Wednesday, January 8, 2025

Hillbilly Casino

"Tow Truck" and "Red On the Line"   singles

(Self-issued)




Now accessible are the first new HC recordings since 2020's Quarantunes. The ecstatic squad remains in the first rank. Founders Nicholas Abston (executive vocalist) and Billy-Bo suzerain Ronnie Crutcher are abetted by crisp accomplices Sam Clay (drums) and Colin Taylor (double bass) in storming through characteristic Americana genre-grafting that today huffs fresh oxygen. (The new members' impressive resumes include BR549, Blue Moon Boys, and Brian Setzer and the Nashvillians.)

In a late-November Facebook post, beneath-strobes sparkplug Abston disclosed: "Replacing 2 members of Hillbilly Casino has been quite a challenge. The fact that these two talented young men live 7 hours away from Ronnie and I make the entire project a different animal, altogether. We are doing our best, though, and I personally feel like the band has taken strides toward cultivating a great sound that is better than I could have imagined. 

Thank you to everyone who has stuck with us in this new era of the Hillbilly Casino."


Videos: "Tow Truck" (live)   "Red On the Line" 


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The Chop Tops

Fabrikate 

(Swillbilly Music)




That this reunion for a 7th disc etches the bust-down, ball-of-fire foursome's coda is cause for downturned mouths. But, gloryosky. it's also (and more importantly) abrim with asphalt-scarring robustiousness. And when they do pull up short and wax reflective, it's only to again catapult into chord-chunked swagger. Forever in the elite.

Recommended: "Rastro De Muertos," "Fabrikate," "Dog House Blues," "Gallows Pole," "Pleasure Point," "Bucket of Blood"

Videos: "Fabrikate"   "Dog House Blues"


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Breakout

"No Time to Rest"   single

(Self-issued)




Their self-description ("Punk as fuck from Paris, France") blares the essential data, but the critical pen demands autonomous vent: Here handstands the out-loud exuberance that has always impelled important Rock'n'Roll, from Sun to CBGBs to a 15 year-old learning to bash an E chord at blinding velocity. Sneering guerillas of the avenues.

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Bloodsucking Zombies From Outer Space

Killer Klowns From Outer Space

(Schlitzer-Pepi Records)



2024 red-marble, 10" reissue of the 2009 flamboyant oddity. The funhouse door swings wide to a Dickies cover larded with spring-loaded sound effects beamed in on interplanetary rays. Churning and squalling amid kaleidoscopic, technicolor eccentricities on whirling treads is a stompalong reiteration of shock-icon Alice Cooper's 1989
"Poison" - with crooked incisors adrip. 

Limited to 500 units.

Recommended: "Killer Klowns From Outer Space," "King of the Cannibals," "Teenage Universal Creature," "Poison," "Tear Out the Guts"

Video: "King of the Cannibals"


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Sunday, January 5, 2025

The Blasters

Over There: Live At the Venue, London 1982 - The Complete Concert

(Slash/Warner Bros./Liberation Hall)



The early 1980s were heady times. Downey, California's Blasters, who had germinated at Ronny Weiser's Rollin' Rock, were at the fore of a roots-music rennaisance that, in the US, also included Robert Gordon, the Rockats, Ray Campi, and the Stray Cats. Brash reinventions of vintage modes were animated by the rumbustiousness of the CBGB's Class of '77, many of whose more significant alumni (like the Ramones and Heartbreakers) were yet on the loose.

The Blasters offered particularly Blues-based neo-Rockabilly, and may well have introduced genre stalwarts to fresh ears. (Big Joe Turner, Pete Johnson, and Otis Redding come to mind.) Phil Alvin threw himself body-and-soul into vocals that were (and still are) among the most distinctive in roots-music revivalism. Brother Dave's joyfully manic picking lent vibrance to already steamrolling projection; his gleeful tearing off of savage licks stole oxygen.

All players were equally vital to krackajack American Music. The fearsomely formidable John Bazz/Bill Bateman rhythm cell made for solid firmament from which feral cats pounced. Eminent keyboardist Gene Taylor proved himself a master of the ivories, never hitting a wrong note and augmenting matters with alive-out-loud eminence.

And the sax duo of stormer Steve Berlin and living legend Lee Allen made walls tumble down to the elation of all. Their wailing exertions lent hue and texture.

1982's Over There leapt up in it's birth year as marvelous testimony to the era's exhilaration. Now, Liberation Hall's expanded reissue reminds mightily.

Recommended: "This Is It," "No Other Girl," "Border Radio," "I Don't Want To," "Tag Along," "Walkin' With Mr. Lee," "I'm Shakin'" "Hollywood Bed," "Go! Go! Go!," "Stop the Clock," "Marie Marie," "American Music," "So Long Baby Goodbye," "Roll 'Em Pete," "High School Confidential," "These Arms of Mine," Keep A-Knockin'"

Videos: "Roll 'em Pete"   "I Don't Want To"


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Stray Bolts

L.A. Noir

(Bolts Records)



As was impressed by the trio's previous A Moth In the Glue, muscularity exercises in shrewdness. In quietude. It's always pleasurable to witness the adeptness experience produces. By not striving to awe, the men do precisely that.

Recommended: "L.A. Noir," "St. George Day," "It Ain't Whiskey (But It's Good)," "Reason Why," "Take a Chance On Me," "San Francisco Bay," "This Time," "Time Runs Away"

Video: "San Francisco Bay"


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Killer Tone Jones

Death Ray Radio

(Planet X Music)




Evincing all the ghastly accoutrements of a Roger Corman drive-in claw-freak extravaganza, Jones' latest stalks lunar-lit landscapes. The begetter twists six innocent strings into monstrousness that imparts unsettling emblems. And, his voice raspy and icily declarative, he intones tableaus of terror.

Recommended: "Death Ray Radio," "Formaldehyde," "Godzilla Rock," "The Model," "Tarantula Crawl," "Spiders," "Dead Stick," "Please Don't Touch," "The Reckoning"

Video: "Spiders"


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Les Moliners

"Trabajando Para la MCA"   single

(Beatclap)




Songs filled seam-to-seam with riffs that kill and carefree moxie have spurred dancing feet since the first Seeburg met a wall socket. "Trabajando Para la MCA" is of that family. Cleanly rendered bop sprints with personality, a circumstance made possible by rhythm slingers with ear-grabbing chops. And the tempestuous singer seems about to burst a vessel - while capturing all notes.

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