JONESY – Dopplegangbangers EP

For those yet to catch up with Canadian rockers Jonesy, here’s a quick recap. The band are loud, brash and often vulgar. When this works for them, it results in superbly trashy sounds that are hugely thrilling, despite their disposable nature. When the band misfires, they could be accused of just trying that bit too hard to shock, or perhaps just relying too much on an easy, crass aesthetic. They’ve released material that would challenge joke glam rockers Steel Panther in the rudeness stakes, and their debut album over-relied on the word fuck to make an impact, and yet, somehow, there also seems to be a reason to come back for more whenever a new recording appears. It could be terrible; it could be great. It’s a lottery – and in its own way, that makes everything seem even more exciting. Actually, exciting is probably the wrong word, but hopefully you get the point.

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FASTER PUSSYCAT – Like A Ghost / Pirate Love

Between 1987 and 1992, Faster Pussycat released a trio of major label albums that gained them a lot of very positive press. Between the trash-glam aesthetic of tracks like ‘Bathroom Wall’ and ‘Smash Alley’, the retro Stones-ish love of ‘House of Pain’ and hard funk of ‘Madam Ruby’s Love Boutique’, the band displayed a broad range of talents and influences, often only linked via Taime Downe’s distinctively scratchy vocal.

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REBEL PRIEST – Lesson In Love EP

Canadian rockers Rebel Priest made their first breakthrough in 2015 with a self titled album that introduced listeners to their world of sleazy riffs, combining elements of old school metal, bluesy rock and no-nonsense grubbiness. The following years saw the band sharing stages with Lordi and Diamond Head, and their work likened to AC/DC, Guns N’ Roses and Motley Crue, despite not always sounding too obviously like some of those legendary acts.

Their 2022 release ‘Lesson In Love’ continues their unashamed voyage through a world of dirty riffs, sleazy lyrics and – as you might suspect from a release with an arse on the cover, painted blue or otherwise – old fashioned rock ‘n’ roll attitudes. For those who loved them previously, the short four song assault will bring plenty to love; for those not enamoured with the retro rock sound and attitude, obviously, the chances of being won over are slim to none.

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VARIOUS ARTISTS – Oh You Pretty Things: Glam Queens & Street Urchins 1970-1976

There are few things as ubiquitous with the 1970s as glam rock. The first half of the decade’s music was shaped by David Bowie in his Ziggy and Aladdin pomp, Marc Bolan’s colourful pixie-like antics on Top of The Pops, and a run of stompin’ great hits from Birmingham’s finest, Slade. Mike Chapman and Nicky Chinn penned a truckload of hits for Mickie Most’s RAK label, making the music mogul’s yacht almost as famous as the acts themselves. In full leathers, Suzi Quatro helped pave the way for a generation of female rock stars and self-confessed “navvies in mascara” Sweet hadn’t “got a clue what to do”. On the artier end of things, there were Roxy Music’s appearances on the Old Grey Whistle Test where Bryan Ferry and company looked – and, indeed, sounded – like they’d been dropped to Earth by aliens and Sparks’ appearances between the likes of The Hollies and Wings on your favourite Thursday evening pop show had ability to frighten small children. It was very much a fertile time for new pop music.

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RATT – The Atlantic Albums: 1984-1990

Armed with the swagger of Motley Crue, the crunch of mid 70s Sweet and a bunch of great choruses, Ratt briefly became massive stars in the US during the mid 80s. With a couple of videos gaining heavy rotation on MTV and a best selling debut album, they were among the melodic metal/glam scene’s most successful acts.

None of that applies in the UK, even though Ratt got of lots of positive press from the rock magazines. With MTV Europe barely off the ground, they were without an outlet for their videos and a rock-averse radio system meant the singles got no real airplay. As a result, Ratt were unknowns outside of the keener rock fans’ community; the closest they came to a hit was having their second album scrape the top fifty of the album chart in 1985. It’s hardly a surprise that, for UK record buyers, most of their albums have spent most of their life in an out of print limbo. For those British fans, most Ratt discs – save for 1990’s ‘Detonator’ – were procured on vinyl, as cheap imports from cut-out bins.

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