Album review : GLENN HUGHES / ROBIN GEORGE – Overcome
Cherry Red [Release date : 24.11.23]
Label wars resulted in the Glenn Hughes / Robin George 1990 album, Sweet Revenge, being confined to the dustbin of rock’n’roll history.
Until now.
Resurrected, remastered and retitled by the UK’s leading reissue label, Cherry Red, we’re now getting the opportunity to hear some compelling rock (and funk rock) from two seriously talented English artists.
They met up post Notorious, in George’s Cannock Studio, while he was recording a few tracks for his imminent solo album. Apparently Hughes liked what he was hearing and soon became part of the writing and recording process.
And so, what was to be a solo Sweet Revenge, became a collaboration between two immense talents, now titled Overcome.
In these days of mediocrity, where even the rock charts are full of nondescript uniformity, this is a breath fresh air. It’s not the best melodic rock album you’ll ever hear, but it aims high, and gets close to the target on most tracks.
Some powerful lyrical images, perfectly spliced with memorable music, bring the album to life immediately. Openers, the sparkling, chiming, faintly Proggy ‘Flying’ and the soulful title track, ‘Overcome’, which slips’n’slides through some old school, loose limbed funk rock grooves, are classy introductions. The latter is the perfect partner to the snake hipped, dance floor dazzler ‘I Want’.
Already we’re impressed, and wondering how bad must label relations have been that allowed this album to be shelved 20 plus years ago.
This is Hughes ten years before he washed the toxins from his system.
And yet, he sounds totally invested in the music, his voice unaffected by “self medication”.
The feverish funk of ‘Sweet Revenge’ and the more commercial, sharper ‘Machine’ are probably the picks on the album’s second half, each bookending the James Brown meets INXS song, ‘The American Way’, a neat rock/funk invention.
On second thoughts, maybe it was best waiting until now to release Overcome. If it had been released when planned, it would no doubt have been sucked into the cultural vacuum that killed off Melodic Hard Rock at the end of the eighties.
Timing is everything. ***1/2
Review by Brian McGowan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
And suddenly it’s the 1980’s and the New Romantics all over again, as Classix Nouveaux reform for the first album in 40 years.
Except that it’s not. The world has mercifully moved on and the reformed band explores the notion that both they and their extant audience have matured.
The result is a well balanced and polished album that cleverly straddles the past and present. It’s a significant point given Classix Nouveaux were a band that enjoyed worldwide success in the 80’s, apart from in the fashion conscious UK.
Musically they still rely on relentless synth beats, electro pop and funk influences and pulsating grooves, helmed by Mik Sweeny’s aching fretless bass.
What’s new is the increased presence of Gary Steadman’s guitar work and B.P.Hurding’s huge drum sound, while Sal Solo’s warm and comforting vocals effortlessly hover over percolating beats and lilting melodies.
The band pursues new musical directions by pushing the balance between traditional and electronic instruments slightly more in favour of the former.
The opening track ‘Prelude/Fix Your Eyes Up’ immediately sends out a statement of intent, as it reinforces the meaning of the band’s name by drawing on the past to reshape the future.
They open with swirl of psychedelia, a potent tabla break pulsing synths and a funky rhythm guitar break, which ushers in a wall of sound to evoke the ghost of Ultravox.
Sal’s opening vocal shifts from the sinewy to the effortless on the kind of aspirational chorus that will surely extend the band’s appeal to both old new fans alike.
The title track ‘Battle Cry’ is a sharply contrasting galloping Celtic stomp, which if denuded from its synth driven sound might even have been a folk song.
There’s a change of direction on the emotive ‘Wretched’, which adds an esoteric vocal collage and an eerie electro vocal plug-in.
There’s also a beautiful realised moment when a groaning synth note melds into Sal’s falsetto. His processed voice sounds not unlike Morrissey in the way it evokes lyrical introspection and vulnerability: “I am wretched, I am hopeless, who will rescue me, I’m wretched I am helpless who will set me free.”
The shimmering guitar tones and layered sound also reminds me of The Blue Nile, which brings me back to the updated version of the band.
The band’s synth driven New Romantic antecedents lend themselves to contemporary electronic beats, updated by a slightly more edgy rock direction, as evidenced by Gary Steadman’s resolving guitar solo on ‘Wretched’.
More significantly they embrace a refreshing broad musical sweep, especially on ‘My Final Symphony’.
There’s a singular Eno style drone and an electro collage which sounds like orchestra tuning up. Then out of nowhere comes a metallic synth beat, a drum break and more feverish beats, which confusingly drop down into a mid tempo ballad.
It takes a while to overcome the dichotomous booming rhythms and more considered vocal parts, but a piercing synth solo, clanking beats and a spiralling guitar solo takes the song home and illuminates the band’s updated style.
They extend their oeuvre into proggy elements on the acoustic driven ‘No Do Overs’, on which Sal sounds like Caravan’s Pye Hastings. There’s also a magical moment when the glossy production cleverly melds his vocal into an oboe solo, while an unexpected big string arrangement helps fatten the melody as well as complementing the vocal.
The intricate production pulls together a myriad set of influences as they broach prog again on ‘Colour Me The Sky’.
Opening acoustically, the song melds muscular rock with electronica, poetic imagery and a big choral finale.
The chorus also has a passing resemblance to the hook of Roger Chapman’s ‘The Drum’ from his 80’s ‘Techno Prisoners’ album.
Long time fans will be drawn to ‘Revelation Song’. It’s topped and tailed by a transatlantic spoken poetic word intro and is glued together by a chunky rhythm section, a coruscating synth riff (think Ultravox again) and electro squalls, as Sal revels in biblical imagery.
The booming sound wraps itself round double tracked vocals before a partial break-down announced by booming tom-toms and some trumpet led orchestration. There’s a belated return to the shrill synth riff and a Steve Hillage sounding guitar led outro.
The slick production cleverly segues into the funky revisits of ‘Never Never Comes’, in which Sal evokes Japan’s David Sylvain.
The newer version sounds much warmer, slightly less frantic and certainly less cluttered, though annoyingly the up-in-the-mix beats replace the original potent synth riff in the hook.
You can almost forgive the band for the resurrected ‘Interlude/Inside Outside’. It’s given a more relaxed arrangement with a greater emphasis on the voice and percussive backing, but it still manages to sound like the most retro track on the album.
No matter, this is an album full of strong songs given their purchase by a subtle production which lets the material breath.
There’s enough lyrical and sonic depth to update and broadened the band’s original template of melodic electronica. They further incorporate a rockier edge which is frequently flanked by eerie backing vocals.
And right at the centre of the musical maelstrom is Sal Solo, a beguiling vocalist whose evocative phrasing and versatile timbre amplifies his songwriting abilities and benefits from a rich production and crisp mix.
In sum, the songs refreshingly look to the future, the melodies draw you in, the guitar parts always serve the song and the electronics provide sparkle.
They say absence makes the heart grow fonder and this album admirably fills the void by being an eloquent step into the future. ****
Review by Pete Feenstra
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Three were a short-lived prog supergroup, featuring keyboard player Keith Emerson, drummer Carl Palmer (both ex-Emerson Lake & Palmer) and American bassist/vocalist Robert Berry, formed after the dissolution of Emerson Lake & Powell.
Under the moniker of ‘3’, they released one album ‘… To The Power Of Three’. Some excellent tunes with a modern feel, given an unfairly poor rating at the time due the more commercial nature (Palmer had previously recorded with the commercial pop/pomp/prog/rock band Asia). Whatever the press said, it is a wonderful album well worth checking out. Just don’t go expecting the music of 15 years previous, the band had moved on.
The tour produced a few highlights, and two live albums. This one, originally issued on CD in 2017, now gets a vinyl release. And what a lovely package it is. The original release was a double CD, so the set is edited a little for vinyl.
The opening number Fanfare For The Common Man always pleases, it is true to the original ELP riff in the main, but there’s a prog/pop noodle in the middle, and a lovely take on Hoedown, the only ELP composition in the set. Several tracks from the Three album, which dominate the set, and the commercial feel is really quite more modern than the 70s prog material. Proof of now good the material was, even if it didn’t fit with prog fans of the time.
There’s the Emerson solo track Creole Dance, and surprise inclusion is the Four Tops number Standing In The Shadows Of Love. Different, but it works.
The set finishes with two lengthy medleys, first America/Blue Rondo A LA Turk/drum solo/Fugue In D Miner (so there’s a solid The Nice touch), and Eight Miles High/Peter Gunn (the former a Byrds track, recorded on the studio album, and Peter Gunn Theme once covered by ELP).
The group disbanded soon after, with Emerson Lake & Palmer reforming a year or two later, and Berry resurrected the name as 3:2 more recently too.
Three virtuosos, the direction may not be everyone’s direction, but still worth a listen.
As long as you’re not expecting an Emerson Lake & Palmer live album, there’s lots to love here. ****
Review by Joe Geesin
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review : STATUS QUO – Official Archive Series Vol 2
earMUSIC [Release date 24.11.23]
World leading experts at mining their own back catalogue, Status Quo stake another claim with SQ Volume 2 (2 CDs/23 tracks).
It’s a 2012 gig, recorded live at the O2 Arena, on the “Quo Festive” tour.
In recording technology terms, that means it’s relatively new. And the sound quality is what it should be. Not pristine, not fresh off the shelf, but a little bit lived in, and yet there’s a machined precision to Quo’s delivery that emanates sparks, steam and kinetic energy.
It adds up to taut, tense and terrific entertainment, the type that provokes just-can’t-help-but-grin impulses.
When they crank up the guitars and amp up the bass and drum, the temperature rises and adrenaline flows. Live, it’s all about timing and setlists, and Quo have experienced a gig or two.
Slightly different versions of 8 of the 21 songs across these 2 CDs appeared on SQ Volume 1, a recording from a live gig in 2010. Clear evidence that the band know exactly which songs are the audience pleasers. ‘Caroline’, ‘In The Army Now, ‘Rain’, ‘Roll Over Lay Down’, ‘Down Down’, and so on – are all primed to build on the momentum achieved by the previous song. Professionals at work.
Half and hour or so in, they launch the ‘Proposin’ Medley’ – an 8 minute blast through 5 tracks – that sets the arena alight. The band’s performance manages that difficult balance between rehearsed precision, and freewheeling, blood pumping performance.
Equally, the same could be applied to the band’s big finish, ‘The Christmas Medley’. As we were saying, it’s all about timing. ****
Review by Brian McGowan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: GRETA VAN FLEET – Wembley Arena, London, 14 November 2023
We’re always being told that rock, or at least classic blues based heavy rock, no longer appeals to young people and that limits the scope for the much needed new generation of bands to progress to mass market popularity.
Michigan based Greta Van Fleet, featuring a trio of brothers, are the exception to the rule, with a meteoric rise on both sides of the Atlantic, the speed of which has been controversial, not least because of their debt their sound owes to Led Zeppelin. But their last two London shows have been at Alexandra Palace and now Wembley Arena where a sell out crowd only boasted a few of us oldies with the majority both young and female. Having only seen them on a couple of support slots early on that journey to success, my interest was firmly piqued to see what the secret of that appeal was.
Curiously, there were two support acts, but both only allowed extremely short sets. I wanted to check Hannah Wicklund out as she was one of the rising names touted in the blues world a couple years back. She opened with new song ‘Hell In The Hallway’, but it was ’Witness’, beginning slowly with piano, but showing off her powerful voice when it got going, that was the first to really impress me. In contrast ‘Bomb Through The Breeze’ which ended a short set was heavier blues rock: her guitar solos were not long but had a raw and distorted feel in contrast to the smoothness often present in the genre.
I’d still be interested in investigating further as a short 20 minute support slot in this cavernous barn was not the best introduction. I later discovered her forthcoming album features a couple of the GVF guys playing and producing which may have explained her addition to the bill.
On the other hand I found the 30 minute set by main support Mt.Joy staggeringly dull. Whether indie rock or when exploring ambient prog or even lounge music territory, I found them a dreary dirge devoid of hooks and tunes, except when they briefly broke into covers of ‘Ain’t No Sunshine’ and Gnarls Barkley’s ‘Crazy’. They did improve as the set went on but despite being big enough to play the Roundhouse next year were simply not for me.
Greta Van Fleet opened with a lengthy piece of classical music before the curtain fell and the four band members posed in silhouette form at the top of a raised platform, as if in homage to Kiss. The stage set was certainly arena worthy but the lighting managed to render the band invisible for long periods with the overhead lights augmented by flashing neon at stage level.
Opening in impressive fashion with ‘The Falling Sky’, where he also played harmonica, and ‘Indigo Streak’, Josh Kiszska certainly sounded somewhat like Robert Plant but, combined with his elfin like other-worldliness, on the high notes he also reminded me of Jon Anderson, and when he roared in a lower register, there was even a touch of Noddy Holder. However just three songs in he spent large periods off stage as on ‘Lover Leaver (Taker Believer)’ must have gone on for over 15 minutes as the band went off into some freeform jamming.
They certainly carried off the big gestures needed for an arena show, evidenced by ‘Meeting The Master’ which saw brother Jake play an intro on acoustic guitar before switching to electric and both going out into the crowd on raised platforms.
With bassist and the third Kiszko brother Sam switching to keyboards (the John Paul Jones role, if you like) as he did with increasing regularity, the more commercial ‘Heat Above’ got the best reception yet, and was one of a number where early Rush was just as natural a comparison as Zeppelin.
Taking of the latter though, Josh was in the middle of a spoken intro when Jake crunched out the gargantuan riff to ‘Highway Tune’ which was more concise – though still broken up by some jamming- and got people going as perhaps their best known song.
There was then a drum solo from Danny Wagner, dreadfully dull and imaginative even by the standards of the form, to kill time as a small stage near the back of the arena was set up, sadly with the light little better even for those of us close by.
Initially just Josh with Sam on keys covered ‘Unchained Melody’ before Jake and Danny joined on acoustic guitars for ‘Waited All My Life’, reminding me again of Led Zep III or early Rush. Like the majority of the set, it was taken from the new ‘Starcatcher’ album but a trip back saw ‘Black Smoke Rising’ clearly treated by the fans as one of the band’s anthems.
Back on the main stage ‘Fate Of The Faithful’ was a long jam with a discordant guitar solo from Jake, and a lengthy solo slot from the latter preceded a very impressive ‘Sacred The Thread’, Josh prowling the stage in white papal- style robes. ‘The Archer’ ended the main set with what seemed like an interminable guitar solo. There was no questioning Jake’s technical ability, but a rather jagged and scratchy sound lacked the tone, soul and melody I personally prefer from my guitarists.
The length of the jamming and noodling made me even more puzzled why they have struck such a chord (pun intended!) with a younger generation especially as we always hear these days about their concentration span having being eroded by the digital age. Having spent a full two hours and played just 12 songs by my reckoning, time constraints forced them into two rather more concise encores.
There was a mass waving of phone lights to the ‘who- oah’s of ‘Light Your Love’, Josh’s voice soaring high on a mid tempo song with perhaps more of an indie-friendly crossover and virtually the only song with a vibe from anywhere after the early seventies, followed by the fittingly entitled but dull ‘Farewell for Now’.
Ignore the naysayers – GVF are certainly ready to put on the spectacle required to successfully carry an arena show. Yet with a couple of exceptions the songs are not particularly accessible, and combined with the lengthy jams, I was surprised they have attracted the fan base they have. It was an interesting and informative evening to find out what the fuss has been about, but I left feeling that particular itch has now been scratched.
Review and Photos by Andy Nathan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review: JULIANA HATFIELD – Juliana Hatfield Sings ELO
American Laundromat Records [Release date 17.11.23]
Juliana Hatfield has been making music since 1986, which has included a stint in the Lemonheads, along with numerous solo albums since 1992 and this, her third album of cover songs, following on from tributes to Olivia Netwon-John in 2018 and The Police in 2019.
As to why she chose the music of ELO she says, “ELO songs were always coming on the radio when I was growing up. They were a reliable source of pleasure and fascination (except for “Fire On High” which scared the heck out of me). With this album of covers I wanted to get my hands deep into some of the massive ‘70’s hits but I am also shining a light on some of the later work (“Ordinary Dream” from 2001’s “Zoom” album, “Secret Messages” and “’From The End Of The World”, both from the ‘80’s).”
Interestingly Juliana doesn’t mimic Jeff Lynne and ELO with strings, as she explains, “Sonically, ELO recordings are like an amusement park packed with fun musical games with layers and layers of varied, meticulous parts for your ears to explore; production curiosities; huge, gorgeous stacks of awe-inspiring vocal harmony puzzles. My task was to try and break all the things down and reconstruct them subtly until they felt like mine. Overall, I stuck pretty close to the originals’ structures while figuring out new ways to express or reference the unique and beloved ELO string arrangements.”
In true Jeff Lynne style Juliana Hatfield played all the instruments herself, bar drums and bass which were done by Chris Anzalone and Ed Valauskas. Of the ELO hits ‘Can’t Get It Out Of My Head’ is simply wonderful, giving the song a whole new lease of life. Like the original ELO songs, Juliana adds lots of layers and effects, such as the off the hook phone signal on ‘Telephone Line’ or the gentle guitar and vocal arrangements on ‘Strange Magic’.
As a lifelong ELO fan Juliana’s version of ‘Ordinary Dream’ is better than the original – sorry Jeff! This and ‘Bluebird Is Dead’, are not obvious choices for ELO covers and the more obvious ones of the likes of ‘Mr Blue Sky’ and ‘Diary of Horace Wimp’ have been avoided, which strengths the album’s selection.
Loving the drums on ‘Don’t Bring Me Down’, where this version goes less on the original’s bombast, although those divine harmony vocals on the chorus are still kept. ‘Secret Messages’ is played with more speed than the original, stripping it off the original’s electronic 80s sound.
Proof, if any were needed, that ELO songs are timeless and Juliana Hatfield really puts her love and passion into these versions she has recorded. Hopefully it will introduce a new set of listeners to the ELO originals and provide further exploration of her extensive back catalogue (the Police covers album is a good starting point). Pop perfection. ****
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review : Looking For The Magic (American Power Pop in The Seventies 3CD boxset)
Cherry Red [Release date 17.11.23]
American Power Pop In The Seventies found what it was looking for numerous times.
Something of a cliché, but you could almost stick a pin in the chronologically curated tracklist of this 3 CD anthology and come up with “the magic” time after time. Eric Carmen, Nils Lofgren, Jonathan Richman, Sparks, Television, The Babys, Cheap Trick, Marbles, The Ramones, The Cars, The Raspberries and on and on. You really can’t go wrong.
It would be impossible to cover all of the remaining fifty plus artists. So we picked half a dozen at random. Each has a solid gold pedigree, sometimes in singles/albums sold, sometimes in reputation.
The Power Pop term may be a loose fit, but these six share an element of genre’s basic circuitry :
Andrew Gold
Ian Lloyd
Alex Chilton
Badfinger
Utopia
The Knack
Andrew Gold enjoyed considerable success with Wax, the duo he formed with Graham (10cc) Gouldman, and as a solo performer. His worldwide hit ‘Lonely Boy’ is here. He was a sought after producer in the years preceding these hits, writing, producing and performing on the early albums recorded by Maria Muldaur, Linda Ronstadt, Rita Coolidge and Carly Simon. ‘Lonely Boy’ was no lucky strike.
Ian Lloyd was the backing singer to the stars, his fame in providing vocals to the likes of Foreigner, Mick Jones, Bryan Adams and Peter Frampton grew exponentially in the Eighties. All this on the back of the work he did with his band, Stories. The Ric Ocasek song ‘Slip Away’ was written for the Cars’ Candy-O album but missed the cut. Lloyd grabbed it quick and put it on his 1979 solo album, Goosebumps. It is featured here.
If any singer worked hard to avoid fame and fortune it was Alex Chilton.
Even when fronting Big Star, never mind recording his solo stuff, commercial material was never the priority. Power Pop was only just getting off the ground in the early 70s, and so Chilton’s wonderful, much covered ‘She Might Look My Way’ was never a contender. It’s here though, on CD1, sandwiched between Jonathan Richman and Eric Carmen, so to speak.
Oops, we were planning to talk about Todd Rundgren’s groundbreaking band, Utopia; the much lamented Badfinger, and “nine months in 1979” sensations, the Knack. But we’ve run out of space. We have to be satisfied in referencing little known Power Pop hitmakers, like Blue Ash, Dwight Twilley, The Flamin Groovies, Robert Johnson, The Rubinoos and dozens more. They are all here. ****
Review by Brian McGowan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
‘Point of No Return’ is the debut release British/Danish singer Michael Catton (formerly of Tainted Lady). He is joined by renowned producer and guitarist Soren Andersen (Glenn Hughes), Chris Catton (keyboards, backing vocals), Michael Gersdorff (bass) and former Pretty Maids drummer Allan Tschicaja.
“This album has been growing inside of me for the past 15 years, since I first got hooked on rock music as a teenager. The energy, the attitude, the bravado: all my influences rolled into a single album.” says Catton, who continues, “I wanted to make the album that I myself was longing to hear as a teenager. This is the album that has been missing from the record stores, the songs that have been missing from rock bar playlists, the passion that has been absent in so much music in recent years.”
The opening duo of ‘Faith’ and ‘Livin’ Lovin’ are proper hard rock anthems, that have the 80s influence Catton was after, with an added modern sheen to the production.
No prizes for guessing ‘Armageddon Again’ sounds like Def Leppard vocally, with a sizzling guitar solo from Soren Andersen. ‘Gas on the Fire’ is another with Leppard touches and some glorious harmony vocals. Oh, and yet another sizzling guitar solo! It’s like the 80′s never went away. Steel Panther take note, this is how you do 80s flavoured hard rock.
There is of course a ballad, step forward ‘Never Say Goodbye’, where Catton gets to show his gentler side of singing. Plus we have ‘Brother’, one of those big production ballads that hits the spot with the vocals, keys and arrangement.
With a top notch set of musicians Michael Catton has achieved his aim of making an album that is missing from record stores and those that enjoy well played 80s styled hard rock. It’s nothing new, but it is done a whole lot better than many similar artists have tried in the past few years.
If you like melodic hard rock then grab a copy of Michael Catton’s album pronto as you’ll love it! ****
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
It’s only been twenty two years since Semisonic last released a full studio album (we had the EP ‘You’re Not Alone’ in 2020). Mind you, its not as if mainman Dan Wilson has been idle penning hits for the likes of Adele, Taylor Swift and more. As Dan himself explained about making this album
“My approach as an artist has always been to write from where I am now. It’s been two decades since Semisonic made a full record together, so it was interesting to write from the perspective of returning to the band and finding it inspiring but very different. I couldn’t help but think about the early days, about the formative influences that shaped and inspired us, but a lot of the songs are about the present moment in my life.”
Opening with the title track it is so wonderful to have a little bit of Semisonic musical sunshine back in our lives. Back in early 00′s this would have been a hit like ‘Secret Smile’. ‘All The Time’ is another hit single that will never be, complete with a sing-a-long chorus.
Semisonic have always had the knack of writing catchy tunes that straddle country, indie pop and rock with ease. ‘The Rope’ is a prime example and a song that will be on constant repeat and added to many a playlist for sure.
Little bit of country grit on ‘Out of the Dirt’, with Jason Isbell guesting on lead guitar.
‘Beautiful Sky’, with My Morning Jacket’s Jim James co-writer and co-vocalist on a song that sees the album out in fine style.
Bassist John Munson wrote and sings on the melancholic ‘If You Say So’, which looks back at their days of fame, brief as they may have been. Munson has a Tom Petty vibe to his vocals which make this song extra special.
So good to have new music from Semisonic, a definition of underrated music, and let’s hope we don’t have to wait another couple of decades for more music from them. The spirit of Tom Petty (‘Keep Me In Motion’) and classic pop songwriting runs strong through this highly enjoyable album. ****
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: RUSS BALLARD- Nell’s Jazz and Blues, West Kensington, London, 9 November 2023
As someone for whom the PRS cheques roll in every time his famous songs are played, Russ Ballard has no need to go out in tour for the money, so his newly prolific touring in the UK must be for the sheer love of music. This tour represented a swift return after a round of dates 18 months ago including a 100 Club headline. This time there was a rather disappointing attendance for such a legendary figure, the off central London location or low publicity doubtless paying a part.
Though his band was unchanged from my last sighting in the spring on the Rocknytt Cruise out of Stockholm, the setlist had experienced something of a shake up in the meantime. It opened with an Argent oldie in ‘It’s Only Money Parts 1 and 2’, featuring some splendid organ work from Marc Rapson, before Russ spoke of his pride in writing the only song that was a hit when the four Kiss members released their solo albums, tapping out with his shoes the distinctive glam beat to ‘New York Groove’ which, as with many of the songs, benefited from the backing vocals of a pair of terrible twins in bassist PJ Phillips and second guitarist Roly Jones.
The former took a rare solo on ‘Playing with Fire’ but the concluding one from Russ was a masterpiece of melodic fluency and he produced some equally good work on his Stratocaster with Swiss cheese-like holes on ‘Dream On’- his solo carrying the melody on a song that surely should have been a hit in someone else’s hands- and again on the atmospheric ‘In the Night’.
Throughout we also got little homilies on his secrets of life and stories of the music, but he wore his fame very lightly. His voice is still in fine fettle, though occasionally he seemed to come in slightly late while fiddling with an earpiece, and he also looked in remarkably youthful shape for a man who has turned 78. Indeed my gig companion for the night jested he must be one of the few Tottenham fans who can actually remember the last time they won the league!
We then went from new to old as ‘Time Machine’ from his recent ‘Its Good to be Here’ album gave way to ‘Hold Your Head Up’ which notably warmed the crowd up, Marc’s proggy keyboards in particular. It was one of the few where Russ’s voice was straining and help was at hand when he summoned a fan from the front to briefly join in!
Introduced by an instrumental passage between Marc and Russ, ‘The Fire Still Burns’ was nothing short of majestic, then after he spoke of his youthful pride at writing his first hit single when Three Dog Night covered it, ‘Liar’ had an impressively dramatic arrangement. Particular credit went to drummer John Miller with his subtle contributions on the cymbals and tom-toms. Indeed on a kit much more minimalist than many of his contemporaries, more than once I found myself drawn to his work.
‘A Woman Like You’ was another new addition and epitomised the AOR friendly bent of this particular set, not least the stabbing keys. At this point my gig partner and I were relieved to hear the punchy ‘René Didn’t Do It’, relegated from being the usual set opener, even though it is far from the ‘punk’ song Russ claimed.
After playing a Scottish reel on guitar, ‘Since You Been Gone’ was another crowd pleaser, where it was interesting to hear his original variation from the all too familiar Richie Blackmore interpreting of the guitar solo. However, among a crowd of confirmed fans, the parping keys and big backing vocals of ‘Voices’ was equally enthusiastically received. Likewise ‘Two Silhouettes’, which Russ had initially been reluctant to play, thinking we might not share the Germans enthusiasm for stuff from the more AOR- flavoured 1984 self-titled album. The main set ended with a majestic ‘I Can’t Hear You No More’, its concluding jam even featuring some harmony guitar between him and Roly.
Sadly the medley of hits he has written for others was absent this time but in a fairly generous hour and 40 minutes there was just one encore, which could only be ‘God Gave Rock And Roll To You’, which saw people belatedly crowd the stage at the front. Most songwriters would be delighted to have written one such anthem during their careers: we were privileged this night to watch a master songsmith deliver scores of them, all while retaining a touching modesty.
Review and Photos by Andy Nathan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Hugely underrated Italian Prog Metallers, DGM, continue to provide reasons why they should be underrated no longer.
On their eleventh album now since the debut in 1997, they’ve seen the inevitable lineup changes that inflict themselves on most long lived rock bands.
That said, the current lineup has been in place since 2008. So there’s a strong sense of cohesion and unified purpose to the performances here.
When we reviewed the band’s last album, Tragic Separation (2020), we said: “stylistically, much of the album switches fluidly between genres.”
There’s not so much of that variation now. At least not in the music.
Lyrically, Progrock albums often find themselves trapped by a concept that ties them into meaningless repetition. It’s not a trap that DGM have fallen into with past albums, and there is no obvious concept here, other than the emotional moments we all try to manage, as in ‘The Sorrow’, ‘Second Chance’, ‘Journey To Nowhere’ and others.
The music is dense and intense. ‘To The Core’ and ‘The Calling’ place
great emphasis on bruising rhythms, emphatic axework and hard hitting choruses.
‘Find Your Way’ and ‘Dominate’ pack in elements of hard rock with a strong melodic focus, then fire out the result in a swirl of hardbodied, combative progressive metal.
Vocalist, Marco Basile, and guitarist, Simone Mularoni get the attention. That’s understandable, as they write the songs and provide the route finding, but in fairness to the others, the tracks have the rich feeling that music has when all the musicians are in the room at the same time. Very post pandemic.
Other notable tracks, like ‘Second Chance’ and ‘Neuromancer’ are a tight, solid mix of power metal aggression with vivid progmetal undertones, but it’s opener ‘Unravel The Sorrow’ that really stands out. It’s written around a classy piano melody and adrenalised chord shifts… a bit different and all the better for it. ****
Review by Brian McGowan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review: D’VIRGILIO, MORSE AND JENNINGS – Sophomore
InsideOut Music [Release date 10.11.23]
‘Sophomore’ is the aptly named second album release from the trio comprising three of the biggest names in prog rock, Neal Morse, Nick D’Virgilio and Ross Jennings. Their first album ‘Troika’, which was released in in Feb 2022, has been on regular rotation in my car since it’s release and still stands as a musical masterclass with harmonies and melodies so uplifting, they should be available on prescription as a real pick-me-up.
‘Sophomore’, then, has a lot to live up to and it only take a listen of the opening track ‘Hard To Be Easy’ to confirm that the same winning formula is present and correct. The joy of this trio is how well their vocal harmonies work together, they make it sound effortless and joyful which puts a smile on your face even on a cold, grey day.
‘Linger At The Edge Of My Memory’ is a slow builder with great guitar work from Ross Jennings and those distinctive, multi-layer vocals on the chorus. A couple of song’s were released from the album prior to the full album release date, and one of those was ‘Tiny Little Fires’. An up-tempo number with a catchy, underlying riff that will have you dancing along.
We then head into a country music vibe with ‘Right Where You Should Be’ with some atmospheric pedal steel guitar playing throughout. The pace slows then for ‘The Weary One’ which is a heartfelt song about loneliness and a cry for help, a position that is all too prevalent in today’s society. Beautifully paced and featuring a fragile vocal from Morse, this is a real highlight of the album.
‘Mama’ then brings things back to a more rocking pace with a great, dirty blues riff and an interesting breakdown on the chorus. You can really hear the collectives’ prog leanings in this one. The sunny good times then return with ‘I’m Not Afraid’ which bounces along on a jaunty guitar line with, again, melodies and harmonies that most bands can only dream of producing.
The pace then drops again for ‘Weighs Me Down’ which is a lament to lost love and heartache. A simple song which is elevated again with those harmonies and fantastic song craft, these guys know who to write and construct a track!
We then get a bit of Latino influence on ‘Walking On Water’ which hints at Santana in parts complete, with D’Virgilio on bongos and an excellent mid song guitar solo from Jennings. We are then treated to the other pre album released track, ‘Anywhere The Wind Blows’. This track should be listened to whilst driving the Pacific Highway, top down, in a convertible Ford Mustang. Uplifting, big and bold with a sunny disposition, this track perfectly encapsulates what D’Virgilio, Morse and Jennings are all about.
The album rounds off with alternative takes on ‘Right Where You Should Be’ and ‘The Weary One’ which are interesting to hear. They did the same on Troika with the song ‘Julia’ and I actually preferred the alternative to the finished article!
With the weight of talent and years of experience within this trio, suffering from that difficult second album syndrome was never really going to be an issue. The fact that they have again produced such an uplifting and perfectly formed collection of songs is testament to their ear for melody and harmony and their sublime song writing talents. This one is destined to be on repeat in my car along with Troika for the foreseeable future. *****
Review by Dave Wilson
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
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Show Of Hands, who have been around since 1986, are stopping touring “for an indefinite break”, after a trio tour this year (when Miranda Sykes joins them) and shows as a duo early next year. But the Show Of Hands duo of Steve Knightley and Phil Beer will still be involved in new musical adventures and perhaps after a break from their heavy touring schedule they might do a comeback tour?!
Whatever the future holds for the duo we have this double best of album ‘Roots 2′ to enjoy. The first volume is one of their bestselling albums. Most of the numbers come from the last four studio albums, including the trio Show Of Hands formed by adding Miranda Sykes, plus a couple of songs from the ‘Dog Show Sessions’, a live CD in collaboration with Track Dogs.
Hard to choose highlights in such a strong set of tunes. However, three are real stand outs for this reviewer. First up, ‘Next Best Western’, with Phil Beer on lead vocals on their version of Richard Sandell’s song. Miranda Sykes delivers a hauntingly beautiful vocal on ‘The Lily and the Rose’, which was recorded live at Exeter Cathedral and featured the Lost Sound Choir, who add an extra bit of magic. Lastly, ‘Mother Tongue’, with the Dhol Foundation’s Johnny Kelsi guesting on the song he co-wrote with Steve Knightly.
Okay, one more…’Columbus (Didn’t Find America)’, another live recording with Show Of Hands sharing a stage with Track Dogs. This performance alone shows what a great live act they are/were and has you singing along with gusto on the choruses.
If ever anyone ever wonders if folk music is relevant or nothing more than arran sweaters & tankards, play them this collection and they will be dissuaded of both assumptions. Show Of Hands have become one of the folk world’s finest acts and deserve their place alongside fellow folk group legends Fairport Convention, Steeleye Span and Oysterband. ****1/2
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: HRH XVI – Great Yarmouth, November 2-4 2023
So if Storm Ciaran had plans to disrupt HRH, they failed dismally, whilst the storm hit and disrupted lots of travel plans, impacting arrivals on Thursday, the HRH faithful turned up in their masses ready to rock out and party.
Looking at Thursday’s line-up, Warbirds were a new band to myself hailing from Melbourne, Australia, this three-piece were superb – new fans won over and now heading out on a few more dates in the UK, catch them while you can, you will not be disappointed.
Adam and the Metal Hawks were band I had looked forward to seeing, hoping that the same gusto from their albums would come across in their live set, I wasn’t disappointed! High energy, catchy baselines and all round bad ass with a lovely pinch of comedy from vocalist Adam
The set had a few covers included “Don’t Stop Me Now” and opening with the “Time Warp” but this didn’t detract from their original material, “Fine Line” “Backwards” and “I’m Done” were standouts. A band to check out.
Punk Rock Factory take well known covers and turn them pop punk! Their magical set included Disney covers kicking off with “just can’t wait to be king” from The Lion King, the HRH crew are dancing and reliving their childhood in the 90s with their covers of “power rangers” and “Pokémon” a complete wave of euphoria and nostalgia. High energy, great fun, with even die hard rock fans singing away, a wave of happy energy in the room.
Thursday Headliner, Phil Campbell & The Bastard Sons open with ‘Going to Brazil’ which sets the pace and for one hell of a set combining classic Motorhead, Hawkwind as well as new material off their latest album, ‘Kings Of The Asylum’ and the audience pleasing ‘Born to Raise Hell’. If the amazing solo by Phil Campbell in ‘Hammer and Dance’ is anything to go by, the album will be immense.
Not taking any prisoners when they chuck in a cover of the Sex Pistols ‘God Save The Queen’ and raising the level again with the crowd pleaser combination of ‘Ace Of Spades’ and ‘Heroes’ just as you think they can’t top it, they encore with ‘Silver Machine’ and ‘Killed by Death’ (anyone remember the quiz earlier when there was a reference to Bon Scott leaving AC/DC by death?) Phil Campbell & the Bastard Sons head out on tour now to promote the new album, they’re on fine form, perfect end Thursday.
One of the hardest working bands you could ever wish to meet, The Darker my Horizon did four sets (2 acoustic) over the festival, including opening Stage two on Thursday, this is no mean feat but factor in that their drummer, Russ is carrying a significant injury in the form of a ruptured ligament to his hand, and had previously played at SharkFest with his drumstick gaffer taped to his hand. It is no wonder he’s called Super Russ!
For TDMH their set of the weekend was when they took the main stage by storm on Friday afternoon, putting storm Ciaran to shame and raising the roof for an hour with a packed set – absolute highlights were ‘Waste of Oxygen’, ‘Closure’ (an audience request), the ever popular ‘Spit’ with trademark groovy rift. Closing out with ‘Still Alive’ the audience are eating out of their hands and to be honest, this is the best I’ve ever seen them – tight performance, great sound and spot on delivery including all the banter from frontman, Paul Stead. Crowd reaction was amazing and highly appreciative.
Next up for me was Ward XVI and for those who are uninitiated Inmates, this is musical theatre at its best I can really only describe them as an Alice Cooper stage show on acid, dramatic storytelling, combined with fine musicians and lots of props – some may find it a little dark, but you have to watch them at least once for the experience!
Crowley, I have to say as a huge supporter for women in music, these ladies have it all. With a goth/witchy aesthetic with a nice splash of classic rock, these ladies were ready to tear up the stage, and they did just that.
Ransom are on stage two, so not a pub band, Matt is a fantastic frontman and the band are on fine form as they belt out original classic rock, rousing the crowd and certainly drowning out any remnants of this storm. One crowd pleasing band delivery quality rock – sold!
Slackrr are a trio packing a pop punk punch and promoting mental health awareness, which was welcomed by some in the crowd, and it was a wholesome moment of comforting those who needed a little extra boost.
Quick switch to catch some of Hells Addiction’s set who were as accomplished as they’ve ever been delivering a quality set. They were followed by Killcode, who hit that stage and absolutely nailed it! Next up were Sasquatch, an interesting set to say the least, another one to check out a little more.
Closing Stage 2 were The Dead Amigos, the riffs were bouncing, the lead singer/ guitarist was fun, cheeky, and full of charisma. The whole musical vibe was classic hard rock with a very nice measure of sleaze.
Headliner, Tyketto pull out all the stops and deliver a high class set including newer songs too – they never fail to please.
Saturday stage one opener was White Tyger, on a rainy windswept day but what a way to blast any cobwebs away from the late night after show party with Killcode, what a cracking set with all credit to the lead vocalist, who was struggling with his voice prior to performance, you played and you delivered, way to go!
The Hot One Two opened stage two in an absolute ball of energy, bringing a very explosive, great fun set delighting the crowd, who frankly were eating out of their hands 2 songs in, making this one of my highlight sets of the weekend. That set Rocked!
Next up are firm favourites King Voodoo, having performed an acoustic set earlier in the day, they step up and bring the place alive with sublime, rock perfection delivered brilliantly to an enraptured crowd you can see loads of people engage. Another highlight set! Both of these bands have found an army of new fans – stage two is the place to be!
They’re followed by Birmingham trio, Daylight Robbery who despite some technical issues, they deliver a solid set with lead guitar Mark and bassist Colin sharing vocal duties, whilst Rob delivers the power on drums. Highlight Edwards No 8 (if you know, you know!).
Another three-piece follow, this time it’s Blitz from Nottingham. Again, some technical challenges with the lead guitar not been particularly clear, which is a shame as Kevin is blistering, they play on regardless and deliver with all the showmanship you’d expect a rocking set that wowed the crowd and had them singing along.
Now over to stage one to see Gypsy Pistoleros deliver their main set, frontman Lee is an absolute trooper, despite struggling with his voice since arriving at the festival, managed to deliver a blinding set supported by Kerry, who lends her voice in support while Crag and Shane deliver a belter of rock power to an enamoured crowd.
Their performance, the new material, the banter and just the sheer force of nature that is Gypsy Pistoleros means that they take HRH by storm and whilst you can’t label their style, it’s completely infectious and cracking fun, I really hope they make that Top 40 with their new album and give Taylor Swift a good kicking! If you’ve not seen them, check them out, you’ll love them.
On stage two is the upcoming trio, Muddibrook, they are so very different, and they are quietly coming up the ranks so catch them while you can.
The Saturday headliner, with the biggest Marshall backdrop only rivalled by Airbourne in recent years, is Yngwie Malmsteen, serving up one guitar aficionado with many decades under his belt to a packed audience of loyal fans. I expected a lot of guitar solos and very technical content. I wasn’t wrong, I think he’s marmite, but certainly the lovers were there in force.
Let’s talk about the unsung heroes of Hard Rock Hell, the bar staff, the security staff, the sound engineers, the lighting technicians, the photographers, the cleaners, all of whom worked tirelessly all weekend in quite tricky, weather conditions with great humour and a welcoming smile, frankly these people make all the difference to these events because if none of that stuff works, then the rest of it doesn’t go well so a huge appreciation post for all the supporting workers over the festival, you made it easy thank you
To Hard Rock Hell, there’s a saying from my childhood, “sticks and stones may break my bones, but words will never hurt me”. There’s been plenty of a negativity thrown your way and to your absolute credit, you just dig deep and carry on, supporting the live music scene, putting on those newer bands, and us, the music fans, we support you because these events are great fun, where people come together and have a good time, so thank you.
Long live HRH, long live new music, long live the people supporting live music and bands. Without festivals like these, new bands have nowhere to play or platforms to showcase their talents. We need HRH. We are a rock community; we are rock family.
Review by Karen Clayton and Lucy Denis
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Third album from rising Swedish AOR/Melodic Rock band, Care Of Night.
Vocalist Calle Schonberg, guitarist Ostrom Berg and producer, Erik Wigelius have shifted the band’s sound up several notches.
There’s a strong and welcome resemblance to Work Of Art in places, and maybe Bro Firetribe too. ‘Street Runner’s melodic urgency, ‘Melanie’s rushing pop immediacy, and ‘Tonight’ all fit.
And despite what you may have read, Schonberg doesn’t sound anything like Steve Perry. His voice has a tougher, lived in sound, more like Lars Safsund with a shade more grit. That gravelly undertone keeps these AOR songs anchored to solid ground.
The balladic ‘No One Saves The World Alone’ is the big (huge) “climate breakdown” production number. Musically, it moves through a haze of eighties’ sonic touchstones, Chicago and Johnny Hates Jazz come readily to mind.
We can hear strains of David Foster’s commercially minded production touch.
Surprisingly, there are two more ballads on the album. The band’s copy of the AOR blueprint must have got a bit blurry at that point. You can hear why they’re here. Chest swelling ballad ‘Half Of My Heart’, pumped up by a soaring arrangement, reaches for that awesome melodic moment, and just about gets there.
And ‘You’ve Been Right Here All Along’. This is soft rock with a hard edge. It could be a Peter Cetera song. Fabulous songwriting, with a distinctive, powerful score… the Wigelius touch. Schonberg takes the fragile quality of the lyrics and amplifies the emotions.
His voice is electrifying at times. He never under-commits. Even on the rockier tracks, like ‘Follow Through’ and ‘End Of A Chapter’, every word, every line is delivered with conviction.
One to watch. ****1/2
Review by Brian McGowan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: THE DUST CODA- Dingwalls, London, 28 October 2023
Rather more quietly than some of their other contemporaries in the New Wave of Classic Rock movement, The Dust Coda have been building a name for themselves, and 2023 has been a busy year, with a second straight top 40 album in ‘Loco Paradise’ and a slot on the second stage at Guns’n'Roses at Hyde Park show, which I had to miss, fearful of losing a hard-won decent viewing spot. However, combined with a surprisingly thorough and complimentary feature in Classic Rock, it all made it an opportune time for me to catch a headline show, having previously only seen them at a couple of festivals over the years.
This London show which closed the tour also gave me a chance to reacquaint myself with the support band Doomsday Outlaw who I last saw them many years ago supporting Graham Bonnet. At that time they were tipped for the top, then their momentum stalled for a while, but I noticed that this year’s album ‘Damaged Goods’ received some excellent reviews.
In the intervening years Phil Poole has grown his hair and toned down some of his mannerisms, but his powerful and soulful vocals remain the focal point, and among a number of line-up changes, lead guitarist Alex d’Elia, incongruously looking like a member of Cinderella or Dogs D’Amour, was an excellent player with a lovely tone. After opening with ‘In Too Deep’, ‘Turn Me Loose’ showed their style has evolved, with a distinctly lighter feel than I’d remembered them before, owing much to AC/DC, Aerosmith or The Quireboys.
‘If This Is the End’ was an impressive ballad while ‘Blues For a Phantom Limb’ and ‘One More Sip’ (Phil joking he had to be talked out of calling the song by its chorus ‘drink myself to death’) had a southern bluesiness as well as a darker lyrical slant. A recent single ‘Runaway’ also hit the mark while closer ‘Bring You Pain’ was rather more ragged but just as enjoyable. It was a short set but one that definitely piqued my curiosity especially with the shift in musical direction more to my liking.
With The Dust Coda playing to a two-thirds full Dingwalls, opener ‘Rock’n’Roll Paradise’ was a hard and heavy rocker, but also with a slow section and singer John Drake switching from his powerful primal howl to a falsetto. It was an illustration of how they are hard to pigeonhole, with blatant influences not obvious (also removing those easy short cuts we reviewers rely on!) and a variety of approaches even within a song, let along from one to the other. ‘Come the Night’ was another case in point with a lengthy quiet intro before the second half of the song burst into life.
However even on the more balls out numbers like ‘Limbo Man’ and ‘Jimmy 2 Times’, looking out from a balcony onto the pit nearest the stage I was struck how muted the crowd was, with few people even seeming to be singing along (and don’t get me started on those I heard loudly chatting). John had a gruff and no nonsense manner and the band lacked the showmanship (or, to their detractors, cheesiness) of contemporaries like Massive Wagons and Those Damn Crows to lift the crowd.
The new material formed the bulk of the set and ‘Love Sick’ was a piece of Americana closer to Blackberry Smoke and Robert Jon and the Wreck, albeit rocked up from on album, and ‘Streets’, written about the pandemic, was another reflective song. ‘Free All the Dancers’ rocked heavier with some Slash-like riffery from guitarist Adam Mackie yet still boasted another of those quiet codas (pardon the pun) that they seem keen on. ‘Since You’ve Been Gone’ (no not that one) again had a different feel with a yearning in John’s voice during a slow intro but eventually bursting into riffs with the intensity of Sabbath or early Rush.
In the latter part of the set the songs were more straight ahead turbocharged, garage inspired rock n roll, with ‘Call Out the Dogs’, then ‘Down in the Valley’, with a snatch of ‘LA Woman’, Adam taking on the task of namechecking band, crew and fans, and audience participation to which the crowd belatedly responded.
‘On Fire’ boasted another slow intro and a mighty, dark riff, and John showed with his solo that he is equally as capable as Adam as a lead guitarist. A treat for confirmed fans was a rarity in the equally aggressive, ‘Edge of the Knife’ before the gig closed with another fun crowd favourite in the catchy ‘Road to Hell’, Adam going to the edge of the crowd to pull some great low slung poses. It showed a directness that some of the more adventurous material had lacked.
It had been a mixed evening but the unusual and original mix of sounds confirmed my view that the Dust Coda offer a deeper experience and a longer exploration will pay its rewards.
Review and Photos by Andy Nathan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album number three from Honey and the Bear, the husband and wife duo of Lucy and Jon Hart. Like 2021′s enjoyable ‘Journey Through the Roke’, this latest album is based on Suffolk folklore and indeed ‘fret’ in the album title comes from an East Anglian term for a fog or mist coming in from the sea.
As per previous albums they are aided musically by members of Sam Kelly’s the Lost Boys Band – namely Toby Shaer (whistle, flute, harmonium, viola, fiddle), Evan Carson (bodhran, drums, percussion), Archie Churchill-Moss (accordion) and Graham Coe (cello). Another guest on backing vocals on two songs is Kelly Bayfield and her ‘Wave Machine’ album is another worth checking out.
‘Do You Keep It Underneath?’ is based on the 18th century Hadleigh gang, who were infamous smugglers and possibly the creators of the Black Shuck myth (the Darkness also tapped into this folklore!), where a killer black dog was stalking the moors. The harmonies of the Hart’s, along with Kelly Bayfield and a simple bodhran rhythm make for spinetingling listening.
‘Dear Grandmother’ is a moving song that looks at the deep connection between grandmother, mother and daughter. The theme of family is one that runs throughout much of the album, no doubt inspired by their raising of their daughter. The album closes with ‘Stay With You’, a song inspired by and dedicated to their daughter. Doubt many will listen to this and not have a lump in the throat or tear in the eye.
‘Over Land, Over Sea’ has an air of Sandy Denny in the vocals and arrangement. It could almost have been a Fairport Convention song from their Denny fronted days. The percussion on this one is simple, but very effective adding a lot to the song (as does the whistling!).
‘Over Land, Over Sea’ has an air of Sandy Denny in the vocals and arrangement. It could almost have been a Fairport Convention song from their Denny fronted days. The percussion on this one is simple, but very effective adding a lot to the song (as does the whistling!).
‘The Suffolk Hero’ sees Honey and the Bear add choral backing, courtesy of Pop Chorus, a Suffolk based feel-good contemporary choir. They add that extra bit of musical magic to a song based on Joshua Chard, an unlicensed pilot on Aldringham fens, who is thought to have saved over 100 lives at sea.
Elsewhere there is the jaunty ‘Finn’s Jig’, the moving ‘The Mighty Oak’…safe to say, there are highlights to be had on each song on the album and an album like this is a joy to review & listen to.
Honey and the Bear have done it again by succeeding in melding traditional songs and music with their own modern take on folk music and lyrics. It helps that their vocals complement each other perfectly and that they have top notch fellow musicians helping out as and when required. ****
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review : SECRET SPHERE – Blackened Heartbeat
Frontiers [Release date 10.11.23]
Blackened Heart is the tenth studio album from the EU’s Power Metal poster boys, Secret Sphere.
It’s also the second with original vocalist, Roberto Messina, who reunited with the band on 2021’s Lifeblood, after an 8 year absence.
Driving force, guitarist/writer/producer, Aldo Lonobile has again sharpened his songwriting pencil and fine tuned his skills at the mixing desk.
When we reviewed Lifeblood we commented that the album’s instrumental opener, ‘Shaping Reality’ “blurred the boundary between classical music and rock/ metal”.
This time, Lonobile leans back into his acoustic guitar in a Classical Gas moment, bringing an unexpected texture to the album’s intro.
It’s in total contrast to what follows. He’s not (and never has been) a musician who favours the slow burn. When he lights the fuse leading to ‘Bloody Wednesday’ and ‘Confessions’, a blitz of power metal, dark and operatic at the edges quickly follows, with the massed voices rising and falling as the drama unfolds.
Antonio Agate’s orchestrations add considerable depth to the music, giving songs like ‘Aura’ and ‘Captive’ a symphonic spin
Messina is right at home delivering on Lonobile’s theatrics, whether his voice is chewing the scenery (One Day I will) or soaring over the nearest mountain top, (Blackened Heartbeat).
We’ve not said much about the “Concept” here. The nature of the performance is such that the narrative from track to track is not easy to pin down. What we do know, with considerable certainty, is that the galloping beats, much wailing from the backing singers and scything strings of ‘Dr.Julius’ make it the album’s standout track by a considerable distance. ***
Review by Brian McGowan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review: FRANCIS DUNNERY – The Blues Of Tombstone Dunnery, Vol.1
Pete Feenstra chatted to Francis Dunnery about his blues album for Get Ready to ROCK! Radio. First broadcast 5 November 2023.
Francis Dunnery Music [Release date 15.09.23]
Francis Dunnery’s ‘The Blues Of Tombstone Dunnery Vol 1’ is a concept that goes back to the early 90’s, but he has only been able to explore it now on the back of his recent conversion to the blues.
Long time prog and It Bite fans may find it hard to understand, especially as he’s releasing a new It Bites album at nearly the same time as this blues release.
And yet you could argue it is less of a surprise when you consider his penchant for exploring new musical avenues.
Perhaps the biggest surprise of all is his approach the blues, which aside from his cryptic lyrics is rooted in old school Chicago blues.
He has talked about adhering to the blues genre template, so the task he sets himself is to step up to an already overcrowded plate.
And he successfully does so by completely immersing himself in the blues mystique, right from his clobber to his restrained and yet forceful guitar playing.
Better still he’s levered in a horn section to give his material an undeniable soulful feel, while at adding dynamic stabs, sonorous accompaniment and full blown solos.
He fronts his big band blues approach with a gritty vocal which at time asks much of his range. Happily he overcomes any potential obstacles with his passion for the material.
His blues template might be a very tightly structured and familiar vehicle, but it’s the way he attacks his own story telling narratives without a safety net that gives the album its edge.
True Dunnery fans might expect nothing less, but those blues fans previously unaware of his prog career might be pleasantly surprised by songs with enough of musical depth and lyrical twists and turns to engage even the most recalcitrant listener.
He opens in belligerent fashion with the archetypal divorcee lament called ‘She Left Me With The Blues’, on which his Albert Collins style biting tone rises above an ebullient horn section.
Such is the power and almost celebratory feel of the track, that it’s hard to imagine he’s actually in emotional if not financial pain.
The following sludgy ‘Poison Woman’ is a good example of how he takes an old blues theme and twists it inside out with a booming chorus: “Found me A poison woman, now I’m a poison man.”
He also cleverly contrasts his own stinging solos with an earthy horn section.
It’s a contrast he revisits, albeit with a much fatter tone over sonorous horns, on the deftly observed love song ‘Hard To Love Another Woman’.
On the jazzy jump shuffle of ‘Take My Joy Away’, he builds a subtle tension with call and response bv’s and his own phrasing, before belatedly resolving it with an almost conversational solo.
Then there’s gospel tinged ‘Don’t You Cry’ full of stinging notes and an animated vocal, on a good example of how he still manages to generate a lot of energy through a use of cool restraint and dynamics.
The album flows well mainly because of his ability to explore different musical genres within the blues genre, safe in the knowledge that the horn section will provide heft.
The big beefy riff-led soulful funky groove of ‘Boys Running Wild’ provides an unlikely but complementary backdrop to a very poignant social commentary song. It’s filled by big tones, grainy sax and electric piano, while he exaggerates his observations with elongated vowels over chirping bv’s prior to a sculpted solo.
Then there’s the ska inflected ‘Danglin Man’ with its early career Climax Blues Band style guitar and horn double lines, on a broken relationship song on which his sinewy voice reflects the bitterness of lyrics.
‘The Comeback Boy’ is the lead single from the album and rightly so, being an explosive stomp with intense edgy guitar, significant horn stabs, more bv’s and an unexpected gospel breakdown.
And if the plodding ‘My Whole Life’ feels a little like a filler, it’s counterweighted by the sublime ‘Blues Like Weather’, all tremulous guitar, soothing bv’s and an emotive soulful vocal, which perfectly illuminates his use of a meteorological metaphor.
In sum, ‘The Blues Of Tombstone Dunnery Vol 1’ provides both the album title, concept and image to a left field musical journey for a seasoned prog rocker and session player who is still searching for musical treasure.
Whether he’s able to drag his existing fans over to his latest musical adventure is open to debate. More’s to the point, existing blues fans will surely warm to an album on which old school blues is given a welcome shot in the arm by an album full of meaningful songs in a big band setting. ****
Review by Pete Feenstra
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Third album from Emily Wolfe, with her 2021 release ‘Outlier’ still getting regular plays by this reviewer. On this album Emily Wolfe wrote or co-wrote most of the tracks with bassist Evan Nicholson, as well as handling production duties for the first time.
As Emily herself commented, “Producing The Blowback is one of the most thrilling experiences I’ve ever had; I’d learned so much from past producers like Michael Shuman (Queens of the Stone Age), and I was ready. For me, this whole chapter is about owning your spirit.”
‘Silencer’ opens the album and it is far from that, being an in your face alt rocker. ‘Walk In My Shoes’ is a proper indie banger from its dirty guitar riff through to the catchy chorus. Glorious listening.
‘Road To Ruin’ gives Queens of the Stone Age a run for their money with that deep & dirty bassline. ‘Second Of Relief’ is another alt rock meets punk belter, which benefits, as does the whole album, from her production that allows the vocals and music a chance to shine.
It is not all fast paced as the dreamy pop of ‘Rock Bottom on a High Wire’ gives the album another dimension, as does the closing track ‘Can I Read Your Mind, Lover’.
Emily Wolfe supports the Gaslight Anthem on their UK tour next March and chances are she will make them earn their headline status each night, based on this album of punchy lyrics and music. Emily Wolfe is at her peak on ‘The Blowback’ which will be a hard one to follow but she has the talent to do so. Until then enjoy this forty minutes of aural bliss. ****
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: FAIRPORT CONVENTION – The Junction, Cambridge, 31 October 2023
They started off as a band in 1967 but now, more than ever, Fairport Convention are a family, the sense of community between not just the musicians themselves but the fans too something that’s vital and heart-warming. Eternally set squarely in the Folk Rock category, these titans of their genre have been leading lights on the scene since their inception but what shines through most of all is their soul.
In the comfortable setting of The Junction, the stripped back and acoustic four-piece line-up of Simon Nicol, Dave Pegg, Ric Sanders and Chris Leslie may have been shorn of drummer Dave Mattacks for this jaunt but still managed to make a joyfully ebullient sound. Truth be told, given the quality of the quartet’s playing, it’s difficult to know where to look anyway, the musicianship equally dazzling and it’s better just to be wrapped in the glorious sounds they make.
With the band perched on chairs, the venue’s usual barrier removed, and all the audience seated, there was an intimacy and directness that really drew in all those there, a gathering of old friends easy in each other’s company.
Harking back to the true, storytelling roots of folk, this telling of tales and painting of pictures didn’t need elaborate stage sets, fancy lights or high energy dancers to enchant, just the songs themselves. Given the length of their illustrious career, the selection was a cherry-picked confection that threw in classics, fan favourites and a few unexpected cuts that engaged and thrilled in equal measure.
The jaunty ‘Walk Awhile’ opened the set in fine style, it’s upbeat rhythms suitably celebratory and the flashes of fiddle from Sanders making it impossible for feet not to tap. The more introspective ‘Doctor of Physick’ slowed the pace a little, its enticing tendrils and atmosphere an enchanting combination before ‘Banks of the Sweet Primroses’ brought some blue-collar grit tradition hewn from an England decades past.
The moods were many, the kaleidoscopic hues a thing of beauty as autumnal splashes, Summer sun, sharp winters and the hope of Spring were displayed all through the medium of song.
Whilst some may argue, in its purest form folk is a collection of tales, real or imagined, that have spanned the generations as centuries old stories and characters still resonate with us today. Breathing life into all this is a fine art and one that Fairport have mastered with disarming skill, kings of the craft.
As always, the banter and stories between songs were either hilarious or informative, tales of UFO’s to introduce ‘The Year of Fifty-Nine’ and maritime love for ‘Lalla Rookh’ displayed both ends of the spectrum. Sanders is the biggest joker of the pack, his shaggy dog stories and dad jokes pouring forth in a constant stream but Pegg also got an equally big laugh when declaring that Fairport were “more metal than (Black) Sabbath” as he introduced the extraordinary ‘Festival Bell’. With no support act, it was a show of two halves, the first closing on a high with the foot stomping ‘Steampunkery’, Leslie’s mandolin playing quicksilver and breathless.
Another bubbling start in the shape of ‘Royal Selection No. 13’ got everyone nodding heads and moving feet, the party atmosphere returned before Nicol brought a beautiful and melancholy vocal to a shimmering ‘Power and Praise’.
Landlocked as their native Oxford is, this ability of Fairport’s to bring the salty sting of the sea air and the wonders of the coastal village in the mysterious ‘Portmeirion’ took all sitting in the warm confines of the Cambridge venue to the edges of the land and far into the watery waves.
Equally, the keening sound of Sander’s fiddle playing during ‘My Love is in America’ was a perfect accompaniment to the tales of love across the miles of the Atlantic from the Emerald Isles of Ireland.
Paying touching tribute to his fallen friend Sandy Denny, Nicol led the band in a stark but elegant take of her ‘Who Knows Where the Time Goes’, its fragile beauty sending goosebumps up arms as the four played the well-loved tune.
Driven by Pegg’s ever fluid bass playing adding a percussive edge, ‘Matty Groves’ closed the set with a flourish before an inevitable encore of ‘Meet on the Ledge’ sealed the night with communal singing and a joyful passion.
An evening to salve the soul and provide a welcome break from the troubles of the world, the music united generations and brought the Fairport family together again. Having touched thousands of lives over their five or so decades together, their legacy is assured and continues to grow for this band who can rightly be called National Treasures. Truly life affirming.
Review by Paul Monkhouse
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Feature: The GRTR! Grotto of Greatness – SAXON (November 2023)
The wheels of steel keep turning for the heavy metal masters, and have turned ever more quickly for Saxon in the millennium
Photo: Darren Griffiths
In April 2007 there was a reality TV show when Harvey Goldsmith hosted an attempt to restore Saxon’s reputation and standing. But, as Biff Byford told us in 2014, it was really a publicity stunt for the band and there was really no need for such promotion.
Indeed that has been borne out by a particularly productive “purple period” with the band producing solid, well received albums and consistently excellent live shows.
The band formed in 1979 and became pioneers of the New Wave of British Heavy Metal (NWOBHM). Long time fan and supporter Joe Geesin says “I honestly feel that Saxon have never released a bad album, and before anyone screams ‘Destiny’, check out the band’s cover of ‘Ride Like The Wind’”.
The start of the 1990s saw the band take a more rock’n’roll direction, with ‘Solid Ball Of Rock’. This introduced young bassist Tim ‘Nibbs’ Carter, a real character on stage and still in the band to this day.
When Geesin asked Nibbs about the band’s love of tea, he replied “Yes. I’ve nearly run out, I’m down to my last 150 bags. They like tea over there (Germany) but you just can’t get what you get here. Typhoo or PG Tips, or even your Tesco’s premium home brand. I take it over in its own fuckin’ ship”.
The band returned to a heavier sound with the albums ‘Dogs Of War’ (1995) and Killing Ground (2001).
Since GRTR! started in 2003 they have been a staple of many festivals (several captured on DVD or CD) and released eight studio albums (ten if you include the two “Inspirations” albums). The period has also been marked by countless reissues. The band also resolved a legal wrangle with former band members for use of the band name.
Another example of a band back in fashion in the millennium – quality always wins out – Saxon went through a leaner period like many contemporaries in the late 1980s (when they were dropped by EMI) and 1990s when they dipped in and out of heavier rock responding to perceived demand. Albums were, as a result, patchy and sometimes confusing but always interesting.
After the EMI deal, their manager was pushing the band to break America. Biff told Joe Geesin: “We had a three-album deal that EMI didn’t renew. We had a break and weren’t doing a great deal. I was renovating houses and selling them, and we did a live album. I was living in Lincolnshire and this promoter, Reiner Hansel, drove there, pulled up, and said that Virgin Germany wanted to sign us, and I said yes. We went back in the studio and it all really started again; Solid Ball Of Rock was a key album.”
The band then spent several years on German label SPV before moving to UDR, now Silver Lining, and continue to go from strength to strength.
Our first sighting of the band in the millennium was in August 2003 when they headlined the Bloodstock Festival. Reviewed by Ian Pollard and Jason Ritchie who noted “Saxon were again on fine form and for sheer classic metal you can’t beat them at the moment.”
In October 2004 Joe Geesin – a long time fan and advocate – witnessed a packed London Astoria“To say hotter than hell would be both clichéd yet a major understatement.”
Photo: Simon Dunkerley
We love playing live as this is really the right environment for Saxon. In addition to that, with record and CD sales reaching an all-time low, it is at live shows where the money is and if you want to be able to survive as a band you will need to be on the road as long as you possibly can.
Shows in 2004 and 2005 (including the Astoria gig) were celebrated on the 2006 release ‘The Eagle Has Landed Part 3‘.
On first listen the set isn’t immediately catchy as some of the 90s releases (such as Unleash The Beast) but give it a few spins and it all seems to grow on you rather well. ****1/2 Joe Geesin
The double DVD released in 2006 ‘To Hell And Back Again‘ featured footage of the recordng and promotion of ‘Lionheart’ together with live footage whilst Dogs Of War (1995) was reissued.
Joe Geesin’s next encounter was the launch showcase for the band’s ‘The Inner Sanctum’ followed by a gig at London’s Astoria in May when he noted that the venue was packed out on the evidence of the music not a TV reality show.
Photo: Andy Nathan
Doug and Nibbs are fantastic players – they’re always being slammed in certain quarters, being called faceless session musicians – I’m sure you know who I’m talking about without naming names – but that’s absolute bollocks if you pardon my French!!! The real fans love them! I’ve seen it! They are fully fledged members of Saxon!!!!
Like its predecessor ‘Lionheart’ Saxon have produced another album of classic metal. If you’re a lapsed fan this is well worth getting and if you’re new to the band buy it as well! Existing fans already know they are in for a treat! **** Jason Ritchie
I like the idea of doing something like ‘If I Was You’ because it feels like going out and buying a single, when I was 13 or 14 I was going out and buying ‘Never Surrender’, ’20,000 Ft’ and ‘Heavy Metal Thunder’. I think it stands up against all those tracks.
Saxon were paired with Motorhead on two tours, in June 2005 and November 2008 when in Joe’s words they “played a stormer” but:
“Sadly I was standing – not pleasurable with a toe infection that was literally left bleeding by the large number of blind imbeciles whose lack of intelligence would give Neanderthals a bad name who insisted on stamping on their way past. That said, Saxon lifted my spirits and are the epitome of Englishness, opening to the fanfare of ‘Jerusalem’ before flying into ‘Motorcycle Man’.”
The band and St.Georges Day have a special connection and Geesin reviewed their gig at London’s Shepherds Bush Empire on that very day in 2008.
You tour a lot, you play long sets, you’re active on stage and your voice is still good, what do you do to keep in shape?Biff: I don’t know, I’m just lucky I guess. I didn’t abuse myself when I was younger, you know, with the drink and drugs, so I’m getting the benefits now.
In 2008 Saxon ran a competition to find “The Riff King” with entrants supplanting their solo over the track ‘Live To Rock’. Ben Randall’s entry received a commendation.
Throughout the album Biff’s voice remains strong, whatever angle the band take, there’s something here for Saxon fans new and old, and for most metal fans. ***** Joe Geesin
In 2009 Saxon were celebrating their 30th anniversary. At their gig in November 2009 at Camden’s Koko Joe Geesin commented:
“Proof here that they have a stronger catalogue than most, and are both willing and able to mix things up. When you compare the 90s output to the likes of Iron Maiden and Motorhead, you’d have to go with Saxon, who don’t need to rely on early classics.”
There’s a lot of young kids getting into the music, and there’s a lot of older fans you used to be into us and Iron Maiden and Whitesnake who are coming along to see us again and bringing their family along.
There’s definitely a huge amount of people getting into it all right now (heavy rock). You see AC/DC and Metallica selling out in like 15 seconds, there’s a real resurgence. And not just here, across the world.
We’re going back into America, doing some great shows. “Battalions Of Steel” was number two on the College Radio playlist across America which was great, we’re getting a lot of airplay, a lot of people getting behind us.
There’s no egos in the band, which is maybe why we’re doing so well at the moment. It’s not like it used to be, and the whole band are getting recognition. It’s not just like focus on the singer, Paul Quinn, who I think is a really underrated guitarist, he’s getting in ‘Guitarist’ magazine, it cements the whole band thing.
A DVD was released in 2013 recording Saxon’s gigs at the Wacken festival in Germany 2004, 2007 and 2009. (Previously, the Chronicles DVD featured a 2001 Wacken show).
Photo: Simon Dunkerley
Over the years Biff Byford has guested on other artists’ albums including Avantasia (2013) and – in 2012 – Doro.
David Randall reviewed Saxon’s gig with Doro in May 2009:
On a roll, on a mission and nearly through with their UK tour. Fresh from his appearance in Paris on stage with Metallica, it’s time to re-evaluate Biff and the Band especially on the back of an excellent new album and spate of reissues. The Saxon star, or cross (?), is in its ascendancy again.
This was the best gig of the year so far, aided by an engaging frontman (‘no make up, just sweat and metal’) and a back catalogue most bands would give their tattooed right arm for.
They were also as tight as a sealed boxed set with Paul Quinn’s soloing more in evidence trading off the excellent Doug Scarratt and a rock-hard rhythm section of Nigel Glockler and Nibbs Carter.
Probably more than any other band in this genre, Saxon deliver on all fronts. Easily parodied perhaps, but I think it is Saxon who have the last laugh. Their songs are durable, dramatic when necessary, and they give renewed life to the noble art of headbanging.
David Randall
Photo: Noel Buckley
GRTR! writers cropped up in unlikely places and Mark Taylor reviewed the band at the Bang Your Head Festival in Germany in July 2009 when
“The amps were turned to ten and it didn’t matter if you spilt the pint of the person next to you: We were all unified by the strength of metal tonight.”
And in November Dave Hunter reviewed the band at the Hellfire 2 event in Birmingham. The following year the band played the inaugural High Voltage event.
Joe Geesin chatted to Biff at High Voltage in July 2010.
Trad British Metal at its best. And for those of you who can’t understand my constant raving about these guys, there are certain constants in life that NEVER change: the speed of light, the earth is round, the sky is blue, Saxon never put on a bad performance. Joe Geesin
Saxon have made a sure fire album album here, because it keeps the momentum of the last 2 albums without sticking to a formula, with strong nods back to the 90s metal and classic early 80s period. The balance is right, the balance is fresh. The band are tight, all working hard to stay on top of their game and it comes off. ***** Joe Geesin
I have had the pleasure of seeing Saxon live on numerous occasions in the past but it really feels like each new performance is more impressive than the last!
What makes them stand out from the crowd, apart from the sheer talent of each of the individual members, is their commitment to ensuring that attending a Saxon show is not only a truly enjoyable experience but is also ‘value for money’ and also their determination to remain an outfit relevant to the times.
For these reasons, it is no exaggeration to say that the age of tonight’s ranged from sixteen to sixty! I am not sure what the future holds for this legendary band, but I do know this: next time you see a new Saxon album being released or a new gig being advertised, do not hesitate – something that cannot be said for all bands these days!
Pete Feenstra chatted to Biff Byford in November 2011 prior to their UK tour promoting the ‘Call To Arms’ album.
Photo: Jeff Oram
A year later we reviewed Saxon with Judas Priest and then, in June 2012, Andy Nathan reviewed Saxon playing “at the ridiculously early time of midday” at Download. However the band played a tight 40 minute set and Andy observed: “Biff Byford, with his flowing grey hair and overcoat, has the look of an old sea dog these days but remains one of rock’s best and most endearing frontmen.”
Saxon have been on a bit of roll with recent albums and tours getting much acclaim. And this new album sees no let up at all. This album is to the last few albums what Dogs Of War did all those years ago – a real metal monster and it’s fantastic from the outset. ***** Joe Geesin
…we kind of lost that Spinal Tap element a little bit when Graham (Oliver) left and Doug (Scarrett) replaced him as a superb guitarist and eventually he also became a great song writer.
In 2013 Saxon was one of our most reviewed bands with four different sightings plus Steelhouse Festival. Andrew Lock in Leamington noted that the band frequently change their set list from tour to tour, whilst our Live Editor Dave Wilson in Glasgow hadn’t seen the band for a while but summed it up “a fantastic two hours in the company of one of metal’s most enduring and entertaining bands.”
Photo: Simon Dunkerley
Simon Dunkerley at the Nottinghan gig noted “The crowd was made up of all ages; from fans from the 70′s/80′s to new fans and it’s was good to see the tradition of ‘cut-off’ denim jackets filled with band patches still going as I saw a few nice new ones rather than the usual old faded ones.”
If only everything in life was as reliable as Saxon. You can set your watch by the fact the enduring Yorkshire stalwarts of the NWOBHM will be touring every spring, usually to coincide with St George’s Day.
And you can guarantee a top quality professional performance, and a set list with a perfect balance of new material, unexpected cuts from their lengthy career and, as the set wears on, the classics that those of us of a certain age grew up on.
Few bands are more consistent at delivering the goods time after time
Andy Nathan
Saxon are one of the enduring British rock bands who have consistently delivered the metal clad goods. This new album though offers something a little different in that the band have taken some of their well known classics and have reworked them to produce something fresh and new. **** Dave Wilson
Heavy Metal Thunder Live was released as a DVD in 2013 chronicling tha band ‘s history with documentary footage and live material. The CD Live In Germany 1991 was also available.
Photo: Simon Dunkerley
2014 opened with an unusual gig for the band in North Wales, and a small venue, The Tivoli. David Randall was suitably impressed: “Tonight was a chance to cherish and savour again one of heavy rock’s finest in a more intimate setting. In harder times, maybe more bigger bands will revert to smaller venues. It must have seemed a world away from Download or Sweden Rock for the band themselves, but quite wonderful nevertheless and – for a brief moment in time – maybe we had indeed re-captured a little bit of our mis-spent youth.”
The main original release this year was the live album ‘St George’s Day: Live In Manchester‘ a 2-CD set/DVD recorded on a traditional flag-waving day for the band and described by Joe Geesin as “a full and complete show perfectly performed and presented. It highlights why Saxon are widely considered top of their game, on record and on stage, 35 years after their debut.”
A 10-CD box set The Complete Albums 1979-1988 presaged the reissue campaign of 2017 when all the EMI albums were re-released. It will be plainly evident that the Saxon discography is complicated by the large number of reissues, duplication, and omissions. The “complete albums” set lacked some of the bonus tracks that appeared on the 2009/2010 remasters. Saxon Sleuth Geesin explains all in our review.
Photo: Paul Rodgers
Saxon played two big UK festival events in the summer of 2015: Rambling Man (July) and Hard Rock Hell (November) Of the former Dave Wilson was in no doubt: “This was one of the best Saxon performances I have seen and proved the guys were worthy headliners.”
2016 saw the release of a multi-CD/DVD box set covering the years 1991 – 2009. David Randall wrote:
The period in question may not be regarded as Saxon’s classic period by some fans. After the halcyon days of chart success in the late 1970s and early 1980s the band’s fortunes wavered slightly as they contended with a changing musical landscape.
In the 1990s the musical weather vane was pointing at grunge and Seattle rather than heavy rock and Barnsley. Even bands like Uriah Heep succumbed to the period and produced some atypical material as they rode the groundswell.
Edsel had already reissued most of the albums in 2016 – ‘Eagles And Dragons‘ – but this time on vinyl.
In the box set, ‘Classics Re-Recorded’ was originally released as a limited bonus with the 2001 album ‘Killing Ground’ and then as an extra disc with ‘Heavy Metal Thunder Live’.
Photo: Simon Dunkerley
A year later ‘Decade Of The Eagle‘ reflected the reissue of albums released in the band’s first 10 years (1979-1988). As Joe Geesin said “Saxon over and above every other rock and metal band have the quality and consistency of catalogue throughout their history to explore, and they do.”
Joe reviewed the first, second, third and fourth batch of reissues which charted the band’s progress from their debut to 1988′s ‘Destiny’. The comprehensive nature of these reviews reflects Joe’s authority and enthusiasm for the band over the years which has also extended to providing liner notes for several releases.
The reissues came thick and fast, also in 2017/2018 10 Years Of Denim And Leather 1990 captured the band’s July 1990 gig recorded for Central Television in Nottingham whilst ‘The CD Hoard’ is a 5-CD trawl though a selection of the band’s live performances.
The 2018 reissue campaign rounded off with a reissue of Saxon’s classic live album ‘The Eagle Has Landed‘.
Saxon first dipped their toes into rock’n'roll with 1991′s ‘Solid Ball Of Rock’, then into power metal a couple of years later.
Since the turn of the millennium they have embraced both, combined with nods to their roots and even symphonic and prog metal moments. The latter two are not so obvious here, but it’s a weighty mix and from the outset you know you’re in for some serious rocking. ***** Joe Geesin
‘Thunderbolt’ was subsequently released as a Tour Edition with bonus tracks and a mini-poster. Joe Geesin re-emphasised Saxon as a live attraction:
Saxon’s confidence in their new material. I saw Saxon 20 years ago and they played one track from their then new album, and that was a cover version; a few short years later they were regularly playing 5, 6 or even 7 from a new album. Saxon catalogue exploration and set list variation epitomises why I regularly turned down free tickets to see bands like Motorhead.
Photo: Iain Scott
The band rounded off a busy year on tour in October when Dave Wilson saw them in Glasgow:
Rocking hard and heavy has been Saxon’s bread and butter for their entire career and they do it with style.
Their latest album ‘Thunderbolt’ is a giant slab of unashamed heavy metal which proved that Saxon have lost none of their passion and are still a force to be reckoned with:the demand for classic rock and metal is as strong as ever and that, going into their 40th year, Saxon are still more than capable of bringing the heavy metal thunder to any stage!
The band’s momentum was halted for a time in 2019 – notwithstanding the release of a live album to celebrate the band’s 40th anniversary – with Biff Byford’s health scare and then of course Covid kicked in 2020-21. That didn’t stop the release of Biff’s first solo album ‘School Of Hard Knocks‘ in 2020.
!
A genuine work of passion, paying tribute to the artists that inspired them both as a band and as individuals, this is that most divisive of things, a covers album,done in such a way that brings their own feel to some of the classics of the past. **** Paul Monkhouse
The band came out of Covid with the album ‘Carpe Diem’. According to Biff Byford: “I had the heart attack back in September 2019, so things went a bit pear-shaped for the band. And then Covid hit two or three months later, but luckily, we started writing and recording this album before Covid.
We did the drums in Germany and we did the guitars in various places. I was doing a lot of writing while I was in the hospital bed, and we spent quite a long time writing and arranging the ideas that we all had. I do think it’s a very intense album, and maybe some of that intensity comes from the frustration of not being able to do anything in the Covid period.”
Saxon are at the top of their game with a … bollocks to Covid” work ethic to boot. ****1/2 Joe Geesin
The band made a triumphal return to the live arena in early 2022 when they played Hammersmith Apollo belatedly celebrating their 40th anniversary. Andy Nathan noted: “The last time was in 1990 but this was the final proof how they have worked their way back to popularity on the strength of delivering live every time.”
And further: “Combined with the atmosphere of anticipation and a set of generous length based on their crowd pleasers, I left thinking this must be my favourite of all the many Saxon shows I have seen over the years.”
In spite of personal setbacks (Most recently Biff Byford’s heart surgery although Nigel Glockler had left the band in 2002 to return in 2005) and not least the prevailing musical and economic climate Saxon have “seized the day”and consolidated a 40 year plus career. In 2022 it was announced that founder member guitarist Paul Quinn would stand down from live performances which will continue in March 2024 when the band tours the UK with Judas Priest and Uriah Heep.
Joe Geesin gives a personal view: I remember seeing Saxon live on the ‘Unleash The Beast’ tour, in 1997, the first to feature new and current guitarist Doug Scarratt. It was a small venue in Tunbridge Wells. An excellent album (there was never an issue with the music, only the press with it’s head up the backside of other trends), the venue was a sign of the band’s popularity in the UK.
That all changed at the turn of the millennium where the band have become darlings of the fans and press, with many a sold out show at Astoria (RIP), Shepherd’s Bush Empire and, more recently, The Roundhouse.
I remember one show in 2001 where their (surprisingly good) cover of ‘In The Court Of The Crimson King’ was one of the very few numbers from the then new album they played live. Roll on a few years to ‘Battering Ram’ and 6 of the new album’s tracks were played in a 22 track set. Biff Byford admitted to me that the band went through a period of not being so confident in their new material, and how much that had changed. And it shows.
During the 00s and 10s the band have embraced their newfound power metal heaviness with the band’s roots, and in places symphonic, blues, rock’n’roll and prog metal. Then we get to their most recent album ‘Carpe Diem’ (the covers albums aside), which is by far their heaviest yet. It was co-produced by former Sabbat guitarist Any Sneap, whose production credits include Testement, Megadeth and Judas Priest.
Since 1999 I’ve caught every Saxon show in London bar one (and that was a PR error), and between Get Ready To ROCK! and Record Collector Magazine I have interviewed the band about a dozen times, attending several album launches too, they’re a band that have been close to my heart for a long long time.
Since 2000 the band have been favourites of many a festival, and I remember a cracking performance on the Metal Hammer stage at the High Voltage festival, East London. There I got to meet Biff and Doug Scarratt, and their respective families, who were treating it as a day out.
The band are still very active, and Biff has just released the second Heavy Water album, with his son Seb, while BMG have just issued the 90s and early 00s material previously reissued by Demon.
Stallions of the highway indeed.
Story coordination: David Randall (with additional material by Joe Geesin)
Contributors: Joe Geesin, Dave Hunter, Andrew Lock, Paul Monkhouse, Andy Nathan, David Randall, Jason Ritchie, Yiannis Stefanis, Mark Taylor, Dave Wilson
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review: REMEDY – Something That Your Eyes Won’t See
S-Rock Music [Release date 16.12.22]
Remedy hail from Sweden, home of many a fine melodic rock and AOR band, and Remedy follow on in this grand tradition. The band’s line-up is Robert van der Zwan (vocals, guitars), Roland Forsman (guitars), Jonas Öijvall (keyboards), Jonas Dicklo (bass) and Fredrik Karlberg (drums).
They formed in 2022 and this debut album came out in December last year, a tough time of year to release a debut given that a lot of focus is on year end best of lists and streaming services musical year recaps.
For those after 80s influenced, riff led melodic hard rock, ‘Living On The Edge’ (got to love those stabbing keyboard riffs!), ‘Scream In Silence’ and ‘Stranger’ fit the bill, with the latter definitely having shades of 80s Europe and Skagarack. Loving the keys drenched ‘Marilyn’ which has a more modern feel, similar to Nestor and Eclipse. If albums like this had hit singles this would be the one.
The ballads…’Sundays At Nine’ builds nicely again featuring lots of keys and choral effects plus the obligatory guitar solo. ‘Lifeline’ closes the album and it is a gentler ballad with impassioned vocals and possibly the guitar solo of the album.
The music never outstays its welcome, which is key to quality melodic rock and not as easy as it sounds as the scene is awash with talented bands, but they lack the repeat play factor. Luckily, Remedy have produced an enjoyable, well produced debut and expectations are high for album number two. ***1/2
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Bon Jovi have released a new song ‘Christmas Isn’t Christmas’.
Caligula’s Horse release their new album ‘Charcoal Grace’ through InsideOut Music on January 26.
Sheryl Crow will release her new album, ‘Evolution’, on March 29, 2024 via The Valory Music Group, with ‘Alarm Clock’ released as the first song of the album.
DarWin have released a new song ‘Inside This Zoo’ which includes Simon Philips and Greg Howe amongst the musicians.
Fall Out Boy have announced a ‘Take This To Your Grave’ 20th anniversary reissue featuring two previously unreleased demos. Due on December 15 it will be limited to 5,000 copies on vinyl.
Firewind release their new album ‘Stand United’ on March 1 through AFM Records.
Ace Frehley’s new album ’10,000 Volts’ is pencilled in for a release in February. Much of the album was co-written with Trixter’s Steve Brown.
Gun have signed with Cooking Vinyl who will release the band’s latest album ‘Hombres’ in April 2024.
Steve Hackett releases his latest album (a concept album based on the rite-of-passage of main character Travla) ‘The Circus And The Nightwhale’ on February 16 via InsideOut Music.
Robert Hart releases his fourth solo album on January 26 via Escape Music, with the first song ‘Long Road’ available now.
Hawkwind release their 36th studio album ‘Stories From Time And Space’ in April.
Glenn Hughes (pictured) plans to record and release a new studio album next year using his current touring line-up.
Elton John has recently stated he has completed a new album written with Bernie Taupin.
The Killers release a best of, ‘Rebel Diamonds’, on December 8 via Island Records.
Kobra And The Lotus vocalist/founder Kobra Paige has released her first solo single, ‘Love What I Hate’, with her debut solo album released on April 5.
Lightning Seeds release ‘Tomorrow’s Here Today: 35 Years Of The Lightning Seeds’ on October 4 2024.
Lionheart release their new album ‘The Grace of a Dragonfly’ on 23 February on Metalville Records/Ward Records.
Molly Hatchett have released a new single ‘Firing Line’ ahead of their German tour dates in December.
Motley Crue guitarist Mick Mars has released the lead single, ‘Loyal to the Lie’, from his solo debut titled ‘The Other Side Of Mars’, which will be released on February 23.
Pallas release their new album ‘The Passenger’ on December 15.
Jim Peterik & World Stage release a new album, ’Roots & Shoots Vol.1,’ on January on Frontiers. The first single ‘Dangerous Combination’ featuring REO Speedwagon’s Kevin Cronin, has recently been released.
Spike’s Quireboys release their new album ‘Wardour Street’ next year and Thunder guitarist Luke Morley will appear on the album, as well as live shows by the band.
The Rods release a new album ‘Rattle the Cage’ through Massacre Records on January 12.’
Saxon release their latest studio album ‘Hell, Fire And Damnation‘ on January 19 via Silver Lining Music. The title track is out now.
Slade have released a Dolby Atmos mix of ‘Merry Xmas Everybody’ for the song’s 50th anniversary, along with a new accompanying video.
Sum 41 plan to release their new album, a double, entitled ‘Heaven :x: Hell’ in early 2024.
Thunder will release a live album ‘A Black Country Xmas’ on 17 November via Dodgy Discs. It was recorded at KK’s Steel Mill, Wolverhampton on 17th and 18th December 2021.
Tragik release their latest album, ‘Realm Angelic’, on December 20.
Khalil Turk & Friends release ‘Turkish Delight III’ next year through Escape Music. ‘City of Lights’, featuring on vocals Steve Walsh and Jerome Maza, has been released as the lead track.
Von Hertzen Brothers release ‘Live At Tavastia’ on February 16.
Voodoo Circle release a best of album, ‘15 Years of Voodoo’, via AFM Records on December 1.
Newly announced UK tours (2024 unless stated):
Air, Bellowhead, Cast, Crowded House, the Damned, Bruce Dickinson, Dirty Honey, Echo & the Bunnymen, Enslaved, Fairport Convention, Feeder, Green Day, Richard Hawley, Kaiser Chiefs, Lightning Seeds, Pixies, Spock’s Beard, Bruce Springsteen & the E Street Band, Squeeze + Badly Drawn Boy, Sting, Joanne Shaw Taylor, Tool, Paul Weller, the Wolfe Tones (Ire – farewell tour), Y&T, the Zutons,
Newly announced US & European tours (2024 unless stated):
Bryan Adams + Dave Stewart (US), Air (Eur), the Animals (farewell tour Aus), Buckcherry + Rose Tattoo (Aus), Coldplay (Aus + NZ), Creed (US), the Dandy Warhols (Aus), Earth, Wind & Fire + Chicago (US), Enslaved (Eur), Melissa Etheridge (Aus), Firewind (US), Foreigner + Headpins (Can), From The Jam (Aus), Go West + Nik Kershaw (Aus), Godsmack (US), Graveyeard (Eur), Green Day (Eur), Hagar, Anthony, Bonham & Satriani (US), Iron Maiden (US), Judas Priest + Sabaton (US), Lordi (Eur), Lynyrd Skynyrd + ZZ Top (US), Alannis Morissette + Joan Jett (US), Mr Bungle + Melvins (Aus), Pantera + Lamb Of God (US), Porno For Pyros (US), Queensryche + Armored Saint (US), Rage (Eur), the Rolling Stones (US, Can), Joe Satriani + Steve Vai (US), Scorpions (US las Vegas), Bruce Springsteen & the E Street Band (Eur), Staind + Seether (US), Tool (Eur), Tyr (US), U.D.O. (US), Y&T (Eur),
Firefest returns next year as a three day event between Oct 11th – 13th 2024 at the Academy 1, Manchester. Confirmed bands include Jelusick, Robin McAuley, Heavy Pettin’, Coney Hatch, Touch (original line-up), Overland (with WoA’s Robert Sall), Midnite City, Cats In Space, Kingdom of Madness, Jaime Kyle, Gabrielle de Val, Michael Bormann’s Jaded Hard and Edge of Forever.
Bearded Theory festival have announced headliner’s Jane’s Addiction, plus Sleaford Mods, Orbital, Dinosaur Jr (UK exclusive), Wargasm, New Model Army & Beans On Toast with more set to be announced. The festival takes place at Catton Hall in Derbyshire between May 23-26.
Isle of Wight festival (June 20-23) has announced its headliners - The Prodigy on the Friday, Pet Shop Boys on the Saturday and Green Day on Sunday. Also set to appear are Simple Minds, Keane, Suede, McFly, the Darkness, Crowded House and more TBA.
Download, June 14-16, has announced headliners Queens Of The Stone Age, Fall Out Boy and Avenged Sevenfold, as well as The Offspring, Sum 41, Corey Taylor, Royal Blood, Babymetal, Those Damn Crows and more.
Reading festival (August 21-25) have announced headliners for next year… Blink-182, Lana Del Rey, Liam Gallagher, Fred Again.., Catfish and the Bottlemen, and Gerry Cinnamon.
Jared James Nichols supports Mr. Big on their ‘The Big Finish Tour’ UK dates in March.
Postponed/cancelled gigs & tours
“It is with a very heavy heart that we have to announce that the upcoming U.D.O. tour of the US & Canada has had to be pushed back to 2024. This decision is due to an insurmountable combination of logistical, cargo, and rental equipment problems which make it impossible for U.D.O. to perform the shows as scheduled.”
The Rolling Stones debuted at number one in the UK albums with their latest album ‘Hackney Diamonds’. It is also the third highest selling album of the year to date in the UK. Not to be outdone, the Beatles final single ‘Now and Then’ is the UK’s fastest selling single of 2023, plus the biggest selling vinyl single since 2000.
Dolly Parton’s ‘Rockstar’ album debuted at number 3 on the Billboard charts selling 128,000 album-equivalent units. The album debuted at number 5 in the UK album charts.
A statue to mark Lemmy’s birthplace in Burslem, Stoke-on-Trent, to be created by local sculptor Andy Edwards, is to be submitted for planning permission.
HMV have re-opened on London’s Oxford Street, four years after their previous store when the group went into administration.
Blink-182′s latest album, ‘One More Time’, debuted at number 1 in the US Billboard charts.
Huey Lewis and the News have announced plans to bring a musical, ‘The Heart Of Rock And Roll’ to Broadway next year. The show had previously debuted in San Diego in 2018.
Spotify have announced songs will need a minimum of 1,ooo streams to qualify for royalties from next year.
In Through the Out Door…line-up changes
Chad Wackerman is the new drummer in It Bites FD, who record their new album in December at the legendary Rockfield Studios and tour the UK in January.
Guitarist Robert Sarzo has left Hurricane and he is replaced by Carlos Cavazo (ex-Quiet Riot).
Drummer Jay Weinburg has left Slipknot after a decade with the band.
The L.A. Maybe have undergone massive changes as they have parted with their singer Goliath Furr and changed their band name to the Bourbon Sons.
Original drummer Rat Scabies is back in the Damned according to Vive Le Rock for the band’s live shows being planned for 2024.
Former L.A. Guns and W.A.S.P. drummer Steve Riley
Original Stones Roses bassist Pete Garner
Former Dream Theater vocalist Charlie Dominici who sang on the band’s debut album ’When Dream And Day Unite’
Geordie Walker, guitarist in Killing Joke
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: LAURIE WRIGHT + THE MOLOTOVS, Underworld, Camden, 21 October 2023
A revolution is happening and there’s no stopping it. In a world full of conflict and corruption, it’s always been down to the youth to shake things up, their voices and music providing defining moments of change.
It’s a testament to just how strong this movement is that while established giants in the field struggle to sell out arenas, grassroots artists are seeing full houses and ever growing fan bases across the country as they progress from pubs to clubs and beyond.
Whilst the thrilling spirit of rock ‘n’ roll and the DIY ethos is strong, there’s a sophistication that manages to bring quality songwriting without losing any of the raw edges.
For the faithful crammed into Camden’s Underworld, this heady combination was cause for wild celebration and hope for the future as in an evening of great music, that spirit burned with retina scorching brightness.
Seemingly constantly on tour, The Molotovs are fast becoming one of the hottest bands in the country. It’s little wonder though, their boundless energy and ability to capture all the very best elements of Punk and New Wave has seen them win the hearts of minds of anyone who’s witnessed them.
There’s a visceral power here that taps into the primal and seeing the trio tear up the stage in a mix of snotty swagger and effortless cool is thrilling.
For a new band to be this tight is astounding and their youth gives them the stamina to pour their all into a packed set that sees the place erupt in a sea of constantly shifting bodies.
Launching into opener ‘Johnny Don’t Be Scared’, it’s impossible not to think of a nascent The Jam at their most feral, singer/guitarist Matthew Cartlidge in a sharp suit and feather cut as sister Issey Carts somehow exudes supermodel insouciance as she throws herself and her bass around, drummer Ice Dob’s powerhouse playing and feel way beyond her tender years.
‘No Time to Talk’ and ‘Satisfaction Guaranteed’ are New Wave whirlwinds and the touch of Ska in ‘More More More’ sees everyone dancing and with its irresistible chorus ‘Rhythm of Yourself’ has ‘hit single’ written all over it.
A quick, euphoric run through of Bowie’s ‘Suffragette City’ nods to the past before a sledgehammer ‘Come on Now’ and the Summery ‘Today’ close the set, headliner Laurie Wright joining them for the party.
Based on this performance alone, there’s no doubt The Molotovs are about to go supernova.
There’s a lot of love in the room for the main act tonight. Little wonder as Laurie Wright is a fighter, his story one of triumph over adversity and his peek into the abyss of addiction and dark paths preventing him from falling over the edge.
You get the feeling that to be standing here now, onstage with his band in front of a sold-out venue, means more than words could ever convey.
With a grin plastered on his face, there’s no doubting how hard he’s worked to get here and his strength and self-belief makes him someone you can immediately warm to. Stripped of any pretence or posturing, his honesty and genuineness instruct everything he does and his skill as a songwriter gives a real depth to his performance.
The night is already a triumph, the music its soundtrack as Wright and band kick off with the clarion call of ‘Rock & Roll Ain’t Dead’, the buoyant anthemic singalong shot through with blues, the blistering ‘Wings of Platinum & Gold’ deliciously ragged and driven by Keiran O’Keefe’s harmonica.
More blues sprinkles the frantic ‘Rockstar & the Fan’ and ‘Butterside Up Boy’ and ‘I’ve Cracked It’ are rambunctious enough to tear down walls, the latter’s wry refrain “it’s all about the money” a whip smart riposte. It’s not all knockabout fun though, the bleeding lyrics of ‘The Lodge’ that tell the tale of his time in rehab and piano ballad ‘Sentiment of Strength’ is a display of stripped back restraint and soul.
Giving these textures to his material shows just how savvy Wright is, his knack with a tune and lyric setting him out as someone to watch as he continues to refine his craft.
Highlighting this, ‘Easy Street’ presents itself as both fresh yet familiar, it’s almost Glam Rock Music Hall feel an amalgam of The Who, Elton John, The Small Faces and Bowie at their most playful and ‘The Pirate’ sounds like something Blur would put together on one of their really good days.
The night closes when The Molotovs join Wright and band onstage for a city block destroying run through of ‘West End Lover’, the electricity generated here enough to light up Camden for a week.
Truly a finish that captures the pure, world changing power of visceral rock ‘n’ roll better than a thousand arena shows, this was a “I was there” night that could become legendary. This fire is starting to blaze.
Review by Paul Monkhouse
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
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Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
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Facebook [Release date 20.04.26] Brick Briscoe, what a great discovery. Hands up who’s heard of him. One or two at the back yeah. So I’d never heard of him either, but I’m damned glad I’ve been hipped to him now. … Continue reading →
Cherry Red [Release date : 24.11.23] Label wars resulted in the Glenn Hughes / Robin George 1990 album, Sweet Revenge, being confined to the dustbin of rock’n’roll history. Until now. Resurrected, remastered and retitled by the UK’s leading reissue label, … Continue reading →
Cherry Red [Release date 17.11.23] And suddenly it’s the 1980’s and the New Romantics all over again, as Classix Nouveaux reform for the first album in 40 years. Except that it’s not. The world has mercifully moved on and the … Continue reading →
Wienerworld [Release date 24.11.23] Three were a short-lived prog supergroup, featuring keyboard player Keith Emerson, drummer Carl Palmer (both ex-Emerson Lake & Palmer) and American bassist/vocalist Robert Berry, formed after the dissolution of Emerson Lake & Powell. Under the moniker … Continue reading →
earMUSIC [Release date 24.11.23] World leading experts at mining their own back catalogue, Status Quo stake another claim with SQ Volume 2 (2 CDs/23 tracks). It’s a 2012 gig, recorded live at the O2 Arena, on the “Quo Festive” tour. … Continue reading →
We’re always being told that rock, or at least classic blues based heavy rock, no longer appeals to young people and that limits the scope for the much needed new generation of bands to progress to mass market popularity. Michigan … Continue reading →
American Laundromat Records [Release date 17.11.23] Juliana Hatfield has been making music since 1986, which has included a stint in the Lemonheads, along with numerous solo albums since 1992 and this, her third album of cover songs, following on from … Continue reading →
Cherry Red [Release date 17.11.23] American Power Pop In The Seventies found what it was looking for numerous times. Something of a cliché, but you could almost stick a pin in the chronologically curated tracklist of this 3 CD anthology … Continue reading →
Mighty Music [Release date 10.11.23] ‘Point of No Return’ is the debut release British/Danish singer Michael Catton (formerly of Tainted Lady). He is joined by renowned producer and guitarist Soren Andersen (Glenn Hughes), Chris Catton (keyboards, backing vocals), Michael Gersdorff (bass) … Continue reading →
Pleasuresonic [Release date 03.11.23] It’s only been twenty two years since Semisonic last released a full studio album (we had the EP ‘You’re Not Alone’ in 2020). Mind you, its not as if mainman Dan Wilson has been idle penning … Continue reading →
As someone for whom the PRS cheques roll in every time his famous songs are played, Russ Ballard has no need to go out in tour for the money, so his newly prolific touring in the UK must be for … Continue reading →
Frontiers Music [Release date : 17.11.23] Hugely underrated Italian Prog Metallers, DGM, continue to provide reasons why they should be underrated no longer. On their eleventh album now since the debut in 1997, they’ve seen the inevitable lineup changes that … Continue reading →
InsideOut Music [Release date 10.11.23] ‘Sophomore’ is the aptly named second album release from the trio comprising three of the biggest names in prog rock, Neal Morse, Nick D’Virgilio and Ross Jennings. Their first album ‘Troika’, which was released in … Continue reading →
Hands On Music [Release date 06.11.23] Show Of Hands, who have been around since 1986, are stopping touring “for an indefinite break”, after a trio tour this year (when Miranda Sykes joins them) and shows as a duo early next … Continue reading →
So if Storm Ciaran had plans to disrupt HRH, they failed dismally, whilst the storm hit and disrupted lots of travel plans, impacting arrivals on Thursday, the HRH faithful turned up in their masses ready to rock out and party. … Continue reading →
Frontiers [Release date : 17.11.23] Third album from rising Swedish AOR/Melodic Rock band, Care Of Night. Vocalist Calle Schonberg, guitarist Ostrom Berg and producer, Erik Wigelius have shifted the band’s sound up several notches. There’s a strong and welcome resemblance … Continue reading →
Rather more quietly than some of their other contemporaries in the New Wave of Classic Rock movement, The Dust Coda have been building a name for themselves, and 2023 has been a busy year, with a second straight top 40 … Continue reading →
www.honeyandthebear.co.uk [Release date 03.11.23] Album number three from Honey and the Bear, the husband and wife duo of Lucy and Jon Hart. Like 2021′s enjoyable ‘Journey Through the Roke’, this latest album is based on Suffolk folklore and indeed ‘fret’ in … Continue reading →
Frontiers [Release date 10.11.23] Blackened Heart is the tenth studio album from the EU’s Power Metal poster boys, Secret Sphere. It’s also the second with original vocalist, Roberto Messina, who reunited with the band on 2021’s Lifeblood, after an 8 … Continue reading →
Pete Feenstra chatted to Francis Dunnery about his blues album for Get Ready to ROCK! Radio. First broadcast 5 November 2023. Francis Dunnery Music [Release date 15.09.23] Francis Dunnery’s ‘The Blues Of Tombstone Dunnery Vol 1’ is a concept that … Continue reading →
Crows Feet Records [Release date 20.10.23] Third album from Emily Wolfe, with her 2021 release ‘Outlier’ still getting regular plays by this reviewer. On this album Emily Wolfe wrote or co-wrote most of the tracks with bassist Evan Nicholson, as … Continue reading →
They started off as a band in 1967 but now, more than ever, Fairport Convention are a family, the sense of community between not just the musicians themselves but the fans too something that’s vital and heart-warming. Eternally set squarely … Continue reading →
The wheels of steel keep turning for the heavy metal masters, and have turned ever more quickly for Saxon in the millennium Photo: Darren Griffiths In April 2007 there was a reality TV show when Harvey Goldsmith hosted an attempt … Continue reading →
S-Rock Music [Release date 16.12.22] Remedy hail from Sweden, home of many a fine melodic rock and AOR band, and Remedy follow on in this grand tradition. The band’s line-up is Robert van der Zwan (vocals, guitars), Roland Forsman (guitars), … Continue reading →
Bon Jovi have released a new song ‘Christmas Isn’t Christmas’. Caligula’s Horse release their new album ‘Charcoal Grace’ through InsideOut Music on January 26. Sheryl Crow will release her new album, ‘Evolution’, on March 29, 2024 via The Valory Music Group, … Continue reading →
A revolution is happening and there’s no stopping it. In a world full of conflict and corruption, it’s always been down to the youth to shake things up, their voices and music providing defining moments of change. It’s a testament … Continue reading →
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***** Out of this world
**** Pretty damn fine
*** OK, approach with caution unless you are a fan of the artist or genre
** Instant bargain bin fodder
* Ugly, just ugly
Photo: Simon Dunkerley
Photo: Simon Dunkerley
Photo: Simon Dunkerley
Photo: Paul Rodgers
