In 2023, just at the point where the world was getting back on its feet having spent a few years knocked out by a global pandemic, the legendary Michael des Barres teamed up with pop/rock pianist Kris “Fingers” Rodgers and recorded a couple of excellent singles. Although, on paper, a union between the relatively young, relatively unknown musician and the veteran vocalist seemed like a slightly odd one, the contrast of styles and coming together of two generations actually worked. Both ‘Bounce Back Baby’ and ‘Soul Shake’ were brilliantly upbeat affairs that genuinely brought out the very best in both musical parties.
Unfortunately, an album was not forthcoming. Kris seemed to disappear a short time after, and Michael returned to his regular gig as a radio presenter, only taking a break from that to share ‘It’s Only Rock N Roll’ – a fun covers album, heavily weighted towards glam rock classics – in 2024.
Michael sounds similarly enthused on his 2026 single ‘Kiss Or Kill Me’. Against a hard edged riff blending the melodic end of garage rock with a pleasingly trashy late 70s edge, the vocalist throws out huge, natural notes that are a near perfect fit with the music in hand. The recording is solid sounding, but not too glossy; nor it is it lo-fi or in any way rough, fitting quite nicely with Michael’s previous work with The Mistakes, and against a very retro sounding hard rock riff, he curls a voice that, at this point, is immediately familiar. The verse has a decent energy, but it’s on the chorus where this recording really springs to life: slightly aloof backing vocals set up a big hook, allowing Michael’s louder voice to be the one that actually capitalises on the melody and sentiment, whilst huge, under-produced drums (courtesy of Cruzado’s man Rob Klonel) crash through with a real intent. For those not entirely sold on the sound or influence at that point, Loren Molinare of Slamdanistas fame soon steps forth with a shrill lead guitar break that pays homage to those old, great Johnny Thunders records, and in doing so, he provides Des Barres with the kind of musical partnership that isn’t just sympathetic, but wholly natural.
On the flip, ‘I Was Saved In ’64’ opens with a clean guitar and spoken verse, setting something in place that sounds as if it’ll really kick off once the drums and bass arrive. They never do. This is purely about Michael’s reminiscence; a love letter to the year and events that shaped the interests of the young man who had still yet to be seen by a mass audience in ‘To Sir With Love’. It’s rather minimalist, but his memories of clubs and “heroes with hair down to their shoulders” delivering sounds “louder than love” are delivered with purity and love. It’s fair to say this is a slow burn of a track; it’s unlikely to make an immediate connection with those who always want Des Barres to go off at full tilt, but they’ll love it in time. As part of a long playing record, this is the kind of performance that would only truly work as a closing statement, but when heard as part of a shorter listen here, it’s actually quite a pleasant distraction. …And released at a time where the world feels as if it’s falling apart, all distractions are welcome.
Both of these songs are entertaining, but ‘Kiss Or Kill Me’ is the real selling point. It especially captures the raw essence of Michael’s talent with a vintage sound that seems to bring an extra focus on how much he still loves performing. At this point, it’s likely the only people genuinely excited by a new Michael Des Barres recording are the long-time fans, of course, but it’s fair to say that with these tracks, those fans will have a blast.
January 2026