs ooze passion, soul and a life lived. There are some stunning alt.country elements to this song. She also has a hint of Taylor Swift’s delivery and pop sensibility on display with “Hard Way To Go”

Come Over” – The Awkward

This band is from the Netherlands and they sure know how to make a great tune and this talent is to the fore with the infectious “Come Over”. This is pop-oriented rock at its best and I think fans of Apollo Junction will love it, I do!

“Forever Home” – Rick Drevet

This is a fine slab of Southern USA bluesy rock in praise and support of forces veterans. There is a definite Lynyrd Skynyrd influence but in a good way. Rick’s guitar work is reminiscent of Stevie Ray Vaughan and this tune has made me want to check out more of his stuff.

“Moment In Time” – Jai Agnish

Good things are worth the wait and this is Jai Agnish’s first single in thirteen years. It is an almost perfect, gorgeously crafted slice of chilled electro pop. Late night, reflecting on the day with a cold beer or wine, put this on to complete your relaxing chilled mood.

“Kind Of Greenery” – Israel Portnoy

This single from late last year is one that really brings me to a happy place. A beautifully constructed fun tune which can be found on Israel’s ‘Facing Flames’ album. At times it reminded me of two George’s; Harrison and Ezra, although without the Ezra bass boom voice. I need to go and listen to Mr Portnoy’s album now

“Eraser” – Head Ballet

Head Ballet are a duo from Manchester made up of Kiera Court and Danny Casio. This is a great electro pop tune and makes me look forward to more stuff from the pair. Earlier single “Real Life” is an ace electro ballad and worth checking out too.

“Money Talks” – PleasureInc

This classy track hints at an eclectic range of influence including, indie, electro, hip hop, post punk, classic pop and sixties rock sounds. The Jrnalism Remix of the tune takes it in a completely different, warped but wonderful direction.

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‘Coping Mechanism’ EP – Filthy Militia January 14, 2022

Filed under: Review — justwilliam1959 @ 12:37 pm
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Filthy Militia was formed in North London in 2016, they are a five-piece ska-punk band. Their sound is rooted in more modern ska and 2-Tone and I hear echoes of Reel Big Fish and the Mighty Mighty Boss Tones among others. Their first EP ‘Innocent Until Proven Filthy’ was released back in February 2018. Following that they secured some ace support slots with Neville Staple, Lightyear, Captain Accident & The Disasters, and Call Me Malcolm to name just a few. The band stayed busy during the dark days of Covid, after a very successful Kickstarter campaign they hit Hidden Track Studios in Folkestone with producer Oz Craggs (Neck Deep, Call Me Malcolm, Millie Manders & The Shut Up) to record their new EP, ‘Coping Mechanism’. The EP is scheduled for release on Pookout Records on 4th February, it will be supported with what I am sure will be a cracking launch show at The Black Heart, Camden on Saturday
12th February 2022.

This EP really is a class affair in which Filthy Militia prove that they are more than just a ska-punk band. It kicks off with a magnificent song, “Another Day” that immediately smacks you in the face, in a good way, and doesn’t let up for its full three-plus minutes. After a couple of listens, I think perhaps “Differences” is my favourite track here and takes me back to those early No Doubt days. I particularly love the dub elements present on “Beatdown” which reminds me of those heady days when the Clash did their reggae thing so well. This band clearly has a wonderfully well-developed social conscience too and this is clear in the lyrics to most tracks, but for me particularly so in “The Land Of The Dead”. Perhaps the most Jamaican Reggae sound is on EP closer “Don’t You Look Back”, I love this track’s wistful, hopeful, summery feel. It makes me yearn for a cold can of Red Stripe in the sunshine. This is a fabulous EP that will get played a lot by me this year. Filthy Militia are yet another band on my must-see live list

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‘Bringing Down The House’ – Blues Attack January 11, 2022

Filed under: Review — justwilliam1959 @ 11:42 pm
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Energetic and exciting funk/rock blues band Blues Attack released their impressive debut album, Bringing Down the House, back in November 2021. The 5 piece band from Istanbul takes us on a varied and powerful genre-spanning musical journey. Their sound is a kaleidoscope of smooth, melodic vocals; tight bass and drums; rhythmic guitar; Hammondesque keyboards, and a peppering of brass and soulful backing singers. The band is innovative and different from anyone I have heard before. Throughout the whole album, some of their diverse influences really stand out. Hints of Jack Bruce’s (Cream) soft and mellow vocal style, West Coast guitar work, and when they turn up the volume and rock, shades of Deep Purple fill the speakers. The band is made up of Sezen Köroğlu (keyboards), Tarkan Mumkule (guitars) and Batur Yurtsever (bass) who were already household names on the Istanbul live music circuit and had been playing together backing some of the top musicians and singers in Turkey. Prominent musicians in the Turkish blues scene, Güray Oskay (vocals, guitar, harmonica) and Hasan Ali Polat (drums) joined the other three in 2017 and the group was formed.

When the world shut down with Covid-19 restrictions in 2020, the band used that time to compose and record 10 original tracks featuring an eclectic collection of blues/rock to hip-shaking funk. They brought in the following guest musicians for the album: Serkan Emre Çiftçi (trumpet), Özgür Şengül (saxophone) Göksenin Tuncalı (backing vocals) Bengisu Öcal (backing vocals) Pelin Özülkü (backing vocals) Burak Ocakçı (harmonica). The opening track “Once and for All” delivers a steady bass line and solid uncomplicated drums with wah-wah tinged guitar riffs and breaks. With smooth and controlled vocals, Güray Oskay sings about taking back control of feelings after a relationship whilst the brass section and beautiful choppy Hammond organ alternates with the soulful backing singers. A clever nod to their Turkish roots is the use of quarter tones before the chorus, a pitch often heard in Eastern music. They are there but easy to miss. The clean guitar breaks sounding at times like Steely Dan or the Eagles, soulful and melodic, and tastefully done. One of the things so innovative about this band is the use of the keyboards, horns, and backing singers to create appealing and sophisticated musical layers.

More of a blues/rock feel follows with “In for the Kill”. Solid drumming and driving bass provide the rhythm for Oskay’s vocals about a dangerous woman who lures people into her lair. The track is laden with punchy guitar solos and a tight-knit brass section during the chorus. About halfway through the track, the layers are stripped back, and we experience a melodic sound of muted drums, bass, and funky keyboards. As the track draws to an end, the trumpet is given the wah-wah treatment. Reminding me of “Sivad” by Miles Davis, this unusual effect reinforces how creative Blues Attack are. “I Need Time” is one of the funkier tunes on the album, features a solid bass line, simple and powerful drums with syncopated guitar, and keyboard notes. The notable horn section blasts its way through this track, reaching a perfectly timed and placed crescendo during the chorus. The subtle saxophone together with the brass is reminiscent of Grand Funk Railroad. After another funky blues tune, “Long Gone”, comes the title track “Bringing Down the House”. The funkiest track of the album is fun to listen to, immediately danceable, and gets your toes tapping instantly. I can just imagine how this particular song goes down at a live gig. It perfectly combines a solid bass and drum rhythm with the much loved and tuneful brass/keyboard and backing vocals combo.

The next three tracks move away a little from this funk/rock blues concept, showcasing their talents in other genres. “Down a Winding Road” kicks off with jangly guitars and pop sounds. It’s melodic, uplifting, and soulful. Oskay’s vocals are clean, often sounding like the Lighthouse Family or that 80’s smooth and easy listening style. The pace slows right down with the next tune, “Little Isle”. Closing your eyes and listening to the sustained guitar sounds, delicate bass, and rimshots rather than a full-on snare drum, transports you to a tropical island where the lyrics tempt you to daydream. It’s slow blues with a sound not unlike Chris Isaak’s “Wicked Game”. “Country Joan” is an interesting next track. Its title suggests the band’s venture into country music and the beginning of it certainly gives you that impression. As the track builds the brass and sax section takes over and Oskay introduces a telephone mic effect to tell the story. The chorus reverts to a country style and a catchy chorus. The backing vocals sound like a steam train (or maybe that’s just me!) and the whole song makes me feel like I’m on a journey to the deep country, maybe somewhere like Texas. “Reaper On Wheels” is a blues/rock masterpiece. When Blues Attack really rock out and go for it, I hear Ian Gillan from Deep Purple when Oskay belts it out. It’s rocky, tuneful, and rhythmic. The album closes with “Trucker Blues”. A fitting end to this band’s debut album. An upbeat blues/rock piece that doesn’t fail to please. The harmonica makes an appearance towards the end together with some cleverly constructed guitar work. Blues Attack is a band to watch. This is their first album, and judging by the quality, innovation, and sheer energy, it won’t be their last. Maybe soon, after this gets back to some normality, they will tour internationally. I will be putting my name down to see them for sure.

Written by Juan Brooks

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“Happiness Is Not A Destination” – Andrew Cantwell January 9, 2022

Filed under: Review — justwilliam1959 @ 12:09 pm
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Andrew Cantwell is a British singer/songwriter based in Wigan, Greater Manchester. He grew up in Renfrew near Glasgow, and like many of us older folk (although to be fair he is much younger than me) he worked to earn money for gig tickets and records. he always wanted a career in music and at one point this huge music fan ran the fan pages and website for GUN and the Dogs D’Amour and his hero Tyla. He has a wide range of musical influences and that is apparent from his work. He comes across as one hell of a positive person. After losing his wife to Sepsis in 2018, his son Dylan suggested he should enrol at The Music Projects in Wigan, which he did and after studying at TMP Music College in Wigan he graduated with overall distinction.

He has released a few singles during Covid lockdown and his newest hit the world back in October, it is called “Happiness Is Not A Destination” and it oozes with that aforementioned positivity. It is the kind of tune that uplifts your mood and makes you smile with that warm glow of happiness. For me, it is about focussing on the good things in life even if the bad stuff seems insurmountable. That happiness is simply a way of life is a great message to live by. The song was recorded at TMP College in Pemberton, Wigan with Andrew’s mentor and confidante John Kettle. John played electric/acoustic guitar/bass and also produced and engineered the song.

You need to check out more of Andrew’s songs, he is a truly great talent. As a bonus, the B-Side (younger readers should ask their Grandparents what this is) is a delightful cover of the Waterboys classic “The Whole Of The Moon”. Andrew makes the song his own by slowing it down and making it more melancholy. This rendition fits perfectly how I believe a cover version should be, somewhat removed from the original, maintaining a similar spirit, but definitely not a facsimile! Click here to check out more of Andrew’s songs and covers on Spotify.

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Apollo Junction – The ‘All In’ Pub Tour – Saturday 11th December 2021 December 20, 2021


The limited-edition T-Shirt, guess who bought one? 🙂

This would be the first time I have ever seen the same band play three times in one day and unsurprisingly the first time I have ever been on a band one-day tour/ pub crawl in a vintage bus. This opportunity came about because I purchased the Yorkshire special edition of Apollo Junction’s new album, ‘All In’ as well as it being limited, signed, coloured vinyl and with a tea towel it also came with a ticket to this very different way to spend a Saturday. The first venue was in Otley at an old hotel called the Black Horse. I briefly watched the band setting up in a relatively small function room on the first floor. All of the band’s kids were in attendance, and we came close to getting a set from the Apollo Juniors. This first set was an acoustic run-through of some classy tracks from their first album ‘Mystery’. Bassist Ben nailed his acoustic for that difficult opener. The band also added an acoustic stomp through “Two Car Family” from the new album. As it was December the boys played a Yuletide standard, “Have Yourself A Merry Little Christmas”, towards the end Jamie admitted that they had spent time rehearsing it, but hadn’t confirmed how to end it! But they did it with style and aplomb. This was perhaps one of the most intimate sets I have been to, the band were even provided with chips by one of the punters.

After this Mr. Shedload Records himself a.k.a. Mick took us lucky lot to the vintage bus which would take us to the next venue. That was a great, but bloody cold, journey on which I was able to chat with quite a few more Apollo Junction fans. The second venue was the Bridge Inn at Kirkstall for another acoustic set, this one focussed on the new album ‘All In’ and many of the, so far, seven singles released from the album were included. Along with another take on “Have Yourself A Merry Little Christmas”. Jamie did his usual wander in the crowd while still singing, which is always something special. The venue was incredible a huge double teepee at the back of the pub exclusively for us. There were fires too and once again a really intimate set.

Then it was back on the bus for a shorter trip, just down the road to Kirkstall Brewery in Leeds. I hope I heard it right, but I think they have produced an Apollo Junction beer. This was the largest venue of the three and was the setting for a full-on electric set. The band was firing on all cylinders and finished the day with a stunning, entertaining, emotional set. This is a band that gets better all the time. A great bunch of lads, ace musicians, and oh boy do they know their audience. This closing set was very special indeed and if I had to pick a highlight it was the storming and emotional “Are You Happy” a great singalong anthem and possibly my current Apollo Junction favourite. “Light Up The Sky” was electrifying as well. This was to be my final gig of the year and if I count each set individually then I have seen this band four times in 2021! I reckon this bus and pub tour should become an annual thing, how about it lads?

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