Gig review: ANA POPOVIC – Islington O2 Academy, London, 10 March 2023
The last vestiges of winter still had its cold tendrils curling around the country, falls of snow and a chill wind was everywhere, even in the midst of London town. Things though in Islington had rapidly heated up, the arrival of two of the hottest blues artists on the scene at Islington’s O2 Academy venue bringing a much-needed warmth and sunshine. With entirely different approaches, the industry veteran and young gunslinger both weaved their individual spells over the assembled throng, the ability of the medium to cross boundaries and moods effortlessly displayed in those few sacred hours together.
At just eighteen, British guitarist Toby Lee has managed to already pack a lot into his life after he became globally known following the viral video sensation of the ten-year-old prodigy paying tribute to BB King.
Having taught himself to play, his display of delicate touch and feel astounded many and opened doors with Joe Bonamassa calling him “a future superstar of the blues”. With two impressive albums in his catalogue already, its in the live arena that the fiery young talent is seen at his best and the stripped back power trio set up he has really suited his playing, letting it breath.
There’s a real touch of Stevie Ray Vaughn and Double Trouble in the chunky and dirty riff that Lee breaks into at the start of the set, drummer Max Williams and bass player Sam Collins digging deep into the groove.
As well as these Texas stylings, the heavy chops of ‘Time Ain’t What It Used to Be’ are electric, the pounding Williams gave his kit showing great attack and in contrast the Summery vibe of the nostalgic ‘Paper Aeroplanes’ gives the outfit the chance to show a more delicate touch.
Giving the Lieber and Stoller classic ‘Kansas City’ a twist that brought in elements of folk to start with and then unleashing a pair of scorching solos, the guitarist’s back arched as he was lost in the music, showed the young outfit free of fear, adding their own personality.
With the closing romp through of Jeff Healey’s ‘See the Light’, the short but punchy six song set drew to an end, leaving the crowd wanting more and it’s going to be fascinating to see just how the trio develop over the next few years, their star in ascendency.
With an already stellar reputation, Ana Popovic could be forgiven for resting on her laurels but you can’t imagine the Serbian born six stringer ever taking the easy route, her devotion to her craft an all-consuming thing. Inherently understanding that by surrounding yourself with some of the best musicians around you have to make sure you’re playing your A game.
Certainly, the guitarist exuded a peaceful confidence as she strolled onto the stage after the funky intro as it rolled into ‘Can You Stand the Heat’, smiling at the crowd before picking up her guitar and saying hello. There’s a natural ease to her playing, peeling off notes like she was born with this one purpose in life and her fiery solo a thing of perfectly controlled fury.
With the added firepower of Claudio Giovagnoli on saxophone and the trumpet of Davide Ghidoni, the big and brassy ‘Object of Obsession’ really swung and ‘Love You Tonight’ sparkled, Michele Papadia’s keys bring some nice additional hues that complimented Popovic’s fretwork.
All these elements added up to a glorious patchwork of big band sound that filled the hall with notes that converted the industrial interior of the Academy into a smoky New York City jazz club at its engaging, Friday night best during a sublime ‘New Coat of Paint’, the climax tumultuous.
Special mention should also be made of rhythm section Jerry Kelley on drums and Popovic’s long-time collaborator and bass player Buthel Burns, the two adding a rock solid and funky groove to proceedings, their playing on new track ‘Power Over Me’ walking the fine line between strutting and silky.
With her eleventh album, ‘Power’, due in two months the tour was a good chance to road test this new batch of songs and with the reaction given was universally favourable, each feeling like old friends.
As examples, the charged ‘Ride It’ dripped with a fun sensuality, the keys and guitar playfully caught up in a subtle dance and the slinky ‘Luv’n Touch’ had a delightfully delicate flow, the jazzy break and joyful lyrical bounce bringing to mind Joni Mitchell at her most buoyant.
Peppered throughout the set, the strident danceability of Stax and huge fun of 70’s funk kept things upbeat, ‘Strong Taste’ bringing a partly rockabilly hip-swinging shuffle as Kelly’s syncopated drumming made it impossible to not move your feet.
The party continued until the very end, ‘Lasting Kind of Love’ closing the main set driven by this wave of euphoria, the throbbing bass of Burns a visceral force that demanded you lose yourself as Popovic’s chops weaved expertly through the whole like a golden thread in a tapestry.
With the chunky funk of the powerful call the arms ‘Rise Up!’ and the maelstrom of ‘Tribe’ shaking the building in an earthquake of unity fuelled by a classic 70’s police thriller movie soundtrack style barrage, the encore sealed the evening on a high. It may not have the mystique, glamour or history of some other places but tonight, in Islington, the blues was very much alive and thriving.
As the crowd made their way out of the venue, a sole busker was playing over the street a few feet away from Angel underground station, his rendition of Hendrix’s ‘The Wind Cried Mary’ reiterating that all the best music is eternal. That thought alone was enough to fight off the still chilly night and warm the soul.
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.
Gig review: KING KING – Electric Ballroom, London, 9 March 2023
King King are a reliably regular touring act and this spring tour comes exactly a year after the last. If there was a sense of curiosity last year about the new line up with Alan Nimmo joined by big brother Stevie, judging by a healthier than expected crowd this time, I was not the only one who liked what they saw and wanted more, even though as Alan admitted they had not got around to writing new songs.
There was a rather left field choice of support in Glenn Tilbrook, who I’d seen not three months ago with Chris Difford and other Squeeze bandmates. One of the best singers and co-songwriters in the annals of British pop, but a fellow blues rocker – hardly. In a dapper three piece checked suit he was accompanied only by guitar, though unusually an electric one rather than acoustic.
There were a few solo numbers such as ‘Little Ships’ and ‘Still’- dedicated to his wife – but the bulk of the set was Squeeze numbers, the first familiar to me being ‘Cradle To The Grave’ and I found myself singing along to ‘Labelled With Love’. In this solo format it is also noticeable what a pure voice he has, which has barely weathered in the past 40 plus years!
Things became more offbeat when he revisited a couple of lockdown era covers in ‘My Boy Lollipop’ and ‘Don’t You Want Me’, where it was bizarre hearing that famous synth melody on guitar, not to mention a fifty something blues rock crowd who probably detested the New Romantic movement joining in on gang vocals!
By now people caught out by his early start were funnelling in, nicely in time for a run of classic Squeeze hits – among them ‘Another Nail In My Heart’, ‘Annie Get Your Gun’, ‘Pulling Mussels From A Shell’, ‘Tempted’ and a very interesting version of ‘Slap And Tickle’ with that bubbling synth melody replaced by grungey guitar.
The set closed with ‘Is That Love’ and ‘Goodbye Girl’, with one more singalong and the decision to have him as support was all in all an inspired choice.
After taking the stage to their now customary ‘Highway To Hell’ intro I became a little discombobulated as the first part of King King‘s set had been totally revamped from last year.
They opened with ‘Dance Together’, a decent effort from last album ‘Maverick’ though barely bluesy, and a pair from ‘Exile and Grace’, yet not the usual set opener ‘She Don’t Gimme No Lovin’ but ‘Long Time Running’ and ‘Heed The Warning’, where some tough riffing from the Nimmo brothers had a chap in front of me at the barrier unconvincingly dad dancing. ‘By Your Side’ was a change of pace with Jonny Dyke’s piano intro and Alan pouring everything into a soulful vocal delivery.
However the rest of the set was on more tried and tested favourites starting with ‘Lose Control’ from their very first album with its Bad Company template (with an element of the Stones); and the 10 minute epic ‘A Long History Of Love’ in which a keyboard solo from Jonny teed up the first of Alan’s lengthy but always compellingly melodic solos; and the comforting tones of ‘Waking Up’.
Their last two albums have unashamedly drawn on more commercial rock influences from the likes of FM and Thunder so it was appropriate Alan dedicated ‘Whatever It Takes to Survive’ to the former’s Danny Bowes. With big backing vocals and powerchords, and a rare harmony lead solo from the brothers as the song built to a climax, it felt grander than its studio counterpart.
It was back to two much loved old favourites in ‘You Stopped The Rain’, Alan’s tribute to his brother’s health battle where his soloing was marvellously lyrical, and ‘Rush Hour’, with crowd participation, which in the hands of the new look band had a new and more powerful lease of life.
As a fan of the newer direction one of the moments I most looked forward to was ‘I Will Not Fall’- cheekily dedicated to a fan who had travelled from afar to Glasgow only to do exactly that and miss the show!
Some funky keyboards from Jonny that drew comparison with Zeppelin’s ‘Trampled Underfoot’ introduced a song that built to a storming chorus and Stevie was warmly received as he finally took on a lead guitar solo that lost nothing by comparison with his brother’s efforts. As usual ‘Stranger To Love’ closed the set in epic fashion, Alan slowing the pace and playing almost inaudibly before winding up one more long solo.
It wasn’t even the longest song though which was reserved for the encore. The spot traditionally filled by ‘Let Love In’ was instead a cover of Eric Clapton’s ‘Old Love’ which was a guitar aficionado’s dream with a long, languid solo from Stevie before Alan weighed in with one of his own. I couldn’t help wondering if it also foretold the elder brother gradually gaining a greater slice of the pie in future shows?
With the new line-up nicely settled in, King King are on top of their game and, among some tough competition, are right up there as one of my favourite live acts right now.
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.
Vocalist Mila Bosa previously fronted a hard rock covers band, inevitably moving onto original material with her own band, T-ID.
Hard to tell just how long they’ve been around. The label PR blurb tends to indicate they formed recently, but the live versions of a couple of track have been kicking around Youtube since 2019.
You certainly get the impression they’ve been playing the circuit for years now, honing their skills, testing out their songs… discovering what works and what doesn’t. Establishing their own sound … a melting pot of all their influences.
And we know that various band members have played with “big” names like Ryan Roxie, Nightwish and Hanoi Rocks as well as other lower profile names. Apprenticeships have been served.
On their debut album, Seven Worlds, the hard slog of preparation pays off. Musically, they’ve folded AOR and pop into a punchy, streamlined version of melodic rock, tuned to the wavelength of catchy tunes and weighty guitars.
The earnestly catchy ‘Everything Must Burn’ and ‘Play and Pretend’ kick off the album like they mean it, each with multi voiced choruses, each burning a memorable hook into our brains like a musical tattoo.
‘Time’ is a glorious slice of melancholy melodic rock, and as much as they ever rocked, ‘Part Maroon, Part Indigo’ is a contemporary ABBA.
Every track tells a story. Unsurprisingly, told from a female point of view, which is always interesting and frequently informative.
The AOR shape of their sound hardens up with ‘I’m Such A Liar’, with big chiming guitar chords driving the narrative of a refreshingly honest love song. The almost self explanatory song titles, ‘In For The Long Haul’ and ‘Never Lost My Faith’ follow the same path. Lessons in trust that ring out loud and clear, even after the album has ended.
A band to watch. ****
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.
Like last month’s All My Shadows, Gunter Werno’s Anima One is yet another offshoot grown from the fertile ground that bred Prog Metal giants, Vanden Plas.
While All My Shadows saw VP’s prime movers, Stephan Lill and Andy Kuntz move into mainstream hard rock, Anima One is a full blown orchestral piece in classic, three movements’ form, initially focused on Werno’s virtuoso piano skills.
He’s backed by all the might of the Kaiserslautern Philharmonic Orchestra in the town’s famous Fruchthalle.
In Jungian psychology, “Anima” is translated as the “inner self”, “the soul”.
Balancing style and substance is always challenging for an instrumental opus, but all three movements are perfectly calibrated, with Werno modelling his arrangements and orchestrations on traditional forms, and a clear as a bell production.
In the first movement the music is intense and forceful with a welcome emphasis on melody, even when he brings in Stephan Lill’s razoring guitar lines. And then at other times the music is playful, dipping its toe into famous classics, borrowing from Tchaikovsy and JS Bach here and there.
The breadth of Werno’s imagination really comes to the fore during the second movement. His lush, sentimental score makes great use of synths and strings to create the emotional, dramatic music of the Romantics. It is the highpoint of the concerto, and is typical of the Classic format.
The third movement showcases the technical skill of the performers, opening with a twisted axe solo from Stephan Lill, followed by an emotional surge of music from the orchestra and all the sidemen.
That symphonic clash of sounds, mixing in classic orchestra with frantic, modern day instrumentation works a treat, fashioning folk tunes and traditional dance music with contemporary rock and metal sounds.
It is said that classical music is timeless. Anima One might just go the 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.
The Flood are an interesting proposition featuring vocalist Chris Ousey (Heartland/Virginia Wolf/Snakecharmer), FM guitarist Jim Kirkpatrick and former FM keyboards player Didge Digital. So far, so melodic hard rock and blues rock. However, it is the rhythm section that may raise a few eyebrows as it features Saxon’s powerhouse drummer Nigel Glockler (last heard on the rather good Six By Six album) and legendary Mr.Big, Talas & Winery Dogs bass player Billy Sheehan. They really do add that extra punch and ‘wow’ factor to the Flood’s overall sound.
The Flood really go all out on the hard rock front with the opening trio of ‘Dangerous Dawn’, ‘The Devil He Don’t ‘ and ‘Fight Or Flight’. ‘Dangerous Dawn’ in particular fair pins the listener to their set with a driving bass, big guitar sound and added cowbell :) Oh, and the guitar solo isn’t too shabby either! Nice to hear Didge Digital filling in a few Jon Lord approved organ riffs into the mix.
The ballad ‘Can I Call It Home’ allows Chris Ousey to show he still has a powerful vocal, which with the music recalls Snakecharmer meets Bad Company. Jim Kirkpatrick again provides a tasty solo midway through. There is plenty of feeling in the playing.
The keyboards and guitar solos on ‘Stand Up’ are stunning, recalling Moody-Marsden era Whitesnake and Deep Purple.
‘A Taste Of What’s To Come’ sees the album out in a final flourish of hard rocking goodness.
Given the pedigree of the musicians involved, the Flood will certainly generate interest and the good news is they have made an album that is full of bluesy, hard rocking delights. An album that definitely leaves you wanting to hear more from the band. ****
Review by Jason Ritchiet’s about time we had a good original heavy rock album that is worth talking about, so, in their own words, just “Hear us Out” !!
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: BRAVE RIVAL – Tropic at Ruislip, London, 5 March 2023
In an ever more crowded field of new acts, particularly in the world of blues rock, it is hard to sort out the exceptional talent from the merely good. As a shortcut through this minefield, I tend to rely on hearing a buzz from multiple sources either among friends or in the press, and one particular name receiving rave reviews has been South Coast act Brave Rival.
A perfect opportunity arose at short notice to see them just within my side of suburban London at the Tropic at Ruislip. In the clubhouse at what is now Wealdstone FC’s ground, this must now be one of London’s longest running rock venues and mainly hosts tribute acts on a Friday, but periodically stages a blues night on a Sunday, and this was apparently the best turnout yet for one of these, albeit with a crowd old enough to be the band’s parents – at the very least!
What distinguishes Brave Rival is that they boast not one but two female lead singers in Lindsey Bonnick and Chloe Josephine (Dixon). While there are some slight differences in nuance- the former with a more conventional blues rock voice, the latter’s a touch higher but with more emphasis on soul – the two mesh beautifully but to no fixed pattern- harmony, lead and backing, or often both singing lead at different points in the same song.
The two slightly bohemian looking singers also had the warm, chatty and confessional style of a comedy duo, and their friendship was quite heartwarming with stories including how they had even written songs (‘Crave’) about emotional troubles they had been through or even in support of each other.
Ed Clarke was content to play a low key stage presence but was a quite brilliant guitarist, switching between a more considered blues style and heavier, faster yet still melodic playing. A third woman in drummer Donna Peters and bassist Billy Dedman completed a very accomplished set of players.
They opened with ‘Fairytale’ with its ‘down the rabbit hole’ chorus but really hit their stride with two mainstream rockers, ‘Secrets’ and ‘Guilty Love’, both apparently written as break up songs before their love of blues and soul was given free rein with an Etta James cover ‘Damn Your Eyes’. ‘Fool for You’ saw then dabble in a jazzier, funkier sound.
The crowd was sedate, to put it kindly, and the gap between the stage and the mixing desk and first rows of seating made it harder to get people to participate in the show as they would like. So during ‘Thin Ice’ Chloe took the drastic step of wandering through the crowd to sing the chorus ‘you’re no good for me, you’re temporary’ at surprised punters. Impressively they had enough material for two sets, the first of which ended with another lengthy blues in ‘Long Time Coming’.
Making a special pleading for quiet, they began the second half with a simply beautiful acoustic rendition of ‘The Sound of Silence’, Donna also switching to guitar, before gradually rocking things up again. ‘Break Me’ was a blues with the sweetest of lengthy solos from Ed while the gutsy ‘Run and Hide’ reminded me of the likes of Meredith Brooks or other late nineties post-Morrisette feisty singers.
After another longer jam in ‘Comedown’, the set closed with ‘What’s Your Name Again’, perhaps the rockiest yet with thrillingly dirty slide guitar from Ed, and there was time for one encore in ‘Heart Attack’, one of those blues rockers that the current digital rock radio stations love to pick up on.
Much like Buck and Evans and Cardinal Black, Brave Rival take influences from vintage rock, blues and soul, but are using them to create something uniquely fresh and a little different from the norm. That buzz that is building around them is fully justified.
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.
If you’ve ever listened to our weekly new release show on Get Ready to ROCK! Radio ‘New to GRTR!’ you’ll know that we feature a fair number of releases from Golden Robot Records. Established by entrepreneur Mark Alexander-Erber they cover a wide range of genres and are also responsible for resurrecting the fortunes of bands like The Answer and Faster Pussycat. But they do foster a whole load of new bands, many from Australia where Alexander-Erber was originally based.
This debut album from Australia’s Stonetrip includes those tracks we first heard on their EP back in 2021. If you like groove-laden riffage with memorable choruses look no further.
Opener ‘Dark Night’ sets the tone with both wonderful swagger and appealing guitar figures which propel it to the chorus and the groove is repeated on ‘Sideways’.
‘Nightmare’ is one of many highlights and really immediate so if you are time poor go to that track first. The chimy guitar harmonies remind me of All About Eve (that band again) but the whole is much heavier. What a track!
Guitarists Mick Malusa and Jason King (not the early seventies TV lothario) complement each other well whilst vocalist Mark Ritchie impresses throughout.
There’s a bit more of the blues influence (and slide guitar) on ‘Pretty Flowers’ whilst ‘Leave A Light On’ vies with ‘Nightmare’ as one of the most immediate and the closest thing to a “radio hit”.
Stonetrip remain convincing when they slow things down as on ‘Run Free’ which could be post-Paul Rodgers Bad Company and ‘My Angel’ channels the band’s inner Guns ‘N Roses for a lighter-in-the-air ballad.
I have to say the album only really dips when the band plump for a handful of slower tracks, and this is simply because they are somewhat predictable. And that’s not say there’s anything intrinsically bad about a track like ‘The Show’.
But, thankfully, the riff quotient increases with ‘I Am Tomorrow’, ‘Mercy’ and a humongous and quite wonderful ‘Runaway’ which is the first track we played on the radio station and one of our highlights of 2022.
These tunes are in the main economical, consistent, mostly in your face, and – frankly – must be heard. For lapsed heavy rockers and those who never gave it up in the first place. You have been vindicated. ****1/2
Review by David Randall
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.
After a long wait, 7 years to be exact, Northern Irish rockers, The Answer return with a new album, releasing it on St Patricks day (of course!) and this fan girl gets to review one of her favourite bands, excited is not the word!
The album which was recorded in April 2023 at Middlefarm studios, Devon and was the first time the band had been together in a studio since 2015. It has been produced and mixed by rising British rock producer Dan Weller (Enter Shikari, Bury Tomorrow) and will be supported by a run of UK and European album launch shows.
Says lead singer Cormac Neeson, “We’ve been through a lot as a band, toured the world, made six great records we’re all proud of, and always done our best to make honest and timeless music that connects with rock and music fans in general.
After six albums and a lot of road miles we felt we needed to step back from it all and reset. Whilst that wasn’t an easy decision, with retrospect it’s possibly the best decision we’ve ever made because after seven years away we all came back fired up and the end result is an album we’ve been waiting to make our whole lives…full of good time rock n roll and positive energy created by four brothers who quite frankly just really missed each other. We’re back and we’re ready to bring our best album ever to you!”
So let’s get into it and see what this is all about!
Tracks:
1. “Sundowners” opening the album with the title track with ta tantalising mouth organ intro, is it going to set the tone for the album? All the heavy riffs are as you’d expect, so welcome back The Answer, we have missed you! The smoky whiskey vocals of Cormac set of this rather epic opening track, and the lyrics are accomplished as ever “I’m going to leave this world, like I found it, dancing with the real sunrise. “
2. “Blood Brother” the upbeat groove of this track with a superb baseline that sets this catchy chorus driven off, nice guitar solo too – this is bound to get the crowds going when played live.
3. “California Rust” kicks off with Cormac and then the beat just drops, the tempo is phenomenal and the pace is fast “I heal quickly, like some smooth, California rust”
4 .”Want you to love me” this track showcases Cormac’s comprehensive vocal range, that deep rhythmic groove and the power of the drums throughout – what’s not to like!
5. “Oh Cherry” this is a more bluesy track with the mouth organ making a repeat reappearance, that funky deep bass groove and delicious harmonies, making this track a masterclass in my view, another classic to be added to The Answers impressive, 6 album rich catalogue
6.”No Salvation” that mouth organ, opening harmonies and sublime riffs makes this a real feelgood, rocking track, By this stage you can tell that the band are just enjoying making this album so much, the break has bought them back stronger than ever.
7. “Cold Heart” keeps the upbeat tempo up, which, when I saw the title, I wasn’t expecting!
8. “All Together” Loving that really deep bass groove.
9. “Livin’ on the Line” has got rock anthem written all over it. I can’t wait to hear it live. “get me through this day and I’ll be alright, I can’t wait for this moment to waltz out the door”. Lyrics we can all relate to and a song to cheer anybody’s bad day.
10. “Get Back on it.” This continues the infectious heavy groove.
“Go to get back, get back on it”
I have to say, that I for one, am very pleased that you did.
11 “Always alright” an optimistic and upbeat closing track for the album. Leaving me with a warm fuzzy, feeling, what is an absolute belter of an album.
So it’s been seven long years wondering if The Answer would ever come back, well you’ve just made this rocker very happy, what an album, it’s been well worth the wait!
Stand out tracks for me – Blood Brother, Oh Cherry, No Salvation & Livin’ on the Line
A serious challenger for album of the year. *****
Review by Karen Clayton
TOUR DATES:
Mar 16th Blackpool, Waterloo Bar
Mar 17th Birmingham O2 Institute
Mar 19th Bristol Thekla
Mar 20th London 100 Club
Mar 21st Leeds Key Club
Mar 23rd Belfast Limelight 2
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.
From Dokken and Lynch Mob to End Machine, KXM and more, George Lynch has been on quite some rock’n’roll journey.
And is still.
He and his new world bandmates, Producer/Mixer/Writer, Joe Haze and vocalist, Devix AKA dive deep into the bleak, mechanical soundscapes of Industrial Metal, (the band call themselves The Banishment, and their music, “Dream Punk” and who are we to argue) and emerge with a bunch of undeniably colourful tracks, each quaking with pneumatically powered riffs and armour plated electronica.
All these songs were conceived during the pandemic when introspection was the dominant mood. Initially planned as instrumentals, it was only when Devix got on board and added lyrics that they turned into as near “proper songs” as we’re going to get.
They are joined by a select trio of big names in the genre.
You can’t really go wrong with some high intensity Richard (Filter) Patrick: ‘Max Pain’ is everything that the title and the artist together might suggest.
There’s a surprisingly great hard rock song from Tommy (Prong) Victor. Surprising in that the song, ‘Right’, has a recognisable hook and conventional rock song shape. Victor also contributes ‘Terror’, an object lesson in hi speed sensory overload. Dark and sinister, hardbodied and combative, it fits the album like a chainmail glove.
The gnarly, southern rock drawls of third guest, Jason Charles Miller, guitarist, vocalist and frontman of industrial rock specialists, Godhead, changes the album’s gearing up onto a more mainstream rock plane, but it’s all relative.
These tracks are inclined to cast a giant shadow over the rest of the album, but where it’s all glued together by Lynch’s guitar groove, a solid mix of power and aggression, then strong band tracks – the Kingdom Come lookalike ‘Reaction’ and the bubbling electronica of ‘Lost Horizon’ – complex and thematic, rise quickly to the surface.
An arguably unorthodox move by the label, but the album sees Lynch move into increasingly familiar territory. ***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.
Here’s an interesting band. Demons Down combine the legacy Melodic Rock of House Of Lords (and others) … Jimi Bell, Ken Mary and Chuck Wright, with today’s rising stars in the shape of Chilean vocalist, James (Sinners Blood) Robledo, and singularly talented Italian guitarist and producer, Francesco (False Memories) Savino.
Inhouse impressario, Alessandro DelVecchio has developed into an imaginative arranger and producer. His confident hand on the studio tiller is very evident here, skilfully combining big canvas, cinematic styled anthems with soft rock ballads like ‘On My Way To You’ and ‘To The Edge’.
It’s those big, ambitious production numbers that grab your attention though.
‘I Stand’, ‘Disappear’ and ‘Down In A Hole’ are all cut from the same classical movie magic cloth. Each kicks off with DV’s wide screen keyboards, using the kind of orchestral forms favoured by populist composers like Vangelis and James Horner to set up the scene.
Then to merge and mix in the melody and harmony of AOR is quite a novel approach, with Bell’s axework, and Robledo’s vocals adding just enough grit to the mix.
That they never truly drill down into the muscle fibre of the genre, past or present, is incidental. Songs like ‘Where Will Our Tears Fall’, ‘Book Of Love’ and ‘Follow Me’ are more than passably good meat and two veg melodic hard rock, each pushing at the corners and the edges.
Frequently they hint that they might break out into something more daring, more imaginative, but ultimately they settle for what they know best, leaning hard into the tropes of times gone by.
‘Only The Brave’ closes the album in a perhaps more emphatic nod to the past … a chest beating, fist pumping stadium anthem. Things have changed, it’s saying, but this is how it used to be. ***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.
It is now more than twenty years since RPWL’s debut album ‘God Has Failed’ was released to an unknowing world – to a muted response.
But, muted response or not, it laid down the template for what has proved to be a stellar career in the art rock / progressive rock genre as RPWL have, alongside the likes of Kaipa, Sylvan and, particularly, Riverside, been the focal point of the European renaissance in great progressive rock.
This stellar career has produced a treasury of exceptional albums such as ‘World Through My Eyes’, ‘Beyond Man And Time’, ‘Wanted’ and ‘Tales From Outer Space’, often followed up by superb live recordings of the albums on tour.
And so we arrive at album #19 ‘Crime Scene’ which follows the pattern of including important societal themes and pertinent subject matter set against music and, indeed, musicianship of the highest calibre.
RPWL have always been in the vanguard of tackling contentious issues – be that organised religion, the mis-use of science, humanity (or the lack of it) and even space travel – and ‘Crime Scene’ continues this thread, focusing on the links between crime, psychology and punishment.
It’s a concept that has the potential to be excessively morbid but is handled with much dexterity and empathy – in classic RPWL fashion.
From the opening bars of lead-off track ‘Victim Of Desire’ where Kalle Wallner’s in-your-face guitar segués into chiming, chorus pedal arpeggios framing the lyrics retelling domestic abuse – through to the closing ‘Another Life Beyond Control’s almost-back-to-the-seventies heyday of prog, the quality never lets up for a second.
‘Red Rose’ has a wonderful acoustic opening and great bass-work from Martin Grützner, as has ‘A Cold Spring Day In ’22’ and ‘Life In A Cage’ tackles the thorny subject of a sociopath in prison.
The highlight, however, in an album chock full of high points, has to be the near thirteen minutes of ‘King Of The World’ whose classic prog tropes of light, dark and everything in between and intertwining of guitar and Yogi Lang’s keyboards topped off with Wallner’s controlled soloing conspiring to produce a thing of beauty.
And a thing of beauty is what ‘Crime Scene’ is.
Despite its difficult and somewhat controversial topics, one is left with the overall feeling that justice has been done – and that RPWL, with their extraordinary musicianship and laser-like insightful lyrics, have produced yet another masterpiece.
They’re racking up. *****
Review by Alan Jones
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: BLACK BEAR KISS – Black Bear Kiss (and album launch – 3 March 2023)
[Release date 03.03.23]
Black Bear Kiss are a 4 piece upbeat rock band, who formed in 2016 by long term collaborators and good friends Rob Jones (guitar) and Chris Leech (vocals), with drummer Chris Bagnall and bassist Rich Sach coming on board later.
Playing their own brand of upbeat, riff driven rock, the band pride themselves on high energy performances, adding catchy beats and funky grooves, Black Bear Kiss began to establish themselves and grew quickly on the music scene. The band added lead guitarist Colin Haden in 2018, completing the band’s line up.
Tragedy struck the band in 2021 with the sudden passing of founder Rob Jones and a serious heart condition for bassist Rich. Having taken some time out, the band decided to honour Rob’s memory and continue gigging, with the aim of releasing an album that was almost complete.
Now more determined and tighter as a group than ever before, Black Bear Kiss now release their debut, self-titled album, which comprises of nine tracks plus a bonus live track.
’Chasing all I Know’ is a great opening track. Really hope that the sets the scene for the whole album I am impressed already. ”you try to get things done, you can’t walk away from it, put ‘em up and run ‘cos you’re in the middle of it
‘Begin Again’ This is a poignant tribute to former guitarist Rob Jones who sadly passed away suddenly in 2021 “This is really meaningful”, says singer Chris Leech, “many years of blood, sweat and tears have gone into making this record. This was the last track we recorded with our late guitarist Rob Jones, so its very special to us. We’ve been through so much as a band and Begin Again shows what we are about”.
‘Back to You’ This track has a heavier intro and then really morphs into what you could be forgiven for thinking was the Red Hot Chili Peppers, superb structure and finesse.
‘Reach up Higher’ This was a BBC Introducing ‘Record of the Week’ – Reach Up Higher
‘Hole in the Sky’ seems to be Covid inspired “there’s a hole in the sky where my faith used to lie ” and is reflective of the lockdown state.
‘King for a Day’ , great rhythm, showing all of the band skills, vocally the refrains really work “King for a Day, get out of my way”
‘When I Break’ ”darling, everything you take, will wash over me, wash over me.
‘The First Time’ I think again this is also a reflection on what the bands been through in recent times “all my friends, listen up, this is not the end”.
For anyone who likes to who likes meaningful lyrics and riff driven rock, this album is for you. Chris Leach on lead vocals, has got a superb range, which is complimented by drummer, Chris Bagnall on harmonies. It’s take this to another level.
What a superb debut album. This band is certainly going places it’s very catchy tapping rock I defy anybody not to enjoy it. Every track is killer. No filler is on here and I was lucky enough to go to the album launch where I saw the majority of the tracks played live and I can confirm that there is good live as they are recorded, can’t wait to see what’s next! ****
Review by Karen Clayton
Available to buy online and at live shows, Black Bear Kiss’s debut album is available from 3rd March.
Album launch for Black Bear Kiss 3rd March 2023 held at The Station Cannock
The opening act of the evening was Aaron, who I only caught the tail end of, but was impressed by his acoustic set and vocal delivery.
Next up was a bit of a treat a reformed band, Red Already who hadn’t played together for six years, with Chris Leech (lead singer of Black Bear Kiss) on vocals, they did a fabulous set which really set the standard for the evening’s entertainment, opening with “Where did you go’’ and packing in six tracks closing out with ‘Monkey’ to a rapturous audience.
Sig and the Fire Pilots launch on to the stage as a 3 piece, who delivered an impressive hour long set blurring rock with reggae, reminiscent in places of the Eagles with a superb baseline and the lead singer pulling off amazing vocals, but lead guitar as well, What a band! Highlights in their set included ‘Click Bait’ which had a much heavier vibe, Almost Out of Time’ will be their next single and then closing out with ‘Rock ‘n’ Roll It’ which was utter rock perfection.
The headliner of the evening Black Bear Kiss waste no time launching into an epic set opening with ‘Chasing All I Know’ and then launching into a cover of Cameo’s ‘Word Up’ which was great fun.
The set is peppered with the new tracks showcasing the album work amongst the more familiar, including a medley, which covers everything from Nirvana to Michael Jackson to Free. They make reference to the fact that Chris B on drums is not very well at all, and as he does backing vocals, is probably struggling a little, not that we notice.
The set includes a cover of ‘Praise You’ that’s quite a surprise, Aaron joins them on stage for a song and showcases his range. Then they deliver the poignant new single ‘Begin Again’, which is a hit in the making and then concluding their packed set with favourite BBK tracks including ‘Follow Me’, ‘Hooks’ and closing out with the final track of the album, ‘Cloak and Dagger’.
Black Bear Kiss have always reminded me of the Red Hot Chili Peppers, who I adore, I wasn’t quite expecting them to sound as accomplished live but they do, great gig, great venue, good crowd and an awesome line up – what an a launch, what a night!
You can catch them at Quarantune Rocks this year on 7 October in Coalville – contact Quarantunerocks@gmail.com for info and ticket links.
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.
The second album from a veritable “superband” conglomerate featuring Bobby Rondinelli (Black Sabbath, Rainbow, drums) and Randy Pratt (Cactus, The Lizards, bass) with Ed Terry on vocals and JZ Barrell (guitars) They are joined by the likes of Pat Thrall, Don Airey and Dave Manketti (sic).
The essentially funky vibe on the opener ‘Hype In My Head’ Is a throwback to the late-1970s and I couldn’t help think of Wild Cherry and their funk pop confection ‘Play That Funky Music’.
As with any project like this the showmanship is important but the quality of the material is critical. In the main the songs are solid. And when punctuated by a Pat Thrall super shred or Don Airey ‘s organ the results are impressive.
Also appearing on this album, Tracy G (Dio) on the auto-tuned ‘The Game’ and that inveterate journeyman Joel Hoekstra who crops up on ‘Can’t Slow Down’. Throughout Rondinelli and Pratt form a joined-at-the-hip rhythm section especially evident on the semi-psychedelic ‘Doesn’t Matter’ which features additional vocals from Pat Klein (The Lizards). Ditto the rather appealing ‘Bubbles’.
Indeed Pratt told me in 2006 “To me, blending hard rock/heavy metal with funk is a life mission.”
In fact this latest album has made me want to re-discover Pratt’s earlier outing with The Lizards (Reptilicus Maximus) which I described as a “superb groove-laden heavy rock album”, another of those solid and worthy creations this time with rock funkmeister Glenn Hughes and Frank Marino (yes, Frank Marino!) and Vinnie Moore (who on his latest album worked with Ed Terry).
Referring to the previous Lizards album (2006) I wrote that it “made grown men who should know better very happy.” This also applies to the retro rock that is ‘Ruffyunz II’. The distinct impression is that. whilst it may not change the world, it reflects the seasoned input of its contributors and is well worth a listen. Cool, groovy, and compulsive. ***1/2
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.
RYAN HAMILTON Haunted By The Holy Ghost
Wicked Cool [Release date 10.03.23]
Texan singer-songwriter Ryan Hamilton is back with his third album and he has been hailed by Spin magazine as one of the ‘35 Best Lesser Known Artists of The Last 35 years’. Further accolades on his work have come from the likes of Adam Duritz (Counting Crows), Clem Burke (Blondie) and Mike Peters (The Alarm).
The aim then is for this album to be his breakthrough, as Hamilton said, “I’ve been on the verge of tipping the proverbial scales for several years now. I’ve had some incredible people supporting me, and championing me. Now that all the pandemic-related road blocks are out of the way, it’s time.”
The whole album is an upbeat one musically, despite the sometimes downbeat lyrics. Take the title track which is about having the fear of God ingrained into him from attending church three times a week throughout a very conservative upbringing. It has an addictive pop rock riff and along with his Valentine’s Day offering, ‘Asshole’, are certified radio friendly bangers.
‘Sad Bastard Song’ is a superb take on how many a music fan only wants to hear a ‘woe is me’ song and lyric. He has a knack throughout the album of penning lyrics that raise a smile, yet at the same time get the listener thinking.
‘Paper Planes’ has an air of Jellyfish and Butch Walker about it – another possible single release. Jessie Wagner adds her vocals to ‘On The Edge’, a jaunty melody not unlike Counting Crows. Hamilton achieved his aim on ‘Broke My Heart, Fixed My Vision’ as it is indeed the best song Weezer wished they had recorded!
The album has one cover, ‘Yeah, Whatever’ by the ‘90s alt-rock band Splender. A decent version and fits the album’s overall sound/feel well.
Ryan Hamilton has poured his all into this album which deserves the plaudits it will doubtless gain and most importantly a wider audience. One of 2023′s indie pop rock ‘must haves’. ****
Rura are back with their fourth studio album (sixth overall), a band who have gained many a rave review and appeared on many a stage, including a spot on BBC1′s Hogmanay celebration.
Rura consist of Steven Blake (pipes, keys), Jack Smedley (fiddle), David Foley (flute, bodhran) and Adam Brown (bass). Between the four of them they create a smorgasbord of sounds, from the traditional pipes and fiddle on ‘Think Of Today’, to the gentle guitar, pipes and fiddle on ‘The Soft Mist Over Us All’ (a tune gifted to fellow musicians Graeme & Carly Armstrong for their wedding). Those after a bit of a jig about ‘The Grove’ is perfect. The guitar and fiddle playing in particular are a wonder on the ears.
To be fair, a band as good as Rura you tend to run out of superlatives, safe to say this is another fine collection of accessible folk music which will appeal to anyone with an ear for a good melody and top notch musicianship. ****
Review by Jason Ritchie
RACHEL BAIMAN Common Nation of Sorrow
Signature Sounds [Release date 31.03.23]
Acclaimed songwriter and multi-instrumentalist Rachel Baiman has emerged as a fearless voice of the American female experience. For the first time she produced the album herself, joined by Miles Miller on drums and vocals.
‘Old Songs Never Die’ is a wonderful piece of bluegrass, whilst ‘Self Made Man’ hits hard lyrically whilst having a joyous banjo riff. This one, along with ‘Some Strange Notion’, are the album’s stand outs.
At times a deeply personal listen (on ‘Lovers and Leavers’ she describes her lifelong battle with bipolar), Rachel Baiman has created an accessible album of Americana with a distinct bluegrass feel. ***
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.
This album comprising of 13 tracks was recorded almost entirely over the course of just two days with producer/engineer/mixer Mark Needham (Taj Mahal, The Killers, Imagine Dragons, Walk the Moon, Fleetwood Mac), the album stands as the band’s most mature, eclectic collection yet, by this accomplished Indiana trio.
Launched in 2012, The Cold Stares got their start when long-time friends Tapp and Mullins agreed to team up for a fill-in gig that caught them both by surprise.
After wrapping up touring for 2021’s ‘Heavy Shoes’ (their fifth studio album and debut release for Mascot Records), Tapp and Mullins returned to their adopted hometown of Evansville, Indiana, with a decision to make.
The band’s sound had been growing increasingly elaborate in the studio, but unless they wanted to start playing along to pre-recorded backing tracks onstage, they were reaching a point where they wouldn’t be able to faithfully replicate their tunes anymore as a duo.
“We’d been a two-piece for a decade, so it wasn’t something we took lightly,” says Tapp. “But we’d also known Bryce for a long time and knew he’d fit right in.” And oh boy do they make the most of bassist Bryce Klueh’s arrival by getting more adventurous in their approach, mix it all up and you’ve got a high-octane dose of unadulterated rock and roll that covers love and loss, sin and redemption, hope and regret.
“A lot of these tunes deal with really personal things that have been on my mind for a while,” says Tapp. “I just had to live enough life and get enough experience under my belt to know how to talk about them, to know how to feel comfortable opening up those veins and sharing whatever came out.”
Track by track review:
“Nothing But The Blues” is the opener, an anthem wrestles with hard times in a down-and-out town, it’s killer with a repetitive riff that hooks you in, “I’m trying to leave, my car won’t start, I’ve got nothing but the blues”
‘Come for Me’ - the guitar playing on this is absolutely sublime.
‘The Joy’ is a bluesy ballad with a much softer sound, showcasing, the vocals and harmonies that refrain, “and you are the joy that eases the pain”
‘Lights out’ is a much heavier track, IMHO there is a complete masterclass in terms of drums, showing how to vary the pace mid track and this, combined with a heavier guitar, check out that solo! The harmonies make it a stand out.
‘Got no Right’ is a more upbeat, funky track that reminds me of The Kinks in musical style and is one of my favourites in the album so far.
‘Sorry I was Late’, is another poignant ballad and this starts me thinking about the choice of tracks and how interesting it is to slow the pace down right in the middle of the album.
‘Voices’, the title track, ”at the end of the day when the storm rolls away, your voice is still all that I hear”
‘Waiting for the Rain Again’, ”she bought a candle, not a flame”
‘Sinnerman’ This is a really cool, almost Tarantino-esq track (Pulp Fiction sprang to my mind) with a really cool heavy baseline setting the rhythm section to perfection
‘Throw that Stone’ is another ballad with female backing vocals adding contrast to the
‘It’s Heavy’ and it most certainly is, I’m blown away by this catchy infectious beat that is present throughout, pulling you in. This is another rhythm master class and then the guitar solo kicks in – wow! This is my favourite track of the album and I’ve not even heard all of it yet
‘Thinking About Leaving Again’ is next up and having just stated that the last track was my favourite, I then hear this – love, love, love it! This tracks takes the album to another level again, it’s clever, the riffs are sublime, it’s got everything.
‘Ghost’ the closing track of the album is a rather melancholy ballad channelling the redemptive fervour of a Sunday morning tent revival, which makes the hairs on the back of my neck stand-up. What a way to close what is a phenomenal album.
Stand out tracks: ’Got No Right’, ‘Lights Out’, ‘It’s Heavy’ and ‘Thinking About Leaving Again’
The change of tempo between bluesy rock and slower ballads makes for a really interesting listen, as the changing pace and musical structures vary so much. The lyrics are accomplished, the musicianship is superb, frankly the album is a masterclass from start to finish – don’t take my word for it , give it a listen!
5 Stars and added to my albums of 2023 list – this will feature heavily on my playlists. *****
Review by Karen Clayton
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: BLACK STAR RIDERS – Shepherds Bush Empire, 26 February 2023
Prior to the pandemic Black Star Riders were one of the hardest working acts, seemingly constantly on tour or playing festivals. So it was something of a surprise that this was their first tour since Lockdown, though there have been significant changes in their camp, of which more anon.
As with their previous two headline tours there was a trio of bands, who in their diverse way showcased the primeval power of rock and roll. First up were festival mainstays Phil Campbell and the Bastard Sons, who since I saw them last year had shed a guitarist and were down to a four piece.
With only 40 minutes to play with their own material took precedence beginning with the near eponymous ‘We Are The Bastards’ and ‘Bite My Tongue’, though they rattled through the three chord bash of ‘Going To Brazil’ and ‘Born To Raise Hell’ was rendered even more of a gas than usual when a loose-limbed Michael Monroe came on stage for a guest vocal and harmonica slot.
The former Motorhead guitarist, hidden under a baseball cap was content to play a low key role and leave raspy voiced singer Joel Peters to do the rabble rousing including the old ‘divide the crowd down the middle’ audience participation.
Their numbers were basic but enjoyable though in the case of ‘Freak Show’ with a naggingly familiar riff which I later traced to AC/DC’s ‘Girls Got Rhythm’. The slower but doomier ‘Dark Days’ was a welcome change of tempo then Phil, in one of the more unusual father to son greetings, asked people to shout ‘f— you Tyla Campbell’ as the bassist played that unmistakable intro to the only song that could close the set in ‘Ace Of Spades’.
Michael Monroe was a contrasting figure of flamboyance and, with his tousled blonde mane and loose limbed hyperactivity, he seemed barely unchanged from 40 years ago. When not doing the splits or perching king-of-the-castle style on the drumkit, he regularly clambered into the front row.
Many of the songs (‘Ballad Of The Lower East Side’ a case in point) were a joyously chaotic wall of sound like a sleaze version of a Jersey shore band, and though his vocals would not stand too much technical scrutiny, they suited their debauched feel perfectly.
I enjoyed the likes of the title track from current album ‘I Live Too Fast To Die Young’, and ‘Murder The Summer of Love’. However the Hanoi Rocks connection will always be the most beloved and sure enough, ‘Don’t You Ever Leave Me’ took me back to days of 84 when I played to death the session I had taped off the Friday Rock Show, while ‘Malibu Beach Nightmare’ saw him play sax for the only time in the set.
A special mention should go to his band, mostly with artfully coiffed jet black hair and leathers to match, who kept things no frills but impressively solid, and their choreographed moves, complementing without overshadowing their master, leaving me to draw comparisons with Alice Cooper’s backing bands.
‘Dead, Jail or Rock’n’Roll’, with Michael playing harmonica, delighted both casual fans and the fanatics I could spot at the front from my balcony view alike, but there was even time for another trip back to Hanoi’s triumphant and tragic year of 1984 with an authentic cover of ‘Up Around The Bend’. Without particularly considering myself a fan this was a fun 40 minutes of inexhaustible energy that flew by, and for that reason he would be a welcome support act or festival offering for me any time.
Headliners Black Star Riders made a dramatic entrance, coming on stage with backs to the crowd then turning round to a volley of pyrotechnics before plunging straight into gritty new song ‘Pay Dirt’. Here was the first sighting of a new look, four piece band. Though new guitarist Sam Wood with his flowing blond hair and Les Paul looked a little like Scott Gorham in his seventies glory, for now the present day version was absent.
It also marked a final break with the band’s Thin Lizzy origins and other than a brief intro to ‘Another State Of Grace’ with a choreographed pose, the twin lead guitar breaks were also absent.
There was no mistaking the passion and intensity of Ricky Warwick and Sam was playing splendidly, as well as owning the stage with his big smile, but the majority of the opening numbers which were taken from the fine new album ‘Wrong Side Of Paradise’ (including the title track, ‘Better Than Saturday Night’ and ‘Riding Out The Storm’ ) felt rather one- dimensional and actually inferior to the studio versions. The ‘Crazy Horses’ cover, despite bassist Robbie Crane doing a great job on the high vocals, failed to dispel this sense of ordinariness.
That all changed when Scott Gorham made a belated guest appearance half an hour in to play the remainder of the set. A distinguished silver haired figure in a natty waistcoat and patterned trousers, he was given a rather more dramatic billing by Ricky with a series of epithets – the Baron of Putney among others. From the first harmony lead break midway through ‘All Hell Breaks Loose’, my spirits instantly lifted, followed by the buffeting riffs of ‘Bloodshot’ and the ‘Emerald’ redux of ‘Soldierstown’.
The last BSR tour before the pandemic had seen them shed Thin Lizzy oldies entirely but not this time, with Phil Campbell brought on to add to an enjoyable if rather ragged canter through ‘Don’t Believe A Word’. Sam was losing nothing in comparison with his senior partner and indeed on a welcome change of pace both played exquisite individual solos on ‘Blindsided’, almost in a similar vein to Lizzy’s live treatment of ‘Still In Love With You’.
It has to said that other than the odd average number (‘Testify Or Say Goodbye’) the quality of the material in this second half of the set was far superior including ‘The Killer Instinct’, and ‘Tonight The Moonlight Let Me Down’, Michael Monroe having great fun as he made his third appearance of the evening.
They saved the best to last with two of their more Lizzy sounding classics in the Celtic themed romp of ‘Kingdom Of The Lost’, and twin guitar overload of ‘Bound For Glory’.
Ricky then implored everyone to their feet for ‘Jailbreak’, including those in the balconies and from my vertiginous viewpoint at the front of Level 2, I punched the air with one hand and grabbed the guard rail for safety with the other, before they closed with ‘Finest Hour’, a song which I think does what it says in the tin in terms of BSR’s catalogue.
Equally praiseworthy was how this hardest working of bands squeezed 20 songs into a set of just over an hour and a half, devoid of chat and padding.
Indeed it completed an excellent night of no holds barred rock n roll from three contrasting but complementary acts. However, my lasting takeaway was that in trying to bridge the gap between the old BSR and the new post-Scott Gorham era, the set inadvertently only showed how much the band’s quality still depends on his presence and that classic sound.
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.
Icarus Falls hail from West Sussex in the UK, consisting of Doug Hay (vocals), Harvey Wigg (guitar, vocals), Lawrence Trousdale-Smith (guitar), Vinnie Denton (bass) and Josh Harris (drums). As well as having the pandemic hit their plans, Harvey is also a cancer survivor.
Although this is Icarus Falls’ debut album they did release a well received EP entitled ‘Venom’ last year.
Opener ‘Where Do I Begin’ fair wallops the listener’s ears, a heady mix of Those Damn Crows and Volbeat. If that didn’t shake your dandruff, then the next song ‘We Are Not The Same’ will! Featuring growling vocals from Harvey (strangely as I get older I find I can listen to ‘cookie monster’ vocals more easily), Icarus Falls go a modern metal with a few symphonic embellishments.
The title track sees the band coming up with an emotively charged ballad. Loving the guitars and rhythm bombast on the chorus of this one. In Doug Hay they have a vocal powerhouse that’s for sure.
Production and sound wise this album has one you’d expect of a big label, the difference being Icarus Falls aren’t signed to a big label (yet!). Listening to ‘Bleed Me Dry’ is a case in point with crisp guitar parts and a neat vocal midsection. Or the bass of Vinnie Denton weaving its magic through ‘Nine Four’.
They have an airplay/playlist banger on their hands with ‘Blame’, which features a guest vocal from Bella MJR.
Icarus Falls are another fine band to add to your ‘must listen’ list, as they have produced an enticing and enjoyable modern metal/hard rock album. ***1/2
Review by Jason Ritchie
The band’s Harvey Wigg took time out to answer a few Qs about the band and their debut album…
How did Icarus Falls form and to a new fan to your music, how would you describe it?
Icarus falls formed without myself and Doug maybe ten years ago, and eventually josh our drummer started trying to find a replacement singer and guitarist. In walks myself and Doug!
Our music was previously compared to Black Stone Cherry meets Alice in chains. However with our new album I believe we expanded on our old sound, so I’d be interested in how our fans describe it!
The debut album ‘Hollow’ is out now. Have you been pleased with the reaction to it so far from reviews and fans?
Yes! It’s been great, we’ve been itching to get the album out for years! The feedback we keep getting back is along the lines of “how are you not signed to a major label” which obviously we take as a massive compliment but alas we are independent!
The album has really good sound & production values. How was this achieved?
With lots of annoying Russ! (I kid he loved it) who mixed the whole album, but I think I re recorded the guitars across the whole album about 4 times just to get the right tone. We went in with an almost autistically anal out look on every little detail as we all agreed when we listen to the album in 10 years we want to be able to say “yeah that still slaps” rather than “oh I wish I done this and that” … so don’t rush it! Hence why it took so long to make!
What have been the band’s live highlights to date and why?
Playing Ramblin’ Man fair was a good day for all of us! … we even played a gig once where Lawrence’s guitar amp blew up on the last song … so we thought screw it and both played the last song on the same guitar at the same time and somehow managed to pull it off and I think peoples reaction to that was great! But there’s been so many good shows it’s hard to pick.
Is streaming helping the band get known more and do you think streaming in general helps or hinders newer artists like yourselves getting known more?
Streaming is a difficult one, it’s great to have all access music at your finger tips however, realistically you still have to market your Spotify and get people through the door as it were. Nowadays everybody can basically record at home and release music so there’s so much artists out there you can get lost in a sea of new artists. So streaming is a 50/50 love hate relationship for me.
What are the plans for the band for the rest of the year?
Currently everyone is kind of doing their own thing, I’m currently working on a solo EP with Russ, so you can expect some Bangers on that with the same high detailed production. Vinnie will also be playing bass on that record, as he’s just incredible. I believe Lawrence is doing a more tech metal project etc.
But if the Hollow album does well I’m sure we’ll get back and go and tear up a few stages etc.
We’ll see what happens!
Message for your fans…
Thank you so much basically! Especially to the fans that stuck with us as this album took almost 4 years to come out! Keep streaming it, tell your friends and we love you!
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: MARTIN TURNER – Boom Boom Club, Sutton, 24 February 2023
For the last few years founder member Martin Turner has delighted his Wishbone Ash fans with a series of tours that have featured one of their classic albums in their entirety. As that particular list has progressed to the lower part of the batting order, this new tour kept the concept alive but with a fresh twist, based around the set of 1973’s ‘Live Dates’, which was a farewell live album for the Mark 1 line-up, showcasing their four albums up to then.
The opening night saw a healthy sell out at the Boom Boom’ Club in Sutton, run by GRTR!’s own Pete Feenstra and a place where Martin played his first show after returning to Wishbone music some 18 years ago, and has returned to regularly.
The set opened just as side one of the original album did, with a trio of classics from ‘Argus’. Danny Willson was superb on ‘The King Will Come’ not only with his wah-wah solo but as a vocal complement to Martin, a talent he was to show repeatedly throughout the night. With Martin explaining how the songs were written as a counterbalancing pair, he and guitar twin Misha Nikolic then shone on the wonderful ‘Warrior’ and ‘Throw Down the Sword’, with a memorable closing passage as they played individual solos then both together.
Last year’s touring activity gave ‘Wishbone Four’ the full treatment but a reprise of two of the album’s standout tracks were more than welcome, Danny and Martin sharing vocals on the folky ‘Ballad of the Beacon’, then ‘Rock and Roll Widow’ with Danny ‘playing Ted Turner’, both singing lead and delivering some outstanding slide guitar.
Talking of which the one relative oddity on the album that would otherwise rarely find its way into a live set was the bluesy cover of the old standard ‘Baby What You Want Me To Do’. Despite more fine slide work from Danny it was frankly not as good as Wishbone original material, on the subject of which the first set ended with a couple from the debut in the twin guitar overload of ‘Blind Eye’ and a surprisingly fiery ‘Phoenix’, though at 11 minutes it fell short of the extended jams that the current Wishbone Ash lineup go in for.
After the break, ‘Lady Whiskey’ and ‘The Pilgrim’ saw Misha really come into his own with some rapid and unexpectedly heavy soloing, while the latter also saw new(ish) drummer Sonny Flint, who made a solid impression, tapping the cymbals with impressive precision and subtlety on the quiet intro.
There was then a brief departure from the strict ‘Live Dates’ theme with some numbers from the Mark 2 lineup, starting with the instrumental ‘FUBB’, a prime example not only of those interlocking guitars but how Martin’s creative bass lines are almost a third lead instrument.
‘You See Red’ saw more fine solos from both guitarists and the way Danny replicated Laurie Wisefield’s contributions, both vocally on that song and in the solo on ‘Living Proof’ demonstrated what a fine feel he has for Wishbone’s music. These shorter and more up tempo songs also served to up the pace and make the atmosphere more lively, culminating in the evergreen ‘Blowin Free’.
Though Martin’s vocal range is naturally a tad more limited than in those early days and you can witness him straining manfully to hit some of the notes, the 75 year old was on better form vocally than I have seen in a while. However there was one jarring note with his digs at erstwhile bandmate Andy Powell. They were played for laughs but I sensed the crowd response encouraged him to go further with some personal and far from complimentary jibes.
Not having been on the wrong side of a lawsuit as he has, maybe I am not best placed to judge, but I did think they struck the wrong tone on an evening that should primarily have been a celebration of the music that the two of them created with Ted Turner and Steve Upton in those halcyon early seventies days.
The man remains a marvellous character and raconteur. My favourite quip among many was when introducing a splendidly aggressive first encore ‘Doctor’ with his usual story of how a society beauty was sent for rehabilitation in his childhood town of Torquay, he said of the latter, ‘Queen of the English Riviera – that’s the nickname of the town, not me!’
The set closed as usual with the bluesy shuffle of ‘Jailbait’, Danny and Misha moving together to pull poses during those twin guitar passages, though Martin’s usual sign-off joke was missing. The decision to go for a live album theme meant in effect this was a ‘best of’ set, making this an even more enjoyable night than usual. Indeed how about a ‘Live Dates Volume Two’ reprise for the next tour?
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.
Gig review: THOSE DAMN CROWS – Islington Assembly Hall, London – 24th February 2023
The Assembly Hall had a celebratory atmosphere about the place and a keen sense of anticipation was in the air ahead of Those Damn Crows. Support came from fellow Welsh rockers, James And The Cold Gun who helped to bubble up the temperature nicely. They brought a distinctly retro 90’s alternative/grunge rock sound, reminiscent of early Swervedriver with maybe a dash more punky swagger.
The band made quite an entrance with founder members James Joseph on guitar/vocals and James Biss on lead Rickenbacker cranking out noisy, distorted riffs. The band cut some fine shapes on opener ‘Chewing Glass’. James and co have caught the attention of Pearl Jam’s Stone Gossard whose Seattle-based label Loosegroove Records put out the EP of the same name late last year.
There was stacks of attitude and energy to back up the power. The most immediate track in the short set was ‘It’s Mutual’, driven by pummelling drums and a thumping bassline underneath the furious guitars. Closer, ‘Long Way Home’ was also an all action throb-monster, with the band leaving the stage to some very warm (if not ecstatic) applause.
Those Damn Crows emerged to orchestrated chants of their own name before a full-blooded, hard rock one-two from the new album: a dense ‘Fill The Void’ followed quickly by ‘Wake Up (Sleepwalker)’, where Shane Greenhall’s vocals stamped his quality vocals in proceedings. The frontman was absolutely pumped, prowling the stage left and right, looking to get in amongst the action.
In fact the singer couldn’t contain himself for long and even as ‘Wake Up’ was fading out, he was up on the riser, stage front, telling us that the new album ‘Inhale/Exhale’ had hit Number 3 in the charts. It was a moment of deep pride for the boys and the audience – the Crow family – responded in kind. The long, loud ovation was quite something and the band seemed visibly moved. They are riding the crest of a wave right now tonight felt like a victory lap.
The set plunged into some older stuff. ‘Sick of Me’ hit a high note, keyboard loops to the fore underneath smooth melodies. ‘Kingdom of Dust’ was punchy, with guitarists Ian ‘Shiner’ Thomas and David Winchurch cranking out tight, hard hitting riffs. The track has a great hook and we were invited to join in the band’s first ‘whoah-oah’ chant-a-long moments of the gig. There were plenty more to be had.
One of my faves, ‘Sin on Skin’ was up next, with Ronnie Huxford weaving some challenging drum patterns, by turns furious and complicated, over which the guitars drove a dense, rampaging signature. Shane was still all over the stage, bursting at the seams, occasionally raising three fingers to denote the album’s chart position.
TDC have built up a loyal and enthusiastic following. Tonight’s crowd was reassuringly youthful and encouragingly gender balanced. The bloke next to me was in ecstasy. ‘Here we go, oh yes, here we go’ he said as every track started. ‘Didn’t I tell yer they was the business?’ he informed anyone in earshot, and then proceeded to hug everybody around him. Me included. Stranger danger!
Shane was at the keyboard next for a set highlight, ‘Blink of An Eye’. There was a short delay whilst the correct piano setting was found. ‘Sounds like a marimba’ joked our hero before having a dart at the Nokia ring-tone.
But there was no hiding the emotional gravitas of the track once it got underway. Everyone was singing along on one of the few tracks that the band positively changes and extends for the live arena. It has become something of an epic for band that otherwise keeps things tight, sharp and modern on stage.
‘Who Did It’ sprinted along on a proper heavy chug. Lloyd Wood on bass brought some fat, dirty bottom end to the track. It was he and Greenhall constantly roving around the stage that ensured a visual impetus, whilst Thomas and Winchurch provided the pillars of guitar on either wing of the platform. The song gave another chance for audience vocalising on the rousing chorus.
‘Send The Reaper’ sent the atmosphere a notch higher, before ‘Rock ‘n’ Roll Ain’t Dead!’ introduced some chunky, rolling riffage and a bit of anthemic ‘Who said/Rock n roll’s dead’ chanting. It was also point in the set where Greenhall went walkabout.
Those who had seen the band before were anticipating this moment, though plenty were taken unawares. Eyes were scanning the margins of the auditorium and the stage rigging, before the main man appeared on the lip of the balcony, indeed right above my head, precariously leaning over the stalls to conduct a few more renditions of the chorus. Memorable stuff.
There was hardly a pause before ‘Go Get It’ crawled out of the PA like a blast of doom-laden angst. Huxford again excelling on the tubs and Greenhall’s tones more gravelly than elsewhere. Probably the heaviest track on view tonight.
From then until the end of the set, we were treated to a mini showcase of the new album. ‘Takedown’, the latest single, gave off insistent, layered rhythms/keyboards and boasted that rare thing, an actual TDC guitar solo. ‘Man on Fire’ then returns to the ‘oh-oh-ah-ah’ vibe of the band’s more arena-ready, radio-friendly tracks.
The final tune is the only slight disappointment of the main set. ‘Waiting For Me’ is, in my humble opinion, not the strongest moment on the album. Live I couldn’t help feeling it was too disjointed and too understated to close the show. Nothing wrong with taking chances though.
The band were away only a short time and the encore broke with ‘This Time I’m Ready’ which couldn’t be more different to ‘Waiting…’ with pop-balladry arrangements and soaring backing vocals.
‘See You Again’ is another pop-infused, upbeat commercial rocker that the band do so well. There was a lovely little guitar shuffle underneath the main riff that put me in mind of U2’s The Edge circa ‘Unforgettable Fire’. The chorus was joyous and the track a fitting end to the gig.
The band stuck around for the closing TDC chants, the extended plaudits and the regulation selfies before departing in triumph. The band are an irresistible force right now. It was a pleasure to be part of this carnival evening.
Review by Dave Atkinson
Photos by Darren Griffiths and Lindsay Smith
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: ELEANOR McEVOY – Alexanders, Chester, 2 March 2023
Halfway through her UK tour, and a day after our major feature was published, Alexanders in Chester could well be the Grotto to Eleanor McEvoy’s Greatness. A favourite venue certainly since the early millennium. Catching up for a chat pre-gig Eleanor is both personable and empathic which shouldn’t surprise followers of her music.
It’s maybe that Lockdown has contributed to a more reflective approach. As she told me her mission now, more than ever, is to leave the audience feeling suitably uplifted when they leave her gig. And it really didn’t take too long to feel good about the music.
Her current album ‘Gimme Some Wine’ is a product of the pandemic but also about a relationship gone sour after 23 years. Eleanor has been careful to avoid the morbid and vitriolic but one wonders going forward whether it will put new fire in her creative muse.
One of the album standouts is a tale of what might have been and a chance meeting with an old flame in Dublin’s ‘South Anne Street’ whilst ‘Found Out By Fate’ is perhaps tempered by her co-writer Paul Brady.
To be honest I heard most of the new tracks for the first time as for some reason GRTR! never received the album for review or airplay. This probably says more about the pitfalls of self promotion and sometimes things drop off the edge. Eleanor has been steadfastly independent for two decades.
The first half was mostly given over to the new album but punctuated by the spritely ‘Get Lucky’(A Daft Punk cover inspired by her daughter) and ‘Survival’ both given added heft by a drum machine. The latter drew an audience comment “a Leonard Cohen special”.
Thankfully the mood was immediately lifted by her take on The Pointer Sisters ‘Slow Hand’ a highlight of her live set since 2017 and featured on ‘Forgotten Dreams’.
The second half may have been the opportunity to plunder her enviable back catalogue but a couple more originals jostled with several more covers including the still relevant ‘Eve Of Destruction’ which followed a poignant delivery of the Ukranian national anthem on fiddle. And her take on Edith Piaf’s ‘Milord’ did demonstrate her consummate versatility whilst being wholly appropriate in a jazz/cabaret club setting.
Avid Eleanor watchers may argue that she has enough “good stuff” (like second half opener ‘Sophie’) not to rely on covers but in truth they have been a significant feature of both her live sets and albums over the years. And she does add her own twist.
As expected she rallied with her calling card ‘Only A Woman’s Heart’ inviting a somewhat restrained Chester crowd to sing the melody whilst she harmonised.
It was as ever a fitting way to round off an infectious and intimate evening.
Stepping out into the Cheshire cold, the faithful would have reflected that at least for a while – basking in the audio afterglow – they had been uplifted.
Review and photos by David Randall
David Randall interviewed Eleanor before the gig on 2 March and chatted about her life and music since their last meeting in June 2008. She is a Featured Artist at Get Ready to ROCK! Radio, mainly featured in the singer songwriter sequence (Mon-Fri 14:00-16:00 GMT), and throughout the month of March 2023 more of her tracks will be added to the station’s general playlists.
UK TOUR 2023
Saturday 4 March Old Cinema Launderette, Durham
Sunday 5 March The Crescent, York
Monday 6 March Folk Club, Stirling
Tuesday 7 March Glad Cafe, Glasgow
Wednesday 8 March Greystones, Sheffield
Thursday 9 March MET Arts Centre, Bury
Friday 10 March The Rope Walk, Barton
Saturday 11 March Philharmonic Hall, Liverpool
IRISH TOUR 2023
Friday 24 March St Augustine’s Church, Derry
Saturday 25 March The Oriel Centre, Dundalk
Thursday 30 March The Red Hot Music Club, Kilcullen
Friday 31 March The Venue, Ratoath
Saturday 15 April An Taibhdhearl, Galway
Thursday 27 April Bob’s Hideout, Durrow, Co Laois
Saturday 29th April, Wexford Arts Centre, Wexford
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: STONE BROKEN – 100 Club, London, 23 February 2023
After a fairly conventional tour schedule in 2022 (in which I caught their London show, rearranged for the Scala, and two festival appearances) Stone Broken decided on a new approach for a second leg of dates in support of most recent album ‘Revelation’. Badged ‘Come Closer’, they deliberately selected smaller and more intimate venues, many off the beaten track, to recapture a pre-Covid sense of belonging.
With the band seemingly reaching a plateau of popularity (having already been overtaken by one of their previous support bands in Those Damn Crows, with another in Mason Hill set to follow) it does though carry a self-fulfilling danger that the smaller venues become the norm, a fate that befell Inglorious who have now gone on hiatus. Moreover, with several of the other shows in the South-East (my own London gig buddies saw them at Hertford and Tunbridge Wells), there was a risk the capital show would not be well attended, but though slow to fill, there seemed to be a near full house.
There was also an excellent support band in Scarlet Rebels, a band I’ve not seen enough of yet, not least as last year their second album ‘See Through Blue’ became a shock UK top 10 album. Opening with ‘I’m Alive’ then the big hooks of ‘Take You Home’, they have an interesting approach that marks them out from the mass of New Wave of Classic Rock hopefuls. They have a basic but chunky, almost power pop sound but with the searing solos of the Les Paul-wielding Chris Jones giving them a more metallic edge.
Wayne Doyle is a strong singer, helped by some excellent backing vocals from bassist Wayne Esmonde, and a fine frontman who had the confidence to engage in plenty of audience banter especially during participatory number ‘Save Me’.
On the likes of ‘These Days’ I was reaching for comparisons to Soul Asylum and the Gaslight Anthem and, though a cliché to say so about a Welsh band, there are also elements of the early (and better) Manics and Stereophonics in their passionate anthems.
My one complaint was that many songs sounded too similar to each other, ‘Let Me In’ being a case in point but the rousing ‘Heal’ built from gentle beginnings in fine fashion to end an impressive set.
Stone Broken opened with the title track of ‘Revelation’ with loops and other taped effects, but still with their trademark melodic hooks, before going into more familiar territory with ‘Stay All Night’ and ‘Heartbeat Away’, with ‘Black Sunrise’ combining both old and new approaches.
While great to see them at such close quarters and at one of the few venues to deserve the term iconic, the unusual layout of the 100 Club with the audience at the front divided by a pillar right in the middle made for a slightly unusual atmosphere.
‘Let You Go’ was a reminder Nickelback comparisons are never far away and so far, so usual for a Stone Broken set. But a few surprises were in store to replace the shooting of freebies from a pop gun and the Bad Company cover, neither of which were missed from the last tour, frankly.
First a rare outing for ‘Save Tomorrow’ from their first album that was so impressive that bassist Kieron Conroy received a round of applause as the song had been included at his insistence , then ‘Make it Out Alive’, perhaps the most striking example of how they have broadened with more contemporary and experimental sounds on the new album.
There were then acoustic re-imaginings of two of the ‘Revelation’ tracks in ‘Over the Line’ and ‘This Revival’ to coincide with their inclusion on a digital re-release. As well as further enhancing the intimacy of the evening with the ever affable West Midlanders, the songs had some interestingly different touches, including Robyn Haycock adding backing vocals and playing a drum pad, plus more of the taped keyboard sounds they use rather too much of for my liking.
Frontman Rich Moss was then left alone to sing ‘Wait For You’ solo and acoustic to a lusty crowd accompaniment, until the band kicked in for the closing section, power ballad style. The sentiments are simple but they can be proud to have written such a song that obviously strikes a chord, and which in a parallel world would have been a massive radio hit in the US or used on a TV show or soundtrack.
Recent single ‘Stronger’ equally showed their way with a tune, beginning as a ballad on the verses before a power chording chorus but from then on in it was catchy straight ahead rockers all the way- ‘Worth Fighting For’, and ‘Devil You Know’ which in common with the new material had some modern touches but really grew on me after a staccato intro and to close a slightly short 75 minute set, as at every show, first album favourite ‘Not Your Enemy’ with their stage manager taking over second guitar to allow Rich to work the crowd.
A Stone Broken gig is always a guarantee of good songs and wholesome fun in the company of this hard-working but humble band. However the unusual, intimate format, last night of the tour atmosphere and the tweaks to the standard set, allied to the quality of support, made this perhaps my favourite gig of theirs in recent memory.
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: KEN HENSLEY – Past And Present (Songs In Time Anthology, 1972-2021, 6 CD set)
Cherry Red [Release date: 27.02.23]
The late Ken Hensley had been steadily accumulating cultural stock since 1970. His ability to write poetic, melodic rock’n’roll is well known in the music industry worldwide.
His reputation grew exponentially as he converted that ability into many best selling successes, both with Uriah Heep and as a solo performer.
It would be impossible to reduce the man’s career to a handful of discs, so credit to Cherry Red for shoehorning so many key tracks into 6 CDs.
The label have set up this anthology as follows:
CD1: Solo (1972-1981)
CD2: A Glimpse Of Glory (1999)
CD3: Running Blind (2002)
CD4: The Last Dance (2003)
CD5: Cold Autumn Sunday (2005)
CD6: Collaborations (2011-2021)
The set is a neat construction, taking us back to the beginning, then dallying for a while in the early 2000s, then fast forwarding to the millennium’s second decade.
It was pretty clear from the outset of his career that Hensley was the consummate craftsman. CD1, Solo, confirms that he could write and record songs of emotional fragility like ‘Black Hearted Lady’ as well as the heavyweight rock of ‘Cold Autumn Sunday’. The latter, from his first solo album, gets revisited and revised on CD5.
A Glimpse Of Glory (CD2) is a strange beast. It reflects (or at least half of it reflects) Hensley’s conversion to Christianity, while living in St.Louis, Missouri. It is a brave artist who tries to sell his belief and his faith to the public. ‘Jesus Again And Again’ and ‘The Joy Of Knowing Jesus’ are real “heart on his sleeve” stuff.
As the dates might indicate, Running Blind (2002) and The Last Dance (2003) were consecutive releases.
The first assembles a lot of ideas and themes into one album, most of them… loneliness, alienation, comfort… are not untypical of Hensley, but few of them work.
‘Free Spirit’ and ‘Prelude – A Minor’ are exceptions. Both are triumphs of craft and design, if not entirely original.
‘The Last Dance’ reflects a new lease of life gained by Hensley after uprooting and emigrating to Spain. Surrounded by Spanish musicians who knew little of his reputation, he upped his game.
‘Crying’, ‘Letting Go’ and ‘The Voice Of Love’ are the soul baring, emotionally honest songs we expect from the man. Superb songs.
The anthology concludes with Collaborations (CD6), and is exactly that. An album of material recorded with his Live Fire band, spotlighting the fabulous guitarwork of Street Legal axe man, Ken Ingwersen.
The CD closes with ‘Right Here’ and ‘Cold Sacrifice’, two collaborations with Russian poet and lyricist, Vladimir Emelin. taken from My Book Of Answers, Hensley’s final album. They grew out of a chance meeting between the two when they were boarding the Moscow flight out of the EU four years ago.
Who said the language of rock music isn’t universal. ****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.
Feature: The GRTR! Grotto of Greatness – ELEANOR McEVOY (March 2023)
As Irish and iconic as Guinness and also dark and lively in equal measures…
Singer songwriter Eleanor McEvoy first came to wider attention in 1992 when she was part of “A Woman’s Heart” compilation with Mary Black and other female Irish artists. Signed to Geffen Records, she released her self-titled debut album in 1993.
By the late 1990s, following the release of two more albums for Columbia and some success in the USA, she became disillusioned with the lack of interest (and investment) in her music by the label and – with the Internet offering new marketing channels – she became very much her own cottage industry.
Peter Muir, who writes for GRTR!, established his Market Square label in 1999 and Eleanor was one of his first signings, initially recording a track for a Bert Jansch tribute – ‘Where Did My Life Go’ – and then releasing the exquisite ‘Yola’ in 2001.
Her fourth studio album pre-dates GRTR! by a couple of years. It is significant in that to a large extent it provided the template for McEvoy’s releases over the next two decades: high production values, introspective and insightful lyrics and eclectic musical styles. McEvoy is an accomplished violinist but also plays guitar and keyboards.
Long-time fan and advocate Pete Whalley takes up the story…
For me, Yola signalled the beginning of a love affair that has transcended the GRTR! years and continues unabated over two decades on. I can clearly recall Managing Editor David Randall – probably around the time of the GRTR! launch, and knowing my penchant for singer songwriters – saying “there’s an album by an Irish singer songwriter that you really should check out”.
I came across a copy in a Soho backstreet record shop and from first listen I was smitten. Within months I’d tracked down copies of her back catalogue (none of which were an easy ‘find’ at the time) and got them signed at my first Eleanor gig at the West Houghton Folk Club in February 2003 on the tail end of the ‘Continuing Yola Tour’. I remember her being quite impressed I had them all.
The album was an outpouring of pent up creativity following her break away from the shackles of mainstream labels and was a piano and acoustic guitar driven masterpiece. With not a superfluous note, nothing about the album – looking back 20 plus years later – could be improved upon. For me it stands shoulder to shoulder with undisputed classic singer songwriter albums like Carole King’s Tapestry and Tracy Chapman’s eponymous debut.
But the part played by Brian Connor’s sympathetic keys cannot not be overstated. Both live, and on record, his sparse, delicate lines were the perfect foil to Eleanor’s ‘late night’ musings and while their partnership extended into Early Hours (2004) – her first release to be reviewed by GRTR! – she was, by then, beginning to explore fresh songwriting styles.
Others, including Eleanor, have sat behind the keyboard in the ensuing years, but Yola captured a mesmerising but all too brief musical chemistry perfectly attuned to her heartfelt confessionals. It was, and will remain, one of my all time favourite albums.
‘Portrait Of A Songwriter’ was a seven-track sampler given away with Hi-Fi News in 2003
‘Yola’ perhaps unsurprisingly won “Record Of the Year” from HiFi+ magazine reflecting the high production and sonic values, another characteristic of future releases. Later, a limited edition 7″ single was cut to vinyl from the Yola SA-CD masters in 2009. The album’s successor ‘Early Hours’ was also available in Super Audio (SA-CD) format.
Early Hours takes a subtle sideways step from the emotional apocalypse of Yola. It’s almost as if, drained by those outpourings there was nothing left to give. So Early Hours finds Eleanor in a sometimes melancholy and sombre mood – upbeat at times, revisiting childhood memories, paying homage to absent friends and, despite everything – still a wistful and incurable romantic.***** Pete Whalley
By mid-2004 Eleanor was going on tour on her own without the piano accompaniment of Brian Connor who had also contributed to, and enhanced, two albums.
And as Pete Whalley noted in our first live review in July 2004“In the main, the set was just Eleanor and her acoustic, but her vocals were so mesmerising and the songs so strong that frankly, you don’t need much else.
She even used the guitar body to provide a hypnotic percussive backing to ‘Isn’t It A Little Late’. And the fiddle was given an airing for the exquisite ‘Driving Home From Butlers’ and a traditional Irish jig/reel that had the crowd stomping and clapping…
But it was almost as if, performing solo, she was able to focus on delivering each song as the mood took her, undistracted by the confines of working as a duo. It really is unusual to be able to see an artist of this calibre so ‘up close and personal”.
Setting up on my own away from the major labels. It was the best thing for my music and for me as a person. Eleanor McEvoy, 2004
This pared-down instrumentation and intimacy was now perpetuated for gigs, whilst the obscure venues could always present a challenge: “Invariably, they’re small function rooms hidden behind pubs, over golf clubs or in the back of beyond. And this was no exception – a small, dark, decidedly cool (and I mean ‘cool’ as in ‘I wish I’d brought my jacket’) room at the back of the Eagle Hotel on Buxton Main Street which is used as a regular Thursday night live music venue.”
As Eleanor told David Randall in 2004: “I’m enjoying playing solo more than I thought I ever would, it’s filled me with a new enthusiasm for the gigs. when it’s just one person and the audience you can get this incredible connection between the artist and the audience, which is sometimes hard to do when you’ve other musicians with you.
If you want to repeat a section of a song, or alter a playout, you have to signal to someone on stage which means your focus is split to some degree. I’m finding now that when I’m on my own, my only focus is the audience.”
Long term fan Graham Ashmore reviewed Eleanor at a favourite venue – Alexanders in Chester – in April 2005 whilst several months later he experienced his favourite with a full orchestra in Dublin. He hoped that the gig would be released on CD and that the orchestral approach would be repeated.
“Mention Eleanor McEvoy to those who know her and get them explain what she does then the immediate reply would be a top class folk singer and songwriter who plays acoustic guitar and violin. What they might forget to mention is that her guitar playing is just so bloody good.”
Around this time, Eleanor was managing to regain the rights to some of her back catalogue. Peter Muir re-released her debut album in 2003 with bonus tracks including a re-recording of ‘Only A Woman’s Heart’.
David Randall noted the more recent change of musical direction “If Eleanor turned her back on electric arrangements with 2001′s brilliant ‘Yola’ it is perhaps to be hoped that she will again receive the call of the great God Marshall Stack.
She was years ahead of Jewel, Dido, Sheryl Crow and co. and frankly in a league of her own. She is a fiercely independent artist and recent times have seen low-key intimate tours with musical partner Brian Connor.
It would be great to hear these songs played again in an electric setting. And it would be good if the albums that followed,’What’s Following Me’ and the brilliant ‘Snapshots’, were given a new lease of life, too.”
Thankfully, although ‘What’s Following Me?’ (the second album for Columbia) remains with the label 1999′s ‘Snapshots’ was reissued in 2009 via Market Square and MOSCO, Eleanor’s own imprint.
In 2006 Jason Ritchie and Pete Whalley noted that “by and large she remains an undiscovered talent.” And went on that she “encompasses folk, blues, country, traditional, acoustic and even light jazz.
Admittedly this can put some people off and big record labels never like anyone who doesn’t fit their neat marketing niches. More fool them, but this suits Eleanor who prefers to plough her own furrow.”
Never one to ‘go with the flow’, Out There is yet another outstanding album with the classic McEvoy hallmarks of great songs, wonderful vocals and magnificent production…And as on recent releases the instrumentation and arrangements are sparse, allowing the songs and performance space to breathe. ****1/2 Jason Ritchie/Pete Whalley
Reviewing Eleanor’s gig in October 2006 David Randall commented “Low-key is how Eleanor seems to prefer things these days, the following day she was driving up to the Isle of Arran where to all accounts she would be playing to one man and his sheep.
In the past few years she has delivered a couple of memorable and atmospheric albums, ‘Yola’ and ‘Early Hours’. Simple in their cosy domesticity, but one worried slightly that she was becoming a sort of Earth Mother figure.
The latest, ‘Out There’, is more immediately accessible, perhaps a bit more edgy, and has definitely put a new spring in her step.”
On ‘Out There’ she included a couple of cover versions, again a regular trend on millennium releases which reached its zenith in 2008 with ‘Love Must Be Tough’ with Eleanor’s interpretations of songs written by men about women. This album was characterised by rich instrumentation, and a riot of saxes and horns.
…while exploring old ground with a fresh slant it nevertheless remains an album that has all the hallmarks we’ve come to expect from Ms McEvoy – great songs, fantastic production and, of course, Eleanor’s wonderful vocals.
**** Pete Whalley
Pete caught a number of gigs on the tour that promoted ‘Love Must Be Tough’ in May/June 2008 including an unusually visceral performance in Newcastle-under Lyme - at a “spit and sawdust CAMRA pub that operates a (paying) lock-in system for gigs. A great range of beers, a great sound system and friendly staff, but little by way of creature comforts – no carpets and as for seating – a stool or hard backed chair (if you were lucky).”
Four days later The Rock, Maltby “a small but perfectly formed purpose built concert hall close to Roche Abbey where soft furnishings were very much the order of the day. A venue where the feral Eleanor McEvoy put away her claws and purred to a rapt audience.”
And finally, the ever-faithful Alexanders in Chester “a working jazz club, but with the refinements you would expect of a cathedral city.”
“Eleanor served up a veritable smorgasbord of old, new, borrowed and blues, which after a relatively restrained first half, saw the audience indulge in some hearty involvement on I Knew The Bride (When She Used To Rock And Roll), When You (Smile), Be My Baby Tonight and Only A Woman’s Heart (complete with a Spanish chorus).
It was yet another first rate set, confirming that Ms McEvoy remains on top of her game at present. The highlights were many, but for me at least were ‘What’s Her Name’ played on bass, ‘Eve Of Destruction’, ‘Ave Maria’, ‘Be My Baby Tonight’ and a quite stunning second encore of the little aired ‘Stray Thoughts’ from her debut album.
Truthfully, singer-songwriters and solo performers don’t come any better than this.”
On 1 June 2008 David Randall chatted to Eleanor McEvoy about her career, from the time she was signed to Geffen Records, and toured the States, to the series of albums she released in the millennium (37:45)
Throughout her career she has always collaborated with others, early on she was a member of Mary Black’s band, and since ‘Out There’ has worked regularly with one-time member of The Beautiful South Dave Rotheray, a liaison that was forged on tour in 2005 with his band Homespun, and a joint venture album (with Hull crooner Mike Greaves) ‘Songs From Behind Bars’ (2017) under the pseudo name Prosecco Socialist.
She’s also worked with Polish acapella group Banana Boat, Lisbee Stainton, to say nothing of having her songs reworked in instumental form by an Irish jazz quartet going under the name of Corazon in 2015.
Accompanying the album releases from 2001 were a series of singles, many getting limited circulation merely as promos for radio stations and magazines. It made sense to bring them together and in 2009 ‘Singled Out‘ provided that compilation.
Pete Whalley enthused: “Without question, Singled Out is the perfect introduction to one of the singer songwriters of the 21st century.” The album included a track inspired by her visit to Uganda on behalf of Oxfam Ireland.
In 2008-10 Eleanor made further gigging forays to Australia whilst 2010′s ‘I’d Rather Go Blonde’ was a conscious return to a ‘Snapshots’ like structure, with the album mixed by Ruadhri Cushnan who had engineered that late-1990s album.
The subject matter, as always, remains firmly fixed on matters of the heart, but this time around it feels delivered from a more observational perspective by a woman who sounds comfortable with her place in the world.
One thing you could never accuse Eleanor McEvoy of is resting on her laurels, and once again she’s come up with the unexpected.**** Pete Whalley
David Randall chatted again to Eleanor in September 2010 around the album ‘I’d Rather Go Blonde’ and in this edit she chats about reconciling her preferred approach with reaching a wider audience (6:57)
We commented in 2011 that what was really lacking in the McEvoy oeuvre was a live album. But to some extent this was addressed with the release of ‘Alone’.
As many of the greatest songwriters will tell you, it’s the space between the notes that are the most important, and here there’s plentiful space that embellishes the vulnerability of the material and performance. It’s a brave move that takes ‘unplugged’ to a whole new level, giving the listener an almost voyeuristic insight to the sentiment behind the songs.**** Pete Whalley
Over the past 10 years Eleanor McEvoy has become active in speaking up for artist’s (copy) rights as a member of the Irish Music Rights Organisation (and Chair from 2017). And for a couple of years (2012-13) she drove herself to gigs in a converted hearse as “The Girl In The Black Car”.
In 2013 “the creative inspiration for ‘If You Leave’ was the blues rock explosion of the 1960s, and in particular the Brian Jones’ story which sparked Eleanor into revisiting some of the classic albums of the genre by the likes of The Stones, The Beatles and The Beach Boys.”
…very much follows the pattern of Eleanor’s previous releases in focusing on matters of the heart, albeit with a twist that ‘neo-retro’ sums up nicely. **** Pete Whalley
If “Singled Out” was a compilation of not-always-easy-to-obtain singles 2014′s Stuff also provided another landmark of sorts bringing together “something for everyone by way of collaborations, single remixes and B-sides, and even some new material.”
And in 2015 Eleanor was back at Alexanders in Chester when David Randall summed up: “She can sometimes be found in the back room of a pub near you plying her trade. This allows her audience to get up close and personal, witnessing an intimate performance by one of our finest, unsung, singer songwriters.”
To demonstrate a free spirit the tour was billed as “Alone – The Performance” based on her album released four years previously. Time doesn’t really matter when you’re not standing still.
“Stripped bare, with just a guitar, an occasional fiddle or a keyboard and occasionally punctuated by some percussive guitar slapping or rattling matchboxes (honest!), her songs are exposed as exquisite three or four minute vignettes, the lyrics always thoughtful and the Irish-inflected vocal infectious and alluring.”
2016′s ‘Naked Music’ marked another collaboration, but this time with an artist Chris Gollon who inspired the album concept. Eleanor’s music also inspired Gollon who produced 23 paintings based on the song ‘Gimme Some Wine’ (the title of McEvoy’s latest album in 2021).
Pete Whalley called the album ‘Alone – Part 2′ and although he said like Alone it would “endure in way that other albums will struggle to match” he was disappointed there was no new material. ‘Naked Music’ revisited former songs. In 2016 it was our Singer Songwriter Album of the Year.
The result is another truly high fidelity studio ‘live’ recording one that takes ‘minimalism’ to a whole new level. It proves, again, that all you need to make a great record is the singer, and the song. And she does just that with an acapella version of ‘The DJ’ (lifted from her 2004 album Early Hours) where she impressively carries the melody with just her vocals.
… in its own right, the gentle, whiskey drinking, candle watching music of Naked Music is hard to fault. Few could compare under the glare of such a bright spotlight. Eleanor shines.**** Pete Whalley
The 2016 ‘Naked Music’ tour was almost scuppered by the untimely death of artist Chris Gollon but Eleanor pressed on by way of providing a tribute. Our man Whalley was there again to note:
“…she is developing into something of a skilled raconteur as well as a singer-songwriter, captivating her audience as much with her music as with her entertaining inter-song banter. Give her a slightly sharpened script and she could give a good number of stand-up comics a run for their money.”
But there was a more intriguing gig in May 2017 at Penylan Hall in Melford on the Welsh Borders. A recording studio and performance space provided an intimate gig and also a rather welcome chilli supper. David Randall reported:
“For the past couple of decades Eleanor McEvoy has very much ploughed her own musical furrow, eschewing the trappings of commercialism but still producing consistent – and occasionally surprising – good works.”
And Eleanor’s versatility was further demonstrated in 2017 with the release of ‘The Thomas Moore Project’ celebrating the Irish poet by putting his words to her own music.
As ever with Eleanor’s work, the construction and delivery simply cannot be faulted. In that sense The Thomas Moore Project is the aural equivalent of Michelin Star ‘fine dining’. **** Pete Whalley
Eleanor’s 2018 album doesn’t appear in her official discography (at least on her website). It was a specialist audiophile release available in different hi-res formats. As Pete Whalley noted: “From a songwriting perspective, Forgotten Dreams perhaps – an album cut direct to vinyl playing in real time - reflects the fact that her days of edginess and angst are long passed…”.
Supported by ex-Beautiful South keyboard player Damon Butcher, it was largely another revisiting of past material and covers (that of the Pointer Sisters ‘Slow Hand’ being particularly memorable).
But Eleanor McEvoy always has the ability to surprise and with her eclecticism and wonderful musicality we always know it is going to be an interesting journey.
Which brings us almost up to date. Eleanor is currently gigging promoting her latest release ‘Gimme Some Wine’ (2021) – a reflective album not only mourning the loss of artist Chris Gollon – to whom the title track is dedicated (with the painting he made in response featuring on the album cover) – but also bearing the scars of emerging from a 23-year relationship and re-locating to Dublin where her career started.
In particular, on what might have been – meeting an old flame on ‘South Anne Street’ and ‘Found Out By Fate’, a savage indictment on a cheating partner, co-written with Paul Brady,
In summation, writing his primer on female singer songwriters during GRTR!’s lifetime Pete Whalley noted the hallmarks of this most captivating of artists as “consistently great songs, sublime vocals, and excellent production.” And, to paraphrase the old Guinness adage, decidedly good for you.
Story coordination: David Randall (Additional material and edit: Pete Whalley)
Contributors: Graham Ashmore, David Randall, Jason Ritchie, Pete Whalley
David Randall interviewed Eleanor before the gig on 2 March and chatted about her life and music since their last meeting in June 2008. She is a Featured Artist at Get Ready to ROCK! Radio and throughout the month of March 2023 more of her tracks will be added to the station’s general playlists.
Saturday 18 Feb Irish Cultural Centre, Hammersmith, London
Sunday 19 Feb Acapela, Cardiff
Monday 20 Feb Prince Albert, Stroud
Thursday 23 Feb Chapel Arts, Bath
Friday 24 Feb Stables, Milton Keyes
Saturday 25 Feb Village Hall, Alstonefield
Monday 27 Feb Kitchen Garden Cafe, Birmingham
Wednesday 1 March Penylan Studios, Meifod, Powys, Wales
Thursday 2 March Alexander’s, Chester
Saturday 4 March Old Cinema Launderette, Durham
Sunday 5 March The Crescent, York
Monday 6 March Folk Club, Stirling
Tuesday 7 March Glad Cafe, Glasgow
Wednesday 8 March Greystones, Sheffield
Thursday 9 March MET Arts Centre, Bury
Friday 10 March The Rope Walk, Barton
Saturday 11 March Philharmonic Hall, Liverpool
IRISH TOUR 2023
Friday 24 March St Augustine’s Church, Derry
Saturday 25 March The Oriel Centre, Dundalk
Thursday 30 March The Red Hot Music Club, Kilcullen
Friday 31 March The Venue, Ratoath
Saturday 15 April An Taibhdhearl, Galway
Thursday 27 April Bob’s Hideout, Durrow, Co Laois
Saturday 29th April, Wexford Arts Centre, Wexford
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.
Bryan Adams has finished work on his latest album which is due for release later this year or early 2024.
The Alarm release their latest album ‘Forwards’ on June 2. The title track and ‘Next’ have been released ahead of the album.
‘The Black Crowes: Shake Your Money Maker Live’ is set for release on March 17 through digital services.
Blackfield will release the seven-disc ‘Blackfield : An Accident Of Stars: 2004 – 2017′ on March 31 through KScope.
The Bloody Nerve continue to roll out their concept album ‘All Blood, No Treasure’, with Episode 7: ‘Hard Hard Winter’ which will be available on all digital platforms 17 March.
Billy Bragg releases ‘The Roaring Forty’ box set on October 27. The CD version will comprise 14 discs, with the vinyl edition coming as a 3xLP (40 tracks) or a single ‘primer’ LP (13 tracks).
Cairo release their second album ‘Nemesis’ through Spirit Of Unicorn Records on May 5. The album was produced by John Mitchell.
Cemetary have signed with Atomic Fire Records and have two albums in the pipeline.
Circus Of Rock release their second album ‘Lost Behind The Mask’ on May 12 through Frontiers. Circus Of Rock is masterminded by drummer Mirka Rantanen (King Company) and guests on the album include Jeff Scott Soto, David Readman (Pink Cream 69), Bernie Shaw (Uriah Heep) and Mr Lordi.
Cradle Of Filth release a live album, ‘Trouble And Their Double Lives’, on April 28 via Napalm Records.
Def Leppard have teamed-up with The Royal Philharmonic Orchestra to release a ‘Drastic Symphonies’ on May 19. It will feature Def Leppard songs given a full orchestral treatment.
Demon have started work on their next studio album recording at Magnum’s studio.
Devildriver release their new album ‘Dealing With Demons Vol. II’ in May.
Dropkick Murphys release their latest album ‘Okemah Rising’ on May 12.
Andy Taylor is reportedly set to record with his former band mates Duran Duran on their new album, due by the end of this year.
Extreme release their new album, ‘Six’, on June 9 on earMUSIC. ‘Rise’ has been released as the lead song.
Helloween have started work on their next album.
Hollywood Vampires release ‘Live In Rio’ through earMUSIC on June 2.
Koritni, led by frontman Lex Koritni, are back and they will be release their new studio album ‘Long Overdue’ on April 14.
Mammoth WVH release ‘Mammoth II’ on August 4 via BMG.
Metal Church release their new album ‘Congregation of Annihilation’ via Rat Pak Records and Reaper Entertainment on May 26.
Midnite City release their fourth album ‘In At The Deep End’ via Pride & Joy Music on June 23.
Mystery have released a new song, ‘Behind The Mirror’, ahead of their new album ‘Redemption’ which is due on May 15 via Unicorn Digital.
Mystic Prophecy release their new album ‘Hellriot’ on May 19 through Rock Of Angels Records.
Rush release a 40th anniversary edition of their ‘Signals’ album on April 28 through Mercury/UMe. It will be available as Super Deluxe Edition, LP Picture Disc Edition, and Dolby Atmos Digital Edition.
Billy Squier released ‘Harder On A Woman’ on March 8. It is his first rock song since 1993′s ‘Tell the Truth‘ album.
Chris Squire’s debut solo album ‘Fish Out Of Water’ will be reissued on vinyl by Esoteric Recordings on May 26.
Staind have completed work on their new album – their first in twelve years.
Stephen Stills has announced the release of ‘Stephen Stills Live at Berkeley 1971′ on April 28.
Sweet & Lynch release their latest album ‘Heart & Sacrifice’ on May 19 on Frontiers.
Taproot release their seventh studio album, ‘SC\SSRS’, on September 29 via THC MUSIC/Amplified Distribution.
Tears For Fears release a 40th anniversary edition of their debut album ‘The Hurting’, through Virgin/UMR on May 12.
Texas Hippie Coalition release their seventh studio album, ‘The Name Lives On’, on April 21 via MNRK Heavy.
Therapy? release ’Hard Cold Fire’, their 16th studio album, on May 5 via Marshall Records.
Steve Thorne releases his new album, ‘Malice In Plunderland’, through White Knight Records on April 7.
Thunder have announced expansive reissues of their first three studio albums, ‘Backstreet Symphony’, ‘Laughing On Judgement Day’, and ‘Behind Closed Doors’. Reissued via BMG on 28th April, the albums feature unreleased bonus live versions of songs from the respective records.
Whitesnakerelease a new version of their 2008 album ‘Good To Be Bad’ on April 28, under the new title of ‘Still Good To Be Bad’. It will be available on 4-CD/Blu-ray, double LP and a single & double CD and includes a remastered version of the album and alternate mixes.
Yes (pictured) release their latest album ’Mirror To The Sky’ through Inside Out Music on May 19.
Neil Young has confirmed the release date for the next two instalments of his Original Bootleg Series. ‘The Ducks’ High Flyin’ & ‘Neil Young & The Santa Monica Flyers’ Somewhere Under The Rainbow’ will both be released on April 14.
Yusuf/Cat Stevens releases his new album ‘King Of A Land’ on June 16 on BMG/Dark Horse.
Newly announced UK tours (2023 unless stated):
the Almighty, Black Spiders, British Lion, Coheed and Cambria, the Damn Truth, Fall Out Boy, John Fogerty, Gong + Ozric Tentacles, Guana Batz, the Hollies, Incubus, Interpol, Robert Jon & the Wreck, Kings Of Leon, Adam Lambert, Natalie Merchant, Ocean Colour Scene, John Otway & Wild Willy Barrett, Dan Patlansky, the Who
Newly announced US & European tours (2023 unless stated):
Avenged Sevenfold (US), British Lion (Eur), Bullet For My Valentine (US), Candlebox (US), Eric Clapton (US), the Cure (US), the Darkness (Eur), Delain + Visions Of Atlantis (US), Demolition 23 (Fin), Doobie Brothers (US), Exciter (Eur), Falling In Reverse (US), Five Finger Death Punch (Eur), Foo Fighters (US), Peter Gabriel (US), Godsmack + Staind (US), Grand Funk Railroad (US), the Halo Effect (US), the Hu (Eur), Tom Keifer (Cinderella) + Winger + John Corabi (US), Machine Head (US), Megadeth + Bullet For My Valentine (Can), Monster Magnet (Eur), Mr. Big (Jap/Far East), the Offspring + Sum 41 (US), Queen + Adam lambert (US), the Residents (US), Rival Sons (US), Santana (US), Skid Row + Buckcherry (US), Smashing Pumpkins (US), the Struts (US), Zebra (US),
Get well soon Blaze Bayley who has had to postpone his planned European dates for March and April due to a heart attack.
Camel have announced that they have cancelled their upcoming live dates as guitarist and singer Andy Latimer requires urgent back surgery.
Loudness have cancelled their upcoming European tour due to increasing costs.
Yes and their management have explored every possible avenue to arrange insurance cover for the tour in the event of COVID-related exemption or Act of War exclusion. The insurance industry has withdrawn all such insurances which made touring possible pre-COVID and before the Ukraine conflict, which means as a result Yes have postponed their planned European and UK dates for 2023.
The original line-up of the Almighty are reforming for three UK gigs in late November & early December.
KISS have announced their final shows, two nights at Madison Square Garden, New York on December 1 and December 2.
Elton John, Guns N Roses and Artic Monkeys have been announced as this year’s Glastonbury headliners.
Saxon guitarist Paul Quinn has announced he is stopping touring with the band but will continue to record with the band. The band’s March dates will go ahead as planned, however, April’s dates in South America have been postponed.
Darryl Hall supports Billy Joel on his BST Hyde Park show as well as his own headline show at Hammersmith Apollo on July 7.
A pair of Jeff Beck tribute shows – organised by Eric Clapton and Sandra Beck, the guitarist’s widow – will take place on May 22 and 23 at the Royal Albert Hall. The shows are set to feature Billy Gibbons, Rod Stewart, Johnny Depp, John McLaughlin, Susan Tedeschi, Derek Trucks, Doyle Bramhall II, Imelda May and Joss Stone.
Power Quest have announced that they have brought forward their planned retirement, which was due at the end of 2023, and have retired with immediate effect. Founding member Steve Williams commented,“ This definitely wasn’t the way we wanted to bow out that’s for sure, but when we saw the pre-sales figures for the UK tour in April we could see that it wasn’t going to make sense financially. This in turn would have a logistical impact on travelling overseas of course. So, at this stage of the game, it just made sense to stop now rather taking unnecessary risks.”
Former Thundermother members Guernica Mancini (vocals), Emlee Johansson (drums) and Mona Lindgren (bass) have launched a new band called The Gems.
On 13 April Metallica’s forthcoming album ’72 Seasons’ will be played in full in cinemas worldwide.
Triumph guitarist/vocalist Rik Emmett publishes his memoir, ”Lay It On The Line – A Backstage Pass To Rock Star Adventure, Conflict And Triumph”, on October 10 via ECW Press.
Genesis Publications publish ‘Definitely: The Official Story Of Def Leppard’ (previously announced as a limited-edition release), as a hardback edition on May 9 priced at £35.
A KISS biopic entitled ‘Shout It Out Loud’ is due to premiere on Netflix next year.
In through the out door…line-up changes
Alan Reed has re-joined Pallas who he fronted between 1986 to 2010. The band are currently working on a new album entitled ‘The Messenger’. There are also plans to re-issue the band’s earlier albums.
Nick D’Virgilio is the new touring drummer in Mr. Big and the band also announced the first batch of dates for their farewell tour.
Guitarist Nina Strauss will re-join Alice Cooper’s band for his 2023 tour dates
Matt Starr will sit in for drummer Jimmy Chalfant in Kix as he recovers from illness
Guitarist Simon Johansson has joined Soilwork
Ryan McCombs has re-joined Drowning Pool
Thundermother has recruited Joan Massing as its new drummer
Bruce Barthol, original bassist for Country Joe and the Fish
Guitarist and writer for ‘Guitar Player’ Jesse Gress. He had worked with Todd Rundgren in his touring band and on several albums.
Saxophonist Wayne Shorter (Miles Davies, Joni Mitchell, Steely Dan)
Pulp bassist Steve Mackey
Lynyrd Skynyrd guitarist Gary Rossington, the last remaining founding member of the band
Guitarist David Lindley, most famed for his work with Jackson Browne
Session and touring bassist Michael Rhodes, who in recent years has been part of Joe Bonamassa’s touring band
Producer and founder of Afro Celt Soundsystem, Simon Emmerson
Drummer Jim Gordon of Derek & the Dominoes
Hawkwind’s original guitarist Mick Slattery
Former Parliament-Funkadelic singer Clarence “Fuzzy” Haskins
Saliva guitarist and founder member Wayne Swiney
Tom Leadon, co-founder of Mudcrutch
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.
Back again with album number nine from D’Ercole who feature Damian D’Ercole (bass, guitars), Phil Vincent (vocals, guitars, keys) and B.F. D’Ercole (drums). They are a prolific bunch, although that is no surprise as they include Phil Vincent in their ranks, a musician who never seems to sleep!
‘Trial By Fire’ and ‘Make It Alone’ get this album off to a rockingly good start. Plenty of riffs and two memorable choruses makes for a classy opening duo. The album is 50/50 hard rockers like these two and ‘No Place Left To Hide’, with the other half being taking a more experimental or mellower route.
‘Synergy’ is a two parter which starts with a simple synth intro before the guitars and rhythm section come steaming in. ‘Real Life’ is at the lighter end of D’Ercole’s music, a nifty piece of melodic rock featuring another fine guitar solo.
D’Ercole go prog? Well, almost as ‘The Broken Heart (Parts I-IV)’ clocks in at over sixteen minutes. After a gentle piano intro the pace ups a few notches and lovely guitar solo in the final part of the song. However, being honest it does outstay its welcome a little.
Another solid slab of melodic hard rock from D’Ercole who will please their fanbase and any lover of hard rock. ***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.
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 →
The last vestiges of winter still had its cold tendrils curling around the country, falls of snow and a chill wind was everywhere, even in the midst of London town. Things though in Islington had rapidly heated up, the arrival … Continue reading →
King King are a reliably regular touring act and this spring tour comes exactly a year after the last. If there was a sense of curiosity last year about the new line up with Alan Nimmo joined by big brother … Continue reading →
Frontiers [Release date 17.3.23] Transworld Identity is a breath of fresh air. Vocalist Mila Bosa previously fronted a hard rock covers band, inevitably moving onto original material with her own band, T-ID. Hard to tell just how long they’ve been … Continue reading →
Frontiers [Release date: 10.03.23] Like last month’s All My Shadows, Gunter Werno’s Anima One is yet another offshoot grown from the fertile ground that bred Prog Metal giants, Vanden Plas. While All My Shadows saw VP’s prime movers, Stephan Lill … Continue reading →
Escape Music [Release date 24.03.23] The Flood are an interesting proposition featuring vocalist Chris Ousey (Heartland/Virginia Wolf/Snakecharmer), FM guitarist Jim Kirkpatrick and former FM keyboards player Didge Digital. So far, so melodic hard rock and blues rock. However, it is the … Continue reading →
In an ever more crowded field of new acts, particularly in the world of blues rock, it is hard to sort out the exceptional talent from the merely good. As a shortcut through this minefield, I tend to rely on … Continue reading →
Golden Robot Records [Release date 10.03.23] If you’ve ever listened to our weekly new release show on Get Ready to ROCK! Radio ‘New to GRTR!’ you’ll know that we feature a fair number of releases from Golden Robot Records. Established … Continue reading →
Golden Robot Records [Release date 17.03.23] After a long wait, 7 years to be exact, Northern Irish rockers, The Answer return with a new album, releasing it on St Patricks day (of course!) and this fan girl gets to review … Continue reading →
Frontiers [Release date 10.03.23] From Dokken and Lynch Mob to End Machine, KXM and more, George Lynch has been on quite some rock’n’roll journey. And is still. He and his new world bandmates, Producer/Mixer/Writer, Joe Haze and vocalist, Devix AKA … Continue reading →
Frontiers [Release date: 10.03.23] Here’s an interesting band. Demons Down combine the legacy Melodic Rock of House Of Lords (and others) … Jimi Bell, Ken Mary and Chuck Wright, with today’s rising stars in the shape of Chilean vocalist, James … Continue reading →
Gentle Art Of Music [Release date: 17.03.23] It is now more than twenty years since RPWL’s debut album ‘God Has Failed’ was released to an unknowing world – to a muted response. But, muted response or not, it laid down … Continue reading →
[Release date 03.03.23] Black Bear Kiss are a 4 piece upbeat rock band, who formed in 2016 by long term collaborators and good friends Rob Jones (guitar) and Chris Leech (vocals), with drummer Chris Bagnall and bassist Rich Sach coming … Continue reading →
Hyperspace Records [Release date 23.09.22] The second album from a veritable “superband” conglomerate featuring Bobby Rondinelli (Black Sabbath, Rainbow, drums) and Randy Pratt (Cactus, The Lizards, bass) with Ed Terry on vocals and JZ Barrell (guitars) They are joined by … Continue reading →
RYAN HAMILTON Haunted By The Holy Ghost Wicked Cool [Release date 10.03.23] Texan singer-songwriter Ryan Hamilton is back with his third album and he has been hailed by Spin magazine as one of the ‘35 Best Lesser Known Artists of The … Continue reading →
Mascot Records [Release date 10.03.23] This album comprising of 13 tracks was recorded almost entirely over the course of just two days with producer/engineer/mixer Mark Needham (Taj Mahal, The Killers, Imagine Dragons, Walk the Moon, Fleetwood Mac), the album stands … Continue reading →
Prior to the pandemic Black Star Riders were one of the hardest working acts, seemingly constantly on tour or playing festivals. So it was something of a surprise that this was their first tour since Lockdown, though there have been … Continue reading →
Facebook [Release date 03.03.23] Icarus Falls hail from West Sussex in the UK, consisting of Doug Hay (vocals), Harvey Wigg (guitar, vocals), Lawrence Trousdale-Smith (guitar), Vinnie Denton (bass) and Josh Harris (drums). As well as having the pandemic hit their … Continue reading →
For the last few years founder member Martin Turner has delighted his Wishbone Ash fans with a series of tours that have featured one of their classic albums in their entirety. As that particular list has progressed to the lower … Continue reading →
The Assembly Hall had a celebratory atmosphere about the place and a keen sense of anticipation was in the air ahead of Those Damn Crows. Support came from fellow Welsh rockers, James And The Cold Gun who helped to bubble … Continue reading →
Halfway through her UK tour, and a day after our major feature was published, Alexanders in Chester could well be the Grotto to Eleanor McEvoy’s Greatness. A favourite venue certainly since the early millennium. Catching up for a chat pre-gig … Continue reading →
After a fairly conventional tour schedule in 2022 (in which I caught their London show, rearranged for the Scala, and two festival appearances) Stone Broken decided on a new approach for a second leg of dates in support of most … Continue reading →
Cherry Red [Release date: 27.02.23] The late Ken Hensley had been steadily accumulating cultural stock since 1970. His ability to write poetic, melodic rock’n’roll is well known in the music industry worldwide. His reputation grew exponentially as he converted that … Continue reading →
As Irish and iconic as Guinness and also dark and lively in equal measures… Singer songwriter Eleanor McEvoy first came to wider attention in 1992 when she was part of “A Woman’s Heart” compilation with Mary Black and other female … Continue reading →
Bryan Adams has finished work on his latest album which is due for release later this year or early 2024. The Alarm release their latest album ‘Forwards’ on June 2. The title track and ‘Next’ have been released ahead of … Continue reading →
Rock Company Records [Release date 03.03.23] Back again with album number nine from D’Ercole who feature Damian D’Ercole (bass, guitars), Phil Vincent (vocals, guitars, keys) and B.F. D’Ercole (drums). They are a prolific bunch, although that is no surprise as … Continue reading →
If you can't find what you're looking for - or wish to refine your search to include only references to the key search term - try putting inverted commas around the search term e.g. "Steve Lukather" or "Black Star Riders"
For example if you enter Black Star Riders the results will include all instances of "Black" "Star" and "Riders". The search will also be slower.
***** 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
