The 2021 Christmas offering from Orleans is something of a welcome surprise. The band have existed in some shape or form since their glory days in the late 1970s on the Asylum label, although only founder member John Hall and bassist Lance Hoppen remain from the early line-up. And now Hoppen has co-opted his sibling Lane on keyboards.
During their halcyon years they had radio-friendly U.S. hits with ‘Dance With Me’ and ‘Still The One’, the latter included on their best selling album ‘Waking And Dreaming’. During this time their drummer was Jerry Marotta who later worked with Peter Gabriel. Guitarist John Hall forged a career in U.S. politics from 2006 until 2012.
The band’s characteristic vocal harmonies remind at times of The Eagles. Their quality from that earlier era is reflected in the title track, originally written for James Taylor and Ricky Scaggs in 1994. It follows that very fine singer songwriter trajectory that existed in the 1970s with Reprise artists to the fore such as Joni Mitchell and Jackson Browne who was a label mate on Asylum.
Amonst those guesting on the album are Little Feat’s Bill Payne and John Jorgenson (The Hellecasters).
Overall Orleans are AOR, well represented by ‘Mary’s Christmas’ originally performed by Little River Band with whom Orleans played a fund-raising show and were suitably impressed with the song. But this album is varied, and the band have largely plucked out a range of forgotten songs by lesser known artists, and rearranged in their own style. To their credit there is only one “old chestnut” (‘Winter Wonderland’ – an arrangement by the band’s co-founder the late Larry Hoppen) and if you want a sprinkling of fairy dust in your own seasonal mix, you’ve found it. ***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.
Gig review: JOHN OTWAY – Sub89, Reading, Wednesday 15 December 2021
Welcome to the Brave New World/1984 as this was the first gig I was asked to show my covid pass. Sign of the times but if it keeps live music and entertainment going then it is a small price to pay considering the hit on incomes artists and venues & their staff have taken these past couple of years. Sadly it certainly hit the audience numbers tonight but those that were there certainly enjoyed themselves and we had a couple of hours escaping the crazy world out there.
Support came from local lad (well if you live in Didcot like me) Tom Webber, who was excellent when I witnessed his headlining gig at Cornerstones last month. My gig buddy for the evening Bob was suitably impressed by Tom’s performance too. He has that certain something and just needs that bit of luck to get him more widely known.
His set included his own songs ‘Martha’ (this one has massive hit potential I feel) and ‘Words I Love To Hear’, plus a few choice covers including ‘Love Potion No. 9′ and his set ended with a seasonal classic, Chuck Berry’s ‘Run Rudolph Run’. Even the man himself John Otway watched Tom’s set, a nice thing to do in my eyes.
I first saw John Otway back at Stripes Bar, Brentford back in 2004 when he appeared solo. Tonight was the first time seeing him backed by his Big Band, who he informed us during the course of the evening, will have been together thirty years in 2023.
Not many pop/rock stars start their set of with one of their two hits, but then this isn’t any ordinary pop star… His 1977 hit ‘Really Free’ started things off in suitably manic style, swiftly followed by the single’s B-side ‘Beware of the Flowers (‘Cos I’m Sure They’re Going to Get You Yeah)’, which as Otway wisely informed us sold as many copies as the A-side!
The band really add some ‘oomph’ to ‘Delilah’, where Otway shows his punk rock roots (and speaking of roots, he reminded me of a hyperactive Max Wall – younger readers ask your grandparents who he was!).
Prophetic as the man himself said when introducing ‘I’m Cured (And I Can’t Catch Love)’, which involves plenty of injections in its lyrics! It really is an alternate world Otway and his band inhabit, as the use of a coat hanger with seven bits of sticky backed plastic demonstrated on ‘Louisa On A Horse’. This allowed him to roam stage hands free with the mic attached to aforementioned coat hanger, Madonna style as he put it.
His other hit ‘Bunsen Burner’ is rocking affair complete with theremin solo and the use of the venue’s glitterball. Well, it is his disco hit… There was audience participation on ‘The House of the Rising Sun’. In Otway world the start of the song is turned into a spoken word call and response, before the band all join in. The bonus is you get a guitar solo AND stylophone solo. Beat that Clapton!
‘We Rock’ does just that, albeit in the chaotic way only Otway and his band can.
His latest album ‘Montserrat’ (released in 2017), saw the frankly bizarre but hugely enjoyable song ‘Seagulls on Speed’, with a finale of Otway wearing a seagull’s head mask, as you do…
For an encore we had ‘I Shouldn’t Be Doing This’ – a mantra many of us can agree with I am sure – and his romantic song ‘Geneve’, which is possibly a hit that never was?!
What can you say about John Otway that hasn’t already been said? Not a lot, save to say we’re lucky to have such a legendary and entertaining performer still willing to give his all into every show. Go see him live, especially as he has his 5,000th gig coming up next year at the Shepherd’s Bush Empire.
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: ALESTORM – Barrowlands, Glasgow, 5 December 2021
For those who are unfamiliar with Glasgow, the Barrowlands Ballroom shares its name with Barra’s market which takes up a lot of the surrounding area. The Barra’s market used to be a huge affair which attracted people from all over Scotland looking to bag a bargain. The stall holder banter was as much a draw as the items on sale and on a Sunday the area was alive.
One thing you could buy on many stalls back in its heyday was pirated videos, CD’s, tapes and many a quality bootleg live recording. So, it is a fitting venue for a night of pirate metal mayhem with those loveable swashbucklers, Alestorm!
This was a good value for money three band bill which offered metal and mirth in equal measure and with all that is going on in the world at present, god knows, we all need laugh. First up to take on the ‘cheer up challenge’ were country metallers, Bootyard Bandits. The guys were already a couple of songs in by the time I finally got through the queue and into the venue and they were extoling the virtues of ‘Country Music’ to the ever growing crowd.
The band play up a storm of huge riffs and banging banjo that will have you line dancing and dos-a-dos-ing like your life depended on it. The band’s lyrics have been written with tongue firmly in cheek and songs like ‘Shirt Potatoes’ and ‘Cowboy and Indian Takeaway’ taken from their ‘Songs For The Saddle Sore’ album will have you laughing out loud.
Hell, there was even a heavy metal banjo section with a few rock classics given the finger picking treatment, including a great rendition of AC/DC’s ‘Thunderstruck’. The band finished off with a rocking ‘Hoedown Showdown’ and left the stage to a huge roar from a now near capacity crowd.
After a selection of Tom Jones classics being blasted from the PA, with a life size cardboard cut out of the Welsh legend placed at the front of the stage, Gloryhammer took to the stage. There may have been a change of frontman and a few internal wrangles within the band’s ranks but no one appeared to care as the crowd went wild to the ‘Siege Of Dunkeld (In Hoots We Trust)’.
A note of admiration must go to the Glasgow crowd as it’s been a long time since I have witnessed such sustained madness throughout an entire show! They reportedly broke the record for the most crowd surfers over the Barrowlands barrier, I could quite believe it!
Gloryhammer’s Scottish themed lyrics and full-on power metal soundtrack are a winning combination, and they were treated like returning warrior heroes. New frontman, Sozos Michael, took on the persona of Angus McFife with relish and belted out his vocals with gusto. The set was awash with GH classics with ‘The Hollywood Hootsman’ and ‘Hootsforce’ going down a storm.
‘Angus McFife’ got the crown into a frenzy as did the disco tinged ‘Universe On Fire’ which had everyone screaming along. We then found ourselves stampeding towards the last song with the ‘Unicorn Invasion Of Dundee’, which again saw a steady stream of bodies being passed overhead whilst punching the air and singing along. Pandemic… what pandemic?
Another stage set up, this time accompanied by Queen classics that became a big karaoke session, especially when ‘Bohemian Rhapsody’ got an airing, all good fun. By 9.30 however, Alestorm had laid anchor and hit the stage with ‘Keelhauled’. It would also appear that someone lit gunpowder under the crowd as it exploded in a hail of flying fists and bouncing bodies.
‘Treasure Quest Party Chest’ and ‘Mexico’ kept the momentum up as Christopher Bowes navigated the crew through the opening numbers. Christopher then addressed the crowd lovingly as ‘Weegie scum’ before introducing another crowd favourite, ‘Sunk’n Norwegian’. Alestorm may play it for laughs but the music is always spot on and the playing top notch. ‘Shipwrecked’ and ‘Alestorm’ sailed past’ and we were then transported to ‘Tortuga’, complete with a guest appearance from Captain Yarrface on the rap section.
A large portion of the crowd then sat and rowed for their lives as the tale of ‘Nancy The Tavern Wench’ was played out, always a fun one to watch. A very quick blast of ‘Rumpelkombo’ then led into the epic tale of the battle of Cartagena in 1741 which ably displayed the excellent guitar work of Mate Bodor and the rock-solid rhythm section of Gareth Murdock on bass and Peter Alcorn on drums.
The band were joined on stage by the man mountain that is Luke Philp, frontman of the band Lagerstein, for ‘Hangover’ which was preceded by Philp downing two cans of lager in seconds, quite a feat. We were then transported to the frozen ‘Magnetic North’ before a bit of Eurovision nonsense with ‘Wolves Of The Sea’. ‘Zombies Ate My Pirate Ship’ saw a reappearance from Luke Philp, this time in a flowery dress, to lip sync along to the female vocal part mid song much to everyone’s amusement.
Another crowd favourite followed with the legend of ‘Captain Morgan’s Revenge’ before the chant of ‘Your pirate ship can eat a bag of dicks’ rang out during ‘Shit Boat (No Fans)’ which brought the set to a climactic close.
There was still time for a few more though and with a cry of ‘Haw you, gie’s a beer’ Christopher led his merry crew on a search for what ‘Drink’ they could find. ‘Pirate Metal Drinking Crew’ then summed up the Glasgow crowd perfectly leaving only one song to round off the night. ‘F**cked With An Anchor’ closed the show in fine style with a mass singalong and many middle fingers raised across the hall.
It might not be big or clever and I am sure some would consider Alestorm puerile and offensive, but that is the point. This is pure escapism for a few hours, away from the real world and all that currently entails. So, I urge you to set sail with Alestorm the next time you get a chance and let them pressgang you into the piratical way for a few hours, believe me you won’t regret it, now where’s my cutlass…
Review by Dave Wilson
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(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.
TAYLOR YOUNG BAND Mercury Transit
Handrawn Records [Release date 08.10.21]
Taylor Young drummed for the likes of The O’s, Young Heart Attack and Polyphonic Spree. Now he takes on the role of band leader and is joined by guitarist, vocalist and producer Toby Pipes (Calhoun, Deep Blue Something, Little Black Dress), guitarist Michael Smith and drummer Austin Green.
It starts off with a bang as ‘Get Around’ is a gloriously uplifting mix of the Byrds, Tom Petty and the Travelling Wilburys. The following song ‘Make You Want To Stay’ isn’t too shabby either, setting out the band’s stall as purveyors of jangly pop rock. ‘Blue Eyed’ is another winner and in the 90s this one would have been all over the airwaves and ‘Out Of My Mind’ lifts the closing end of the album.
A tad one paced at times, yet it has enough gems to warrant further investigation. ***
Review by Jason Ritchie
AUTUMN’S CHILD – Zenith AOR Heaven [Release date 14.01.22]
Album number three in as many years from Autumn’s Child, Mikael Erlandsson’s sequel if you like to Last Autumn’s Dream, who appear to be on permanent hiatus.
‘Zenith’ features Michael Erlandsson on vocals, keyboards & guitars, Pontus Åkesson on lead guitar, Robban Bäck on drums, Claes Andreasson on piano and Magnus Rosen on bass. Guests include H.E.A.T.’s Jona T. and Rasmus Ehrnborn (Soilwork, Night Flight OIrchestra).
‘Emergency’ starts things of in style, a great piece of melodic hard rock with a Jona T. keyboards solo too. ‘Love Is A Fighter’ is another decent melodic rocker, however, ‘High On Love’ and ‘Crowdpleaser’ are very similar to recent output from fellow Scandi melodic rock bands. At the lighter end of the scale ‘Heaven Can Wait’ and ‘Damaged Goods’ show that Michael Erlandsson still has that wonderfully melodic vocal, with a gritty bite.
Not likely to feature on any year end ‘best of’ lists, however, what you do get it is high quality melodic hard rock and a decent listen. ***
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review: CHRIS FARLOWE & THE THUNDERBIRDS – Stormy Monday & The Eagles Fly On Friday
Repertoire [Release date 28.1.22]
This 3CD set brings together more than 50 newly remastered tracks, recorded by the R&B/soul powerhouse Chris Farlowe between 1962 and 1969. It’s an eclectic mix of studio, radio session and live tracks, and a definitive way to mark this period of his career. The 16-page booklet contains full credits, entertaining notes by Spencer Leigh, and several photos/images.
CD1 rounds up his early A & B-sides, along with EP and album cuts. These include two Cyril Stapleton numbers, originally credited to The Beazers (‘The Blue Beat’ and ‘I Wanna Shout’) as well as T-Bone Walker’s ‘Stormy Monday Blues (Parts One & Two)’ which were released on the blues label Sue under the pseudonym of Little Joe Cook.
Other impressive cuts include Rudy Clark’s ‘Itty Bitty Pieces’, Chuck Berry’s ‘Reelin’ And Rockin’’, and a fiery take on Leiber/Stoller’s ‘Hound Dog’. Of the self-penned material, ‘What You Gonna Do?’ is a bluesy gem, while the joyous ‘You’re The One’ has something of a gospel feel. The classic ‘Buzz With The Fuzz’ was banned by the BBC at the time for its drug references, and is now regarded as a mod anthem.
CD2 contains almost an hour’s worth of tracks recorded for the BBC. Highlights include ‘Watcha Gonna Do Baby’ (a co-write with Albert Lee), a rollicking ‘Rockin’ Pneumonia And The Boogie Woogie Flu’ and a fine cut of the Andrew Loog Oldham / Tony Russell song ‘Don’t Just Look At Me’. Chris’s love of soul is represented by Otis Redding’s ‘Mr Pitiful’ and the James Brown number ‘I Got You (I Feel Good)’.
Chris is still best remembered for his UK #1 hit ‘Out Of Time’. Written by Mick Jagger and Keith Richards, there’s a lively version here from 1966’s Easybeat programme. Other choice covers include ‘What Becomes Of The Broken Hearted’, ‘Summertime’, an epic ‘Moanin’’, and a guttural snarl from Chris on the swirling ‘Gemini’. Two of the “new to CD” tracks were recorded in 1968 for The Blues Roll On – Jimmy Reed’s ‘Baby What You Want Me To Do’ and the aforementioned ‘Stormy Monday Blues’.
CD3 features a rare live show from 1965, recorded at the Flamingo Club in Soho where the band had a residency. This is an energetic performance and captures the band on killer form, with a line-up of Farlowe, Albert Lee, Dave Greenslade, Bruce Waddell and Ian Hague. Greenslade’s Hammond organ is up in the mix for a couple of instrumentals early in the set – ‘Chicken Shack’ and ‘You Can’t Sit Down’. Crowd favourite ‘Buzz With The Fuzz’, James Brown’s ‘Think’ and a groovy ‘In The Midnight Hour’ are all standouts in a fine set. Sound quality is a little on the lo-fi side, but this doesn’t detract at all from the enjoyment of hearing a band on fire in front of an appreciative audience! ****
Review by Jim Henderson
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.
Book review: NU METAL A DEFINITIVE GUIDE, ON TRACK…KORN by Matt Karpe
Nu Metal A Definitive Guide SonicBond Publishing [Publication date 24.09.21]
Author Matt Karpe has been busy of late with two of his books published in quick succession.
This Nu Metal guide is very comprehensive and a perfect introduction to a genre that contains many fine bands from the ‘giants of the genre’ such as Tool, Korn, Slipknot and Linkin Park through to maybe lesser known, but equally as good musically like Cold and Taproot. These interviews add greatly to the book’s overall value and readability, giving a good insight into the start of the nu metal sound.
Laid out in an A-Z format, it includes interviews with the likes of Staind and Taproot, plus a look at the key music producers in the nu metal genre. Finally, the book rounds off with a clutch of bands leading the nu metal revival.
An excellent reference work to dip into as you explore and listen to the bands and their music.
On Track… Korn SonicBond Publishing [Publication date 03.12.21]
Second book penned by by Matt Karpe is one of the On Track… series that does what it says on the tin. The author is a big fan of Korn, yet refrains from being a ‘fanboy’ and casts a fair, critical eye on the band’s output to date. It goes right up to this year with the band’s livestream entitled ‘Monumental’.
Perfect for the Korn fan in your life or indeed yourself if you’re a fan of the band.
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.
Book review: THE DEVELOPMENT OF LARGE ROCK SOUND SYSTEMS – Volume 2 by Chris Hewitt
Dandelion Records & Books [Publication date 08.01.22]
Chris Hewitt’s second volume of “The Development of Large Rock Sound Systems” is a lavishly illustrated, 500 photograph strong opus which charts the rise of big PA systems in rock music. It further incorporates the evolution of the 70’s band van companies that hired the equipment and some of the biggest equipment manufacturers.
And while it doesn’t make for a very snappy title and draws generously from the same sources and stories found in volume one, the selling point here is his focus on the 50th anniversary of Pink Floyd in Pompeii – then and now.
The role of both Pink Floyd and fellow WEM stack users Led Zeppelin is contextualised alongside bands like The Who and ELP etc, who invested in themselves to adapt to the burgeoning transatlantic rock market.
Pink Floyd at Pompeii is seen through the eyes of Scottish/French film director Adrian Maben, who shares some significant memories and summarises the Pompeii event as “A visual scrapbook of music and trivial conversation. A record of the passing of time.”
In recreating the events 50 years later, Hewitt imbues the Pompeii show with extra significant that stretches generations. And the fact that this book will sell on the back of that speaks volumes about his grasp of a niche market.
There are also some significant recollections from the late Peter Watts, Floyd’s then road manager who was an audio innovator before falling victim to rock and roll excess.
But the book is really as much about the author Chris Hewitt himself, a man whose obsession is pin pointed as having starting in 1971 when he first saw the WEM gear shot on Floyd’s ‘Ummagumma’ album.
He subsequently worked at the 1972 Bickershaw Festival, and much later the celebrated Deeply Vale Festivals.
Mark Radcliff best summarises both the man and the project thus: “Chris has a reality. He wanted to build this system and he has done it and I admire him. Those WEM stack are totemic.”
Hewitt himself says: “I built up vintage WEM equipment to be able to recreate the whole Isle of Wight and Pompeii PA’s.”
In a surreal update, he organised the recreation of Pink Floyd in Pompeii in his own Cheshire field, inviting The Australian Pink Floyd to play 4 numbers from the Pompeii set, which actually took 6 hours so they could get the correct camera angles.
He gives a generous 12 pages to this event, but as Australian Pink Floyd’s Stephen McElroy says about the experience; “The particular combination of vintage equipment has a certain sound about it. It’s different to any other system I’ve ever played through or heard.”
Given Hewitt’s meticulous attention to detail, it’s almost ironic then that the book lacks structure and a coherent introduction, but you could argue that is counter-weighted by magic combination of the eerie music played through vintage equipment with no audience, which makes the 50 year lineage leap from the pages.
Anyone who hires a 6 man crew in a Cheshire field with vintage pa equipment, a 4 camera shoot and a drone, is self evidently committed to tapping into the spirit of a particular era, of which the burgeoning PA stacks provide the backdrop.
The rest of the book is like stumbling on a treasure trove of sometimes thinly related photos, though again there’s no denying the nostalgic pull of the photo heavy chapter on band transportation which drops us straight into an era gone by.
In sum, there’s only so much you can say about PA equipment other than the pioneering role of people like WEM’s Charlie Watkins, and his ability to rise to the occasion, no matter what outrageous demands bands came up with.
A lot of the technical chronology is already touched on in volume one of this book, and while there’s a unique chapter on the author’s own role in the development and use of PA’s, it is essentially a photographic journey, which you could argue fits the coffee table nature of the book.
The book further explores familiar PA names like RSD, RSE, ASS and his own involvement in Mitrex, finishing with an updated roll call of audio practitioners.
If those acronyms don’t mean much to you, it doesn’t really matter as this is the sort of book you can skip pages and just wallow in the pictures. And even if some of them are blurred, it’s the authenticity of the time that matters.
All in all, it doesn’t make for a very well written book, but rather a passionate one which emanates from a project put together in little under 2 and a half months and one that invites you to wallow in the rise of the classic rock era. One for real rock fans only! ***½
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: BRITISH LION- Camden Underworld, London, 4 December 2021
The phrase living legend is overused but in the world of metal Steve Harris deserves this description, as Iron Maiden’s founder member, single-minded visionary, principal songwriter and with his prominent bass playing a big part in the band’s sound. Hell, when Edguy singer Tobias Sammett wrote his tongue in cheek ode to England, the chorus was ‘but England’s got Steve Harris’.
2021 saw Maiden return with the acclaimed ‘Senjutsu’ and many of us are looking forward to seeing them tour, but in the meantime he has been keeping in touch with his club-sized rock n roll roots, with side project British Lion whose own sophomore album appeared last year just before the pandemic.
When a tour with the Darkness fell apart over a dispute over covid protocols, they headed out on an equally extensive tour of their own at short notice playing some distinctly unlikely rock n roll venues. Indeed the Underworld was probably one of the bigger venues on the schedule but was packed, uncomfortably so at times, with a keen international audience.
As was to be proven later, British Lion are a very fine band in their own right, but let’s address the elephant in the room here- on their own they would not be a significant draw and the majority of people, if they were being honest with themselves, were here for a close up view of one of their musical idols.
So they would have been even more delighted with support band Airforce, who havea bona fide Maiden connection in the shape of Doug Sampson, one of the drummers in their early years. I did a double take as my friends and I made our way from the back bar (with a bottle of Trooper, naturally!) to the sound of a Battle of Britain spoken intro, then vocals on opener ‘Fight’ staggeringly close to the multi-octave ‘human air raid siren’ days of Bruce Dickinson.
Though there was only one guitarist (the very able Chop Pitman), the similarities to eighties Maiden kept recurring, from battle style chants to vaguely familiar song titles like ‘Son of the Damned’ and ‘Band of Brothers’. Bearded Portuguese singer Flavio Lino was an energetic presence constantly involving the crowd.
‘Finest Hour’ was their fast paced number and a thoroughly enjoyable 45 minute set closed with ‘Sniper’ where just for a change Flavio ended it with a Rob Halford-esque scream.
On record British Lion are somewhat more melodic than Maiden, but the gap was closer in the live environment with a loud sound and Steve’s thudding bass as prominent in the mix as you would expect. He charged from one side of the stage to the other, mouthing every song and wielding his bass at the front rows with a big grin, exactly the figure we know from Maiden shows, except we were seeing him at substantially closer quarters, where the energy of this 65 year old was even more phenomenal to witness.
They opened with ‘This is My God’ and ‘City of Lost Angels’, featuring some powerhouse drumming from Simon Dawson, while most of the songs stuck fairly closely to their recorded counterparts. Richard Taylor’s smooth and slightly high pitched voice is somewhat unusual for a metal band, but he hit all the notes perfectly, most comfortably on more melodic numbers like ‘The Chosen Ones’. His slight frame and shaven head made quite a visual contrast with the towering hirsute guitarists, Dave Hawkins and Graeme Leslie, on either side of the stage.
Impressively, with chat kept to a minimum, a generous hour and a half set was packed to the brim with 16 songs, without needing to resort to the choice covers they played when I last saw them headline some eight years ago.
The songs have their own style and only occasionally did Maiden-isms surface: a guitar sound reminiscent of ‘Wasted Years’ at the start of ‘The Burning’, which also featured a twin guitar break that they otherwise use more sparingly than Maiden; and ‘Spit Fire’, with a slow intro leading into some riffing led by that galloping bass line.
The set did get a little samey in style and tempo other than Richard occasionally adding acoustic guitar to the likes of ‘Judas’, and therefore began to merge into one another. However things noticeably picked up late on with two of the more immediate songs in ‘Us Against the World’ with the two guitarists pulling shapes together when Richard temporarily left the stage, and ‘Last Chance’.
They didn’t go off for an encore as such but finished with two of their more anthemic songs from their debut so there was plenty of fist pumping to ‘A World Without Heaven’ and Eyes of the Young’. It was a fine evening’s music, but the abiding memory was the chance to see Steve Harris at his majestic best, yet still just one of the boys, at such close quarters.
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.
Not an easy listen, but an album of startling intensity, beautifully recorded and, hopefully, a go-to listen for anyone who feels they can empathise with her.
Albums like this come around far too infrequently – we should all take the opportunity to listen when they do. *****
Put simply, this album isn’t called a ‘Best Of’ for nothing. There’s a wonderful flow at the heart of a 20th anniversary collection that explores every aspect of the blues. *****
This is a fine album for the times, ‘Impermanence’ reflects that we are constantly in a state of flux and even with heartbreak and loss there is usually resolution and rebirth.
Burntfield’s music should appeal to those who enjoy atmsopheric and introspective rock such as Katatonia and Anathema, but it’s all fused with a pop and even AOR sensibility… *****
The sound has been honed to the extent that while still rocking hard, instrumentation is kept relatively simple and solos to the minimum, so songs are rarely given pace to develop before a big chorus takes over. The production has a modern feel and the guitar sound is razor sharp. ****1/4
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: THE JONES GANG- 229 Club, London, 3 December 2021
Few living people can claim as rich a classic rock pedigree as Kenney Jones- the only Small Faces member still with us, a mainstay in the Faces and Keith Moon’s replacement in the Who. Its not surprising then that the poster advertising this show featured his name and a vintage picture, though in fact the Jones Gang are very much a band, even if their one album is now over 15 years old.
There was a surprisingly big crowd at one of my favourite venues, including quite a number of ageing mods in still artfully sculpted hairstyles, and the format was famliliar for anyone who had previously been to one of their shows, with songs from his- and other members- illustrious past, alongside a few originals.
The set opened right at the start of his career with a lively ‘Watcha Gonna Do About It’ with Robert Hart, dapper in scarf and coat, successfully capturing the grittiness of one of his vocal idols Steve Marriott.
Of the four other original vocalists covered by the night’s set, it was those sung by Roger Daltrey that came least naturally to him, but on ‘Substitute’ some very effective backing vocals from bassist Pat Davey and guitarist Dave ‘Bucket’ Colwell more than compensated. However after a singalong on ‘All or Nothing’ he held his mike stand out and allowed the crowd to take over substantial chunks of ‘Maggie May’.
After a Jones Gang original ‘The Time of Your Life’ had an unexpectedly dirty riff, Robert mentioned the days when Kenney teamed up with Paul Rodgers in The Law but that they weren’t going to play anything from that project (which I might have been in a small minority in appreciating). Instead a brilliant version of ‘Wishing Well’ saw Bucket going right to the ragged edge with a great solo, this time forsaking his Firebird for a Les Paul.
More classics followed including ‘Tin Soldier’ and a note perfect ‘Tommy’ medley of ‘Pinball Wizard, ‘See Me Feel Me’ and ‘Listening to You’. On ‘My Generation’ Pat’s bass mini solo was so good they asked him to repeat it after, then he was put to alternative use with the Cocker-nee voice on the verses of ‘Lazy Sunday’ before Robert came in on the bridge on a song which apparently Kenney hated.
All the while, the drummer was keeping them ticking along in a powerful yet unfussy manner. He shared the laconic demeanour of Charlie Watts, albeit not the minimalist kit of the late Stones legend, and was reluctantly persuaded to give the briefest of speeches.
‘Angel’, which as Robert always proudly recounts spent 12 weeks on top of a US chart, this time suffered a little against the rockier fare on the rest of the set, but the final Jones Gang original ‘Mr Brown was a revelation with its catchy ‘na na’ chorus, with Robert claiming it was actually written about Kenney’s manager not the then Chancellor (though a BBC report of the time suggests otherwise!)
The party was then in full swing with ‘Stay With Me’ and ‘Won’t Get Fooled Again’, the latter providing the moment of the night in a mid section where after a synth solo from Stevie Smith, the lights went out then on again with the spotlight falling on Kenney’s drum break.
Then, as a reminder that Robert and Bucket both served in Bad Company in the nineties, a fun couple of Rodgers encores in ‘Can’t Get Enough’- after an introductory snatch of ‘Little Bit of Love’- and ‘All Right Now’. Sure, this is the sort of thing you hear from pub bands up and down the land on a Friday night, but not with the panache of these seasoned professionals.
It all concluded a thoroughly enjoyable evening of songs from the classic rock canon with one common link: long live Kenney Jones.
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: LINDISFARNE – Backstage At The Green Hotel, Kinross – Friday 3rd December 2021
The week prior to this gig I had watched the excellent documentary on BBC about the life and music of Lindisfarne’s guiding light Alan Hull. Alan’s creative genius is at the centre of the Lindisfarne legacy and his timeless masterpieces continue to enthral and enchant in equal measure as ably demonstrated by these two sold out shows at the Green Hotel.
This was my first visit to the venue which is run by David Mundell of Mundell Music who has been attracting big names to this small corner of Fife for many years. The hall is compact but full of atmosphere and the walls are lined with rock memorabilia to keep you occupied whilst awaiting the night’s entertainment. It is testament to the venue that Lindisfarne return each year, although it is the smallest show they play, as they enjoy the shows so much.
With the hall at full capacity, the band took to the stage for the first night of their latest stint. The familiar strains of ‘No Time To Lose’ opened the set and it was clear that the band were up for a good night.
Rod Clements may now be the sole original band member, but the rest of the guys have been part of the Lindisfarne story for many years now and it shows. The musicianship and harmonies throughout the night were spot on and the set list provided a great mix of fan favourites and less well known tracks from the Hull back catalogue.
‘Turn A Deaf Ear’ and ‘Scarecrow Song’ followed with vocal duties shared by Clements and Dave Hull Denholm. Dave is the son in law of Alan Hull and is keeping his songs and memory alive via his guitar and vocals. A more obscure Hull number followed in the shape of ‘Song For A Windmill’. It was great to hear different tracks in the set, most of which were featured in the documentary.
The Kinross crowd were happy to join in on the chorus of ‘Lady Eleanor’ which is always a crowd pleaser. The first half of the show then continued with a few more classics, ‘Marshall Riley’s Army’ and ‘Road To Kingdom Come’, and also brought the vocal talents of Steve Daggett to the fore. Another Hull rarity ‘100 Miles To Liverpool’ got a great reception before ‘January Song brought the first half to a close complete with rapturous applause.
After a quick break to grab a pint the band got things back on track with a rocking version of ‘Alright On The Night’ followed by ‘Together Forever’ dedicated to its writer Rab Noakes. We were then taken on a magical journey down to ‘Dingly Dell’ with the ethereal opening giving way to some raucous guitar work from Rod Clements. This track is about as prog rock as Lindisfarne ever got and it was great to hear it played live.
The rest of the band then left the stage to bass player Ian Thomson and Dave Hull Denholm to play a couple of stripped back numbers. Another Alan Hull rarity ‘I Hate To See You Cry’ was up first with Denholm on keys and vocals before he swapped to guitar for a sublime version of ‘Winter Song’. This track is heavily featured in the documentary and with good reason, this was Hull at his very best with off kilter guitar chords and biting social comment in the lyrics.
How do you follow that? With a nod to the festive season of course by featuring another hidden gem, ‘Cardboard Christmas Boxes’. This may be a Christmas themed track but again it carries that social message and looks at the plight of the homeless.
We were on the homeward stretch now and it was Lindisfarne classics all the way. Clements joked during the introduction to ‘We Can Swing Together’ that their party had been broken up by the police whilst last year’s Christmas party at 10 Downing Street during the Covid lockdown had passed without a call from the Old Bill.
We then sucked on sickly sausage rolls with ‘Fog On The Tyne’, complete with much crowd participation before Rod played his most famous composition ‘Meet Me On The Corner’. The hits then continued with an excellent version of ‘Run For Home’ with no hand left unclapped before things were brought to a glorious finale by ‘Clear White Light’ complete with those perfect harmonies which had landed the band their first record deal around 50 years ago.
The combination tonight of band, venue and a great setlist made for a fantastic show. The current Lindisfarne line up have talent in spades and are doing a fantastic job of keeping the music and the legacy of Alan Hull alive. The guys are already booked for more shows in December 2022 and I for one will be back for more.
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: THE MURDER OF MY SWEET – A Gentleman’s Legacy
Frontiers [Release date: 10.12.21]
The Murder Of My Sweet’s latest release, A Gentleman’s Legacy, is a concept album, with a plot worthy of some of the better psychological thriller writers we may have encountered over the years.
The band is the brainchild of Chilean, Daniel Flores, musician, writer and producer. His history and track record is well documented. The …. Legacy is the second instalment of the story begun by his “other band”, Minds Eye, called A Gentleman’s Hurricane (2007).
It is a tale spun around a daughter’s pursuit of the people who corrupted her father (The Illuminati). It touches on Catholicism, guilt and ultimately focuses on remorse. That might sound a bit Dan Brown, but there’s a satisfying complexity to the music, and an undercurrent of sharp, subliminal satire running through the album … like hearing Reagan mouthing platitudes during a radio interview.
Flores is adept at creating sonic images to reflect the story in the lyrics.
The compressed, claustrophobic harmonies, on ’6 Feet Under’ perfectly frame the entry of the daughter/ avenging angel … as she ominously declares “it’s time now”. He goes on to look at the bigger picture in the jolting, densely constructed ‘Damnation’. It’s a melodramatic approach that is not there just to set a mood, but to help illustrate the story. It works.
In parallel, the songs, for the most part, are succesful marriages of words and melody. Some songs are more musical than others. In the same way that the best Abba material is classically inspired, on ‘A Ghost Of Of A Chance’, where vocalist Angelica Rylin sounds at her most vulnerable, the music moves through a swooping, sweeping wash of sound into a fabulously melodic chorus.
‘Wheels’ too echoes the sound of popular rock culture. The song is perhaps as much symphonic rock as progrock, but in pared back form, aping the commercial sound of Phil Collins’s chart busting stint fronting Genesis.
We won’t give away the ending. Suffice to say that Flores and his inventive music will run and run. ****
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.
Swedish rock band, Cap Outrun’s debut album integrates Progrock with Melodic Rock. A bold mix of nostalgia and modernism.
One of the prime reasons for Progrock’s popularity is the music’s illusion of improvisation. You’re not quite sure what’s coming next, it could be a lightning strike of brilliance, it could be a damp squib.
Enjoying a significant share of the former, Cap Outrun craft sturdily melodic songs, angular, granular, often creating musical tangles that combine hard rock convention with an improvisational ethos, real or imagined.
Their debut album is impossible to categorise. The PR blurb is as short a piece of prose as you’re likely to encounter. So we’re on our own, feeling our way in the dark.
There’s a lot of moving parts to this album. Just when you think you’ve got one of them pinned down, it squirms out of your grasp. And while the album provides full on sonic engagement, it’s impossible to pick standouts.
At random then, openers ‘Crazy Enough’ and ‘High On Deception’ move at different tempos. They share a rich mix of AOR and Progressive Rock in the manner of Toto, then add Steely Dan like Jazz/Rock touches at just the right moments. The classy piano breaks add romanticism to an already busy rock’n'roll recipe.
‘Disaster Mindset’ is at once quite stripped down and also very romantic – a sophisticated ballad for grown ups, with a playfully proggy middle section.
‘Shadows On The Wall’ is a peach. The soft swell of keys and pealing guitar notes introduce us to more Westcoast Prog/Rock, though the excessively wordy lyrics go some way in spoiling the effect.
‘Our Brightest Day’ and ‘Run Before We Walk’ could only be described as out and out melodic rock songs. They show up vocalist, Chandler (Outloud) Mogen as being a key recruit, handling the sentiments and emotions in these songs with the gravitas and style of a Lou Gramm or Denis DeYoung.
Along with Mogen, founding members Andree Theander (guitars) and Erik Wiss, (keyboards), could really be onto something with this band. Mixing genres doesn’t have a great success rate, but if bands like the Von Hertzen Brothers can do it, why not Cap Outrun? ***1/2
Review by Brian McGowan
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: BAD TOUCH – O2 Islington Academy, London, 2 December 2021
The gig was in the upstairs portion of Academy, which is more intimate than the main ground floor venue and provided for a vibrant, enthusiastic atmosphere. Something Piston appeared to thrive on. Their short, powerful set was packed with crowd interaction during and in-between riff-heavy hard-edged classic rock tunes. Frontman Rob Angelico and drummer Brad Newlands were the ringleaders, never missing an opportunity to provoke some audience reaction. (I saw Newlands at the bar later, wearing a Dr Feelgood jacket and he went up a notch further in my estimation!)
The layered, muscular ‘One More Day’ opened up the set and benchmarked the no-nonsense tone, with ‘Rainmaker’ and ‘Let Us Rise’ keeping the tempo bang on overdrive. New track ‘Shangri-La’ was introduced mid-set and even brought an impressive scissor kick from Angelico, despite the microscopic stage. Logistics up front were not helped by guitarists Luke Allat’s microphone stand pitching into the barrier every few minutes.
Arm waving was encouraged for the impressive ballad ‘Carry Us Home’ and then a dubious looking Father Christmas and his shifty looking helper invaded to stage help the band and the crowd sing the opening bars to ‘Proud Mary’ before the band kicked full-tilt into the cover, wringing every last drop out of the moment.
None of the showbiz antics took anything away from the music. This was a full-on half hour of excellent entertainment and the band deserve a bigger stage, both literally and figuratively!
The mood was set up nicely for Bad Touch who took full advantage. I had last encountered these Norfolk rockers at the Camden Rocks Festival, just down the road, in 2019. On that occasion, a muddy sound at the Black Heart did them no favours. After a few tracks tonight, I quickly reflected that the band had come a long way from then in terms of both songcraft and stage presence, not to mention sound quality.
The band’s 2020 album ‘Kiss The Sky’ has a lot to do with this progression. Yes, the Black Crowes influences remain very strong on that platter, but the overall quality of the writing and arrangement was a step up from previous releases, and they wisely drew on a good chunk of that material here.
But not before ‘Lift Your Head Up’ and ‘Good On Me (Jeans Song)’ had stamped some swagger and poise on proceedings, courtesy of frontman Stevie Westwood’s rough-but-smooth vocals and a colourful suit/headwear combination. Both songs went down well and had the punters singing out loud.
The band’s assurance was underlined by the early introduction of a new track (the title of which I missed), bringing a gorgeous, intricate bassline (Michael Baily clearly needing to show off his black nail varnish), some well-placed changes of pace, a fine solo from Rob Glendinning and a rousing, anthemic feel on the chorus.
‘Strut’ and ‘Let Go’ and the immediate, infectious ‘Too Much of a Good Thing’ emphasised the class of ‘Kiss The Sky’.
A set highlight was the breezy ‘Dressed To Kill’ with Westwood nailing the fast-talking vocal and the jazz-influenced interlude providing a good counterpoint to the sinuous riff. Daniel Seekings was excellent here, providing backing vocals for depth as well as careering about the tiny stage wielding his guitar lines, looking the absolute business.
The set had some obvious crowd-pleasers. ‘Skyman’ hit the spot with chunky riffs and plenty of chorus-chanting, followed by ‘I Get High’ where the Black Crowes references are almost too close, but nothing stopped the crowd’s whoah-woahs throughout.
At this point, Westwood left the stage to make way for the solos and involuntarily my stomach tightened. But I need not have feared. Glendinning led his fellow musos through some fine moments, finding a sure touch, beautiful tone and engaging style to showcase his own wares and those of Bailey, Seekings and drummer George Drewry.
Never afraid of wheeling out a cover version, Bad Touch found a diamond in Alanis Morissette’s ‘Nothing in my Pocket’. Bailey again excelling on the bass-driven opening passages before the kitchen sink was thrown at this fine song (in the best possible way).
The set proper ended with Glendinning smashing out some wonderful licks on ‘Outlaw’ and Westwood holding nothing back from the vocal. Maybe the strongest, hardest, rockiest song we heard all night. Really good.
The encore began with their Christmas song ‘A Gift For You’, played because, in Westwood’s words, “we wrote it last year and couldn’t tour so no-one heard it!”
‘99%’ closed the show in chaotic style as Piston’s Angelico and Newlands joined Bad Touch for some backing vocals and mutual back-slapping; and as if the stage wasn’t busy enough, Santa and the Elf re-appeared to help us ensure we all indulged in the festive mood.
A top night, packed with fine music and a smattering of rock n’ roll craziness.
Review and photos by Dave Atkinson
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.
Book review: On Track…ELECTRIC LIGHT ORCHESTRA by Barry Delve
Sonicbond Publishing [Publication date 03.12.21]
After a highly readable book on Queen a couple of years ago Sonicbond now publish a book based on my other all-time favourite band the Electric Light Orchestra (ELO).
Wisely Barry Delve focusses solely on ELO and doesn’t include the various Jeff Lynne solo, production duties and Travelling Wilburys, which as he rightly states deserve a book of their own. However, there is a brief look at Jeff Lynne’s solo albums in one of the appendacies, plus the Bev Bevan led Electric Light Orchestra Part Two get a brief overview. Mind, you keeping track of that band’s line-up and the subsequent ones of Orchestra would see Pete Frame running low on ink doing one of his famous family trees!
Drawing on already published interviews, Bev Bevan’s memoir and some new interviews with the album cover designers and more, Barry Delve certainly knows his stuff and gives a fair appraisal of each album and song, including B-sides and bonus tracks. He’s a big fan of ‘Julie Don’t Live Here Anymore’, one of ELO’s finest songs from the 80s yet it never made it onto the ‘Time’ album.
Only the debut album seems to get short shrift and to be honest it is very much an album of its time, with the two main songwriters Jeff Lynne and Roy Wood, seemingly battling to find the band’s sound and direction. It was only when Wood left after the first album that ELO started to blossom into the familiar sound loved by millions from the mid-70s onwards.
2001′s ‘Zoom’ gets credit, especially as it was seemingly a false start for Jeff Lynne and ELO, back with their first new album and tour since 1986. Sadly a focus on the US saw the tour wound up quickly and they never made a full UK tour at the time.
Luckily, through DJ Chris Evans at BBC Radio 2 back in 2014 asked Jeff Lynne how many texts he’d need to consider touring again. He answered 2,000 and the Radio 2 listeners sent over 14,000 texts which helped pave the way for the Hyde Park show in September of that year. Since then Jeff Lynne’s ELO (as they are billed now) have toured and released two studio albums to date.
A perfect read for fans new and old, which gets you digging out those albums for a listen and shows there was much more to the Electric Light Orchestra aside from their string of hit singles in the 70s and early 80s. The author sums up the lasting appeal of ELO’s music succinctly in this line – “ELO have always been there for me: it would be a terrible thing to lose.” ****
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.
We enjoyed Reading four piece Third Lung’s 2019 EP ‘Sooner Or Later’ here at Ritchie towers and I was delighted to read they have a new EP out. The EP is a compilation of singles, plus some bonus material, that the band has released this year.
Third Lung still have the same line-up, namely Tom Farrelly (vocals, guitars), Cams Jurasek (guitars, vocals), Rob Jacques (bass) and Sam Waugh (drums).
Third Lung musically cover the epic feel of say U2 and the sparser tones of the equally excellent Little Red Kings. They have the crossover appeal to aging music fans like me and a younger crowd who will love the band’s intensity and passionate performances. ‘Hold The Line’ is a perfect example with a massive chorus, rousing guitar chords and big production values. ‘I am Fire’ is another big chorus filled anthem.
It is not all big and bold bombast with ‘The Art of Stealing’ brining things down in tempo. This is the tune that reminds me specifically of Little Red Kings, especially in the passionate, soulful vocal.
‘Climb’ is another belter, one that is made for playing live and just listen to those vocal harmonies on the chorus, brilliant! ‘What Is A Life?’ starts of slowly building into a neat crescendo halfway through before the tempo drops again. Like U2 when they were good ;-)
Hot damn this band are good! They have managed a few live shows in this somewhat restricted year and here’s hoping they land a support slot or two, and festival appearances next year. Until then we can enjoy this excellent EP. ****
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Album review: DAVID CROSS & ANDREW KEELING – October Is Marigold
Noisy Records [Release date 03.12.21]
David Cross releases fine instrumental music via his own Noisy Records imprint.
Cross was with King Crimson in the 1970s whilst Keeling has scored new versions of the band’s repertoire. You’d expect that their music might be a tad intricate or intense.
The jazz/classical inflections of this disc do veer towards the cerebral rather than the catchy. Casual listeners will still find something to interest them.
The third volume in a series of ‘Electric Chamber Music’ the best moments are when Cross’ sometimes processed violin soars with Keeling’s flute.
The title track is like an outtake from ‘Inspector Morse’ and is the most accessible.
‘Ever Nearer’ even evokes prime time Vaughan Williams before Cross ramps things up whilst Keeling does his best Tull impression. ‘The Spiking Darts That Were Trees’ is characterised by aleatoric effects and a sense of foreboding.
Overall this is reflective music but uplifting and moving in its own way and utilising field recordings to conjure up an autumnal landscape. The improvisational nature of the proceedings produces an album that flows freely but with not many repeat phrases to get your teeth into. However, discipline is maintained throughout by the musicians’ evident good taste and experience. ***
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.
Feature: An introduction to Christmas (rock) Music
Christmas comes but once a year, and with it the usual mixed bag of toons. But not for us the familiar stylings of ‘Do They Know It’s Christmas’ or ‘Merry Xmas Everybody’. We like to dig deep, a bit like Santa when he gets stuck with his reindeer. So here’s our winter top tour of seasonal ditties that will warm your cockles.
Let’s face it every great artist worth their salt (and Frankincense) should produce a Xmas song once in their musical lifetime. Of course, those more daring produce a whole album. Typically these tend to be reworkings of traditional hymns and carols. But it is a great opportunity to show off versatility and musicality.
Jethro Tull‘s ‘Christmas Album’ is a great starter because a lot of their folk/prog crossover music lends itself well to the seasonal treatment. The 2004 version has bonus DVD with selections from ‘Living With The Past’. “Hey Santa, pass us that bottle will you?”
If instrumental guitar stuff is your bag, there are a couple of volumes of Merry Axemas featuring such luminaries as Satriani, Schon and even John Sykes. Difficult to track down now, volume 1 (2005) has the edge.
But perhaps our warmest accolade is reserved for Thea Gilmore in the days before she became the artist known as Afterlight. We remember well her annual Xmas sorties, always with a clutch of great tunes and musicianship.
As Pete Whalley wrote in 2009: “Let’s be honest – Christmas albums are naff. Well, can you name one that’s not totally inappropriate at any other time of the year? Thea Gilmore’s new album Strange Communion is about to change that. For while it explores the underbelly of the festive season, it’s nevertheless a very worthy addition to her already impressive canon of work”.
‘Strange Communion’ is simply one of the best ever seasonal-flavoured offerings and is all you need to provide the soundtrack to foul weather, mince pies and grog, and slippers toasting on a bio-fuel fire. The song ‘December In New York’ in particular is simply stunning. The 2018 release (pictured) has additional tracks.
It might not surprise you but Focus maestro Thijs Van Leer released his first festive fayre in 1977 with ‘Musica Per La Notte Di Natale’ It’s still possible to track it down on vinyl (and CD) and it follows the sumptuous and sometimes saccharine confection of his ‘Introspection’ series. He later released a more family-inspired affair on ‘Joy To The World’ (1996) with siblings Eva, Ruben and Berenice.
Individual tracks? Try ‘Wassail’ by Big Big Train lent more poignancy now with the death of David Longdon. A stirring paean to the changing season. It’s always in GRTR!’s Alan Jones’ Xmas playlist and he knows a thing or two about folk/prog fusion.
One time Keith Emerson collaborator Robert Berry produced a Christmas album in 2001 under the name of December People. ‘A Classic Rock Christmas’ set various carols to the tune of familiar classic rock songs. So ‘Oh Come Emmanuel’ becomes ‘Hotel California’, ‘Good King Wenceslas’ takes the form of ‘Money For Nothing’ and so on. Weird and a bit disconcerting.
Another one to avoid is William Shatner who in 2021 boldly went where the sun don’t shine and lends his endorsement and, er, vocals, to ‘Shatner Claus – The Christmas Album’ (2018). Todd Rundgren, Billy Gibbons, Iggy Pop and Ian Anderson are amongst those who join the revelling and presumably Cleopatra Records’ generous payroll. The effect is somewhat spoilt by the CD tray inlay where it looks like Shatner is holding a willy warmer.
More recently even ex-Hawkwind bass player Alan Davey has got in on the act with Hawkestrel and the album ‘Space Xmas’ (Cleopatra Records) arrived here early this year and therefore too late for festive, and suitably distanced, gatherings in 2020 (assuming you’re a Tory voter).
The nearest thing to Hawkwind Does Xmas is the most evocative track ‘Twelve Daze Of Drinkmas’. Davey coralled Glenn Hughes (does he ever sleep?), former Hawks Nik Turner and Huw Lloyd Langton, Robbie Krieger (on sitar) and Rick Wakeman.
And talking of the Grumpy Old Man, he was another latecomer to the party in 2020. ‘Christmas Variations’ as you might expect if full of good cheer and recycles previously released recordings plus a couple of bonus tracks (Cleopatra Records).
With the exception of our spaced out captain, and Robert Berry’s strange cover versions, any of the aforementioned titles will add a touch of quality to your seasonal soundtrack. Why not give us your own suggestions for Christmas past and present? Until then, raise a glass and have a good one!
Feature by David Randall First published December 2021
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:
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7th album from German band, Stahlmann.
When Rammstein released their first album, in 1995, the German music press coined a new phrase, Neue Deutsch Harte.
NDH became a cutting edge calling card for other bands like Stahlmann, whose later adaptation of the genre softened the industrial rock harshness, discarded the politics and added danceable electronic elements ripped from warehouse all-nighters.
That didn’t meet with the universal acclaim of hardcore NDH fans.
With Martin Soer (writer/ producer/ singer/ programming) leading the way, Stahlmann carried on regardless. Vindicated by the fact that all 6 of the band’s albums over the last 10 years have made significant inroads into Germany’s Top Forty album charts.
Quarz is no different. The band’s MO on each track is a simple one. Get in quick, hit hard and get out again. Soer’s gutteral growl talks its way menacingly, convincingly, through the industrial grind of ‘Sunder’ (Sinner) and the Gothic undertones of ‘Gottmachine’ (guess), the album’s first trailers. In both cases, accessible melodies emerge from the aural gloom, and charge headlong into sturdily Teutonic, one word choruses.
The band offer up these sounds like surges of raw emotion, powerful and hard hitting, modulated by cold, programmed instrumental precision.
Surprisingly, on several tracks, they move away from the macho, machine turned soundscapes. In places, the relatively subdued arrangements of ‘Krahen Der Nacht’ (Crows Of The Night), and ‘Herz Und Tranen’ (Hearts And Tears) may well remind you of Jascha Richter’s or Jean Michel Jarre’s cultured instrumental tones. Both tracks are shrouded in swirls of colourful synthetic textures, whipping up an hypnotic, hard rocking beat. Then ‘Sonnenreich’ (Sunny) goes a step further, flirting with industrial powerpop.
The band is taking risks with this material. But isn’t that what cutting edge means? ****
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.
In straddling the border between Progmetal and Symphonic Rock, Swedish band, Mercury X have staked out a fertile chunk of territory.
This is their debut album (excluding two independent releases). It remains to be seen if they have the talent and the motivation to develop their music further.
It’s often the case that Prog albums have too much content and not enough subject. Mercury X defy this notion by delivering a bunch of songs inspired (if that’s the right word) by the Covid pandemic. Or rather the fact that so many artistic endeavours were shut down as a consequence.
The album’s bookends, ‘Until The Break Of Day’ and ‘The Sound Of Nothing’, examine the effect on a personal level. Neither have particularly strong tunes. They overcome that through traditional Progmetal arrangements… stuttering rhythms, tightly wound riffs, rippling keys, and what seems like an omnipresent choral backdrop, behind the spacy vocals. You can hear Marillion, Floyd and the Flower Kings in there.
None of these influences is in any way overpowering, rather they are welcome visitors to Mercury X’s developing style.
Many Prog albums have a centrepoint, a fulcrum around which the music spins.
The 20 minute epic, ‘Imprisoned’ captures the band and the album perfectly… lyrically and musically. No prizes for guessing the narrative theme.
The track is woven through with classical choirs, moody orchestral moments and thudding guitars, often cast in the shadows of the song’s downbeat lyrics. You could argue the message is undiluted by originality, and yes, there’s a lot of wannabe here, but a lot of honesty too.
Clearly, this is a band with a future. Tracks like ‘Imprisoned’ signpost the way ahead. Next time perhaps. ***
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.
News: The Best of 2021 – Get Ready to ROCK! reviewers choose their Top Albums of the Year
2021 has been another horrendous year for live music, largely silenced by the coronavirus pandemic.
In August, live events in the UK started cautiously with several festivals and, with restrictions lifting for smaller venues, some semblance of live music returned in September.
We’ve chosen to focus again this year on albums. There’s been no shortage of releases as artists have used lockdown to fuel their creative muse. The only shortage appears to be that of the vinyl on which many of these releases are now pressed.
News & Reviews Editor Jason Ritchie: “Because of the wide range of choices, as ever from the GRTR! review team, we have chosen not to feature an overall Top Album listing. The lack of consistency in selections is to be expected with a website that has always embraced an eclectic range of music. However readers and listeners will be able to vote for their own favourites to form an overall “Top” listing in our Popular Poll before Christmas.”
“We did get a reasonable consensus for Top Reissue – Black Sabbath’s Technical Ecstasy – whilst several reviewers nominated Bastette as Breakthrough Act of the Year.“
“The reviewers’ choice might inform this year’s Christmas gift lists for readers and listeners and year on year the Best Of selections give a good idea of the best albums for any given year.“
Jason added: “In late 2022 we celebrate 20 years of reviewing, a marvellous achievement also considering we have retained a core team of reviewers who always demonstrate balance, experience and good humour in their endeavours.“
From Friday 10 December you can vote in our Popular Poll and suggest any albums and artists you like that we’ve missed.
Participants can enter a Prize Draw to win their choice of rock books from Sonicbond Publishing. (Search Sonicbond at GRTR! for a list of reviewed titles)
The Popular Poll results were be announced, with a selection of reviewer favourites, on Sunday 19 December on Get Ready to ROCK! Radio.
Throughout December Get Ready to ROCK! Radio will be featuring Best of 2021 selections in the playlists including featured albums in the melodic rock and singer songwriter genres and this year’s “power plays”.
I rarely award five stars as that album has to be pretty damn fine, all killer no filler as the saying goes. That is true of ‘Nature Always Wins’, a thought provoking and enjoyable album packed full of memorable melodies. Fantastic.
The band play European dates from 28 February 2022
They really are on a roll with another album full of hard rock, ballads and that typical Thunder view of life. Do get the double edition with the extra songs, well worth the investment.
Thunder play Wolverhampton KK’s Steel Mill 17 December with an arena tour scheduled for May 2022
Barenaked Ladies show no signs of letting slip their excellent run of albums. A quirky pop rock tour de force!
The band play UK dates 15-28 March 2022
There has been many a fine EP released this year as artists adapt to a changing music scene where streaming and instant releases are king.
Special mention to two fine EPs – JESSICA LYNN Reimagined, with just a piano, her voice and songs this really is one her musical highlights to date. BASTETTE Exposed very impressive set of songs with massive crossover appeal. One for fans of Pink! and Halestorm.
Breakthrough Acts 2021
VAMBO – mightly impressed seeing them support Praying Mantis in October. They have the songs and talent to go far. A couple more decent support slots in 2022 should see them well on their way.
BASTETTE (pictured) – a band that is building a formidable reputation in the studio and on the stage. One of the few newer bands on my ‘to see live’ list.
Bastette play UK dates in December with Marisa & The Moths
MILTON HIDE – they released their debut album earlier this year and this husband & wife duo neatly weave traditional folk with a few prog twists. With (hopefully) a full summer festival next year they would be an ideal fit to any folk festivals.
Robin has long been one of my favourite singers and this album proved to be an absolute gem. Great vocals, coupled with excellent songwriting and musicianship, are a recipe for success and here they have cooked up storm. Classic rock at it’s very best!
Seven years after the release of the dire Book Of Souls, Maiden were back with a new album. Thankfully, this time around the band were back on form and Senjitsu proved to be another Maiden classic.
The band play European dates from June 2022 including Download
After two rather lacklustre Michael Schenker Fest albums, the MSG monicker has been resurrected. Musically Michael was once again free to write what he pleased rather than fitting around particular singers and the tracks have a hard rocking edge. The mix of guest singers this time around also proved to be inspired and the album fits well into the MSG legacy.
Michael Schenker plays Stonedead Festival, 27 August 2022
The big truck keeps on rolling and Tom Harte and the guys produced another collection of melodic, riff heavy anthems which put a smile on your face and will have you dancing around the room, preferably with a beer in hand.
I have arrived late at the Eclipse party, only really paying the band attention after hearing their last album, but I am making up for lost time. Wired contains infectious melodies and harmonies which will have you singing along at the top of your voice long after you have listened to the album.
One of my few gigs this year and also my first post lockdown show, but what a way to restart my gig going. The set included the whole of the Genesis ‘Second’s Out’ live album which the band played with passion. It was worth the ticket price alone to hear Afterglow played, accompanied with the iconic white spotlight lighting effect as captured on the original album cover.
DAVID RANDALL (Managing Editor)
David presents weekly shows on Get Ready to ROCK! Radio, every Sunday. ‘New to GRTR!’ showcases new releases whilst ‘Assume The Position’ is a mix of new and classic rock. Since January, the first hour includes the Top 10 album chart countdown for that week based on activity at www.getreadytorock.com, social media, and the radio station. The chart is compiled by News & Reviews Editor, and website statistician, Jason Ritchie.
I can only assume mainman Juho Myllylä had a very bad relationship breakup. But we can interpret his melancholy for the current modern malaise; reflection, remorse, and ultimately rebirth. All things must change.
Forget Adele ‘30’ banging on about a failed relationship. Anneke’s take is the real deal. Simply beautiful.
Coincidentally, and unintentionally, my two top choices this year carried the same aphorism “(for) anyone who has loved and lost and loved again” I need to get out more.
Lee has perhaps remained a somewhat guilty pleasure over the years. Her last couple of albums reveal a great voice and musicality that we always knew was there. ‘Radio On’ deserves a much wider audience than those who were diverted by those cheesy, if rather sexy, 1980s videos.
A very fine and varied debut from Steve Hackett side-lady, featuring the man himself. But it’s Amanda’s own guitar and vocals that really shine.
Too good to overlook
Is it me or has there been a distinct air of melancholy in some of our sounds? (qv Burntfield) Chiming with challenging times I might mention DIM GRAY, AVAWAVES and ESKINA.
OK, terrible bias here as I helped Ray with this release but it does showcase a real guitar talent with so many associations along the way going back to 1962 (Spencer Davis Group, Cozy Powell, Deep Purple, etc) And he co-wrote children’s classic TV theme ‘Magpie’!
The new album – ‘Death Valley Paradise’ – promises much, trailblazed by a great single ‘Dead Horses’. A harder rock edge than I remember and some excellent exposure in 2021 via livestreaming, Stonedead and a support to Black Stone Cherry.
Kris Barras Band play UK dates in March 2022
2. BASTETTE
Excellent, ballsy, female fronted rock. Autumn tours with Massive Wagons and Phil Campbell widened their audience.
3. MASON HILL Only held back in the first half of 2021 by the pandemic but they managed to finally release their debut album which built on their live shows and several EP/singles to whet the appetite.
The band tour with H.E.A.T. and Collateral in the UK in October 2022.
Pete Feenstra presents a weekly Rock & Blues Show on Get Ready to ROCK! Radio as part of a five-hour blues/rock marathon (Tuesdays) whilst on Sunday he chats to blues/rock movers and shakers showcasing their music and/or latest release. Where possible we include these interviews with Pete’s album review.
If there is still a debate about the merits of the European blues scene vis a vis The US, then this magnificent big band outfit from Copenhagen kick the conversation into touch.
This double Best Of’ set celebrate the band’s 20th anniversary. At his best Thorbjørn sounds like Ray Charles, while the band explores deep grooves, with horns pumping horn, down in the alley shuffles and visceral rock and roll.
You’d be hard pushed to find a better rock/blues/soul band or album in 2021.
There’s no substitute for a baritone voice with real presence, a Peter Green inspired guitarist with an aching tone, and a set that drips with real feel, but is framed by Craig Marshall’s (Audio 54) sophisticated production.
And it’s that combination of song craft and real emotion generated by fingers on guitar strings that gives Mick Pini’s blues an organic feel.
It all adds up to something unique, which may be routed in the past, but feels fresh and contemporary enough to suggest that after 55 years of pounding the blues beat, Mick Pini has hit career high.
Astral Drive aka vocalist, singer songwriter, producer Phil Thornalley delivers 11 songs that explore uplifting psychedelic tinged pop, soul and rock with beguiling piano chord voicing, lilting melodies, subtle vocal harmonies and songs that frequently evoke their title.
It’s an album that gives full rein to Thornalley’s pop sensibilities. There’s plenty of feel, lyrical substance, deft harmonies and vibrant hooks, all subtly honed by his own production skills which lead him to a layered, but organic sound. Essential.
Castro’s conceptual blues odyssey traces the ups and downs of a blues man who is fuelled by the optimism of the title track, but who also trawls the lows on ‘I Got Burned’ – all stinging guitar and tinkling ivories over a whip-crack rhythm section.
He further applies his soulful grooves and resonant playing to the story of a nascent blues man who lives the dream, but never quite turns his back on home.
Sometimes you hear an album that simply drags you along in its slipstream and kicks your musical prejudices into touch.
It’s an adventurous musical journey built on a commercial imperative, full of crisp dynamics that amplifies his soulful song craft.
Such is the stylistic span of this album that the listener frequently gets derailed by the unexpected, but it all makes for an exhilarating musical ride that takes it influences from John Mayer, Prince and Stevie Wonder.
The explosive Eddie 9 Volt (real name Brooks Mason), is a man on a mission. He’s the personification of a post Covid cathartic release. He could have called this album ‘No Gimmicks’, but that would be too overlook his soulful antecedents, built on deep grooves, flanked by judicious horns and ignited by Eddie’s own guitar driven urgency.
Just like his stage name suggests, he’s is durable, consistent and a no frills, gritty performer in search of authenticity, which deliver sin spades.
Rob Koral’s ‘Wild Hearts’ is an exhilarating instrumental album comprising guitar, Hammond organ and drums.
The Blue Commotion guitarist leads an old school ‘live in the studio’ affair. Recorded under lockdown conditions, it’s forged by improvisation and shaped by real feel, as it explores elements of rock, blues, jazz, fusion and funk.
This is what happens when a trio of top notch players leave their egos at the door, and pour everything into improvisation and sharing the moment. Proof if proof was needed that there ain’t no substitute for real passion, an outstanding collective musical ability and a guitarist with an expressive tone.
Top Reissues
JOHNNY WINTER, Muddy Waters & James Cotton: Great American Radio Vol.6 (2-CD)
Rough, rowdy, sweat filled Chicago blues. No surprises but the collective respect and passion endures.
STEVE GIBBONS BAND Rollin’ – The Albums 1976-1978
5 remastered CD’s, include a 1977 BBC Radio One In Concert, 29 bonus tracks, and an illustrated booklet for completists of the Brummy’s legend’s early career.
FRANK ZAPPA Zappa 88: The Last US Show
A double CD release, remixes etc of 29 unreleased live performances. On balance too much political stuff, but a cracking Inca Roads, Sharleena, Stairway To Heaven and Beatles medley
Breakthrough Acts 2021
LIZ JONES & BROKEN WINDOWS
Edinburgh’s finest are a vibrant mix of blues/Americana/folkie/jazzy roots music fronted by the gritty vocalist Liz Jones who knows how to phrase, while a crisp rhythm section lays the foundation for consistently wonderful John Bruce on guitar. Check out the album Bricks & Martyrs for a shot of original energy with real crossover potential
There can be few more hard working imaginative creative forces on the rock/blues circuit than Croatian vocalist, guitarist, singer songwriter, band leader and sometime producer Boris Zamba
He’s finally got himself a record deal and his summer single ‘I Know Its You’ struck a perfect balance between plaintive vocals, a broad Floydian sonic sweep and searing guitar and synths. It’s a taster of a forthcoming anticipated album called ‘Can’t Write a Pop Song When You’ve Got the Blues’. Ain’t that the truth!
Suitcase Sam once described himself as: “The something else you are searching for.” He may well be right.
He’s a musical chameleon one part troubadour, one part parlour singer who makes a musical connection with the American hobo mythology, not unlike the late Leon Redbone, who also came from Toronto.
His current album Goodnight Riverdale Park on Curve has an early 70’s Neil Young meets The Band feel with some Hank Williams on the side.
I hesitated whether the Perfect Plan singer should be my No 1 for a second successive year, but the combination of his voice and Michael Palace’s recreation of early eighties AOR is a winning one. One massive hook after another with a side order of cheese and the title track is the Rocky soundtrack that never was.
The young Scots long awaited debut was a deserved Top 20 album. With a maturity beyond their years they manage to combine dark and heavy sounds with a melodic sensibility and stadium ready anthems. One of the very best of the thriving NWOCR movement and a fine live band too.
The band play UK dates from 23 January and European gigs from 11 March
This was an unexpected treat, the original line up following up their 1980 debut which is one of my all time favourites. With those three way vocal harmonies still as clear as ever, and a varied set of songs with a vintage pomp sound in places, this was a better return than I could have dreamed of.
The melodic supergroup appear every three or four years and have honed their direct, hook filled approach to a tee. Mainly written by Erik Martensson who was also a Top 5 contender with the latest Eclipse album, but it’s Jeff Scott Soto’s vocals that give this one the edge.
The second of two farewell albums from this quirkiest of characters, the former Styx singer was in remarkably good voice and many of the songs inhabited the spirit of his former band.
30th anniversary reissue, with bonus tracks, was a timely reminder there was much more to them, and to the album, than To Be With You.
Breakthrough Acts 2021
With their debut album released late in the year, NESTOR have caused a buzz not seen in the small melodic rock world since the arrival of fellow Swedes H.E.A.T. and Houston over a decade ago.
Other debut artists I enjoyed this year include CHEZ KANE with her eighties inspired anthems, SPEKTRA from Brazil and RIAN.
Live Acts
It was a fantastic feeling to resume gigging and reviewing duty in the autumn after 18 long months. That made all gigs special but the two best by a mile were the superb Southern rock inspired sounds at the 100 club of Robert Jon and the Wreck, whose guitarist Henry James was the best I’ve seen in a long while; and Roger Taylor at Shepherds Bush, with a mixture of solo and Queen songs and choreography worthy of an arena show. Fond memories too of Jim Kirkpatrick, FM’s guitarist, at the Cavern in Raynes Park in May, still during semi lockdown but the first light at the end of the tunnel.
The sophomore album from Panic Room keyboard wizz Jonathan Edwards and ex The Reasoning vocalist Rachel Cohen is a sublime example of two former bandmates (they were both founder members of Karnataka) coming together and re-kindling their passion for exemplary music.
A blend of folk, neo-prog, classic rock and even a little pop combine to deliver a blemish-free album of staggering musicality and with their take of Duran Duran’s ‘Ordinary World’ surely take the award for ‘Cover Of The Year’.
In what has been an excellent year for music, despite everything, this takes the prize for its sheer, understated brilliance.
Sylvan have been hovering around mid-table in the progressive rock premier league for some years now, but ‘One To Zero’ should catapult them to near the top.
This is melodic progressive rock at its zenith played by exceptional musicians at the top of their game.
As I said in my review, if you had the ability to compose your own prog album with all your favourite prog tropes, this is how it would sound.
I was made aware of this little gem by Dave Randall’s review and I’m so glad I invested both money and time into it.
This Norwegian band have delivered an exceptional ‘post-prog’ debut album combining elements of folk and electronica resulting in a haunting, yet perversely life-affirming, piece of work.
Melancholia never sounded so good – and very much a salvation for these troubled times.
On first listen I absolutely hated this – it seemed that Hackett felt that he’s been constrained and frustrated for the past two years and was determined to exorcise his frustrations by blowing us all into next week.
And yet, like all great albums, I found the more I listened, the better it got.
On first listen it’s a punch in the face – on the third or fourth listen it’s up there with the best that Hackett’s produced.
The best album Joe’s delivered for some time. Over the course of the last few years he’s seemingly been determined to shake off his blues pedigree with a plethora of albums diving into rock, jazz and even rockabilly.
‘Time Clocks’ is an album with rock at its heart but there’s a real infusion of blues both in style and his exceptional guitar work.
As the pre-eminnent blues guitar player of his generation it feels like a real return to what he does best.
US Spring Tour starts 15 February 2022, Europe Spring Tour from 20 April including UK dates 5-6 May
Thea Gilmore’s well-documented marriage break-up with muse and husband Nigel Stonier is starkly laid bare by the twelve tracks here.
Now to be known as ‘Afterlight’, Thea has produced an album of jaw-dropping honesty with, quite frankly, disturbing songs relating to her coercive relationship. Who knew?
Not an easy listen – but delivered with her usual acerbic integrity and musical aplomb by one of our finest singer-songwriters.
Best guitar instrumental album of the year by a country mile – an epic solo guitar album of mercurial playing and astonishing virtuosity.
Former plank-spanker with the likes of Power Quest and Code Of Silence, Randall’s oeuvre places him at the centre-point of a triangle that has Joe Satriani, Carlos Santana and Yngwie J Malmsteen at its angles – but this is all his own sound and worthy of a check-out by anyone whose first love is the electric guitar.
I was lucky enough to review the sumptuous 5LP re-issue of Technical Ecstasy but all of these Sabbath re-issues have been fabulous with unreleased tracks, live stuff, comprehensive books, posters and all manner of goodies included.
The remastering is excellent, even on vinyl, particularly so on the album remix by Steven Wilson (how does he do it?) and the live material puts you in the front row.
AOR, Melodic Rock, Power Metal, Progmetal … Leverage are none of these yet they are all of these. On their 5th album now and the music gets harder to define and easier to admire.
Nergard goes about his business with a quiet religious intensity, marrying conventional instrumentation – guitars, bass, drums – to strings, brass and woodwinds. His real skill is in matching the music with the dramatic events portrayed in the story.
Margarita Monet’s multi-octave voice is gloriously hypnotic and theatrical… to find that the arrangements, the music and the performances match up to the expectations is a thrill indeed.
White’s voice straddles several decades of rock and metal transition. He’s been around so long now that anything bearing his vocal imprint cannot immediately be dated.
At heart Sulton is a bona fide pop artist. He fashions hooks with ease, and sends them skimming across the surface of his elegantly crafted pop melodies, landing them right on target.
The album is a box of delights. Avsec and Iris were truly now totally in sync, confidently displaying their powerpop skills …the standard doesn’t drop. King Cool, the album, is peak Donnie Iris.
It roams the cellars and basements of the down’n’dirty denizens of subterranean rock’n’roll, feeling its way through smoky, sweaty rooms, howling and wailing in among the cranked up electric guitars and thudding drums.
One of the most beautiful records of the year, no-one does ethereal folk melancholy like Constant Follower. Utterly captivating and with some heart-breaking highs and lows, all human life is here and this is the one album above all others to truly soak in. A magnificent achievement.
PLUSH Plush
Considering their tender age, this stellar debut is frighteningly mature and sets the quartet up for world dominating paths. A mix of Heart and Halestorm but with the ambitions of Led Zeppelin, there seems to be no stopping Moriah Formica, Bella Perron, Brooke Colucci and Ashley Suppa as they bring the next generation of metal and rock heads something to truly believe in.
JOANNA CONNOR 4801 South Indiana Avenue
Queen of the Chicago Blues, Joanna Connor had enjoyed a long career before Joe Bonamassa stumbled upon a YouTube video of the singer and guitarist kicking up an absolute storm in someone’s yard.
Seeing a phenomenal talent, Bonamassa set about doing one of the things he’s become renown for, giving other artists a well-deserved spotlight. The results are nothing less than jaw-dropping, the six-string powerhouse delivering an incendiary set that’s well and truly put her in the public eye.
THE STRANGLERS Dark Matters
There could be no more fitting tribute to late Stranglers keys player Dave Greenfield than this, their best album in years. Featuring his playing across eight of the eleven tracks, ‘Dark Matter’s is an uplifting and varied piece of work that pays tribute to their fallen comrade and is also the first not to feature the retired Jet Black on drums. Still feisty and classy, The Stranglers continue to lead the way.
The speed at which the constantly busy Mr Bonamassa moves is breathtaking, his status as one of the most fertile and productive artists around today assured. Whilst others may see a drop in quality, ‘Time Clocks’ sees the New Yorker build on the stellar ‘Royal Tea’ from 2020, his mix of rock and blues never finer.
Considered by many the point where the wheels were truly starting to come off the juggernaut that was Black Sabbath, this seventh studio album is one where they pushed themselves and their fans to almost breaking point. Introducing keyboards seemed like heresy to some, the Brummies straying away from their leaden and doomy riffing but this was a band unafraid to experiment.
This set includes some fascinating outtakes, a shining Steven Wilson remix and live tracks from the 76/77 world tour. With an accompanying book and poster included, there’s never been a better time to reappraise this much derided classic and see it for the gem it is.
It may not have the heft and focus of their previous stellar six album run of classics, but if it’s fireworks you’re after, this has enough variety and interest to show that Sabbath wanted to push themselves, even if fans didn’t like them to.
MARILLION Fugazi
Derided in some quarters as not having the heart of their debut, Marillion’s second album is the go-to choice of a lot of connoisseurs. From the lithe vitriol of ‘Assassing’, the devastating ‘Jigsaw’ and the huge title track, this album really does have it all and the full box set that includes live recordings and an extensive range of extras on the bluray disc, this is an utter treasure trove.
THE QUIREBOYS A Little of What You Fancy
Technically not a reissue but actually a re-recording of their debut, this shining of new light through old windows is a marvellous update and sounds better than ever. Rumbunctious and full of the party spirit, just add alcohol for the ultimate night of carefree, electrically powered fun. Say it quietly, but sorry to the Stones, The Quireboys are England’s greatest rock ‘n’ roll band.
Breakthrough Acts 2021
FOXPALMER Fronted by the enigmatic Fern McNulty, Foxpalmer blend gorgeous folk based sounds with some biting guitar work that rocks into their very own, very sophisticated brew.
Full of longing and a barely supressed sensuality, the material cuts to the bone and touches both the soul as well as making you want to move your feet.
With a rare intelligence and craft, the band are destined to fill larger and larger halls, buoyed doubtless by plentiful radio plays as they provide a welcome alternative to some of the soulless mass produced music we’re fed. Your only option is to immerse yourself in their warm and wonderful world.
HAWXX The new Queens of Noise, HAWXX have exploded onto the scene more and more recently with their deft blend of modern metal blitzing and spot on harmony vocal lushness. Following a blistering set at this year’s Bloodstock Festival and the release of coruscating single ‘Death of Silence’, the quartet seem set for the stratosphere in 2022.
THE HEAT INC Branded ‘London’s loudest band’, this multi-national quartet inhabit a nether world of smoke, mirrors and amps turned up to eleven. Their heady mix of the Stones, MC5, Nick Cave and Bowie balances a brutally stylish attack with a Gothic darkness that’s anchored with one foot in the past, one in the future.
What an introduction to new rock music! I felt very much like I’d stepped back to a time when you’d get a treasured compilation album for Christmas (vinyl she says, showing her age) – this one however, is more like all your Christmases and Birthdays rolled into one.
The opening track ‘Rat Race’ immediately grabs you with lyrics we can most certainly relate to “we’re in the rat trap, rat race and there ain’t no escape”, well after over a year of a global pandemic, we all need to escape with some good music, and here it is!
Bournemouth based rockers, Skinny Knowledge deliver a frankly, awesome debut album that oozes attitude with great energy and a message to all those that are shallow or judgmental in our society – take note of the poignant underlying message about mental health, it is ok, not to be ok.
If you are looking for some new, versatile fast paced rock with a sense of familiarity, and a message, then I pretty much guarantee your spirits will be lifted after listening to this impressive 14 track debut.
Confirming their debut last year was no fluke, this re-purposed album feels like The Petal Falls know exactly who they are, what they’re about, and what their sound is. Strange, then, when they chose not to release the material originally.
Breakthrough Acts 2021
1. BASTETTE – featured on NWOCR vol 1, ‘Talk About It’, an EP and supporting the likes of Massive Wagons and Phil Campbell & The Bastard Sons; I think it is fair to say that this young band have it all – lyrics, musicality, fabulous performance and presence, catch them before they start playing much bigger venues – you won’t be disappointed.
2. SKINNY KNOWLEDGE - An impressive 14 track debut album that has been self-released, equally tight performance and delivery live as I had the privilege of seeing them at Quarantune Rocks in October – what an introduction to this band!
They will appeal to anyone who likes their rock music fast paced, with a ‘message’, but yet still retaining a sense of fun and enthusiasm – what a debut, I’ll be looking forward to what comes next.
3. HARDWICKE CIRCUS – as the band say, they are the “greatest band you’ve never heard of”, somehow I think that is all about to change given their awesome debut album.
This is a cracking, feel good album that is completely new and yet lulls you into a sense of familiarity, possibly because of some of the influences that have clearly helped developed their unique style.
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.
Roly Witherow is a prolific and acclaimed composer in the world of film, theatre and TV. Roly released his debut album ‘Ballads and Yarns’ in 2020, which he now follows-up with this new five-track EP.
Roly Witherow: “This new EP is a very new direction for me…this new album has a ’back to basics’ approach, focussing on the song itself in its most minimal form. The vast majority of the songs are for just acoustic guitar and voice, and the recordings have a very live feel to them, realised in large part by the expert production of Joe Garcia of Joe’s Garage, in Bristol.”
Listening to this Richard Thompson springs to mind, particularly Thompson’s acoustic albums where he reworked some of his classic songs. The single ‘The Bird and the Frog’ being a prime example, where Roly’s vocals take centre stage for the listener.
He’s joined by Nick Hart of the Nest Collective who provides backing vocals on ‘Johnny’s Gone to Hilo’, a good mix of voices and an EP highlight. As with any good folk album rooted in tradition there is a murder to be told, this time on ‘The Three Butchers’. Roly really gives the song menace as it progresses to the part of the song where the murder is committed.
‘Ernie’s Song’ is dedicated to his son and this finishes the EP on a positive note.
Folk music is a crowded field, especially in the solo/singer songwriter arena, yet Roly Witherow has that certain something that captures a listener’s attention. Worthy of a listen that’s for sure. ***1/2
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: FISH – Cambridge Junction, 18 November 2021
After four decades, four studio albums with Marillion and eleven solo albums it’s drawing close to Fish winding down a long and storied musical career that has seen the towering Scotsman touch the hearts of countless thousands around the globe.
As much a poet as a singer, his lyrics have brought an imagery and honesty that has painted vivid pictures and tapped into raw emotions, putting the listener into the centre of the action, be it walking in other’s shoes or tapping into our darkest, deepest psyche.
With the career best ‘Weltschmerz’ album released last year to critical and public acclaim, a long-awaited tour to properly air the tracks was postponed several times due to the pandemic so when it finally came, the sense of relief and joy was unbridled amongst fans.
Adding to the mix a selection of tracks first solo album ‘Vigil in a Wilderness of Mirrors’ made the prospect even more mouthwatering, this bookending of his time since leaving his former band one that felt perfect for the occasion.
Acting as both support and backing singer to the man himself, Doris Brendel opened the evening with a set that highlighted what a unique and talented artist she is in her own right, her distinctive vocals and the band’s Steam-Punk aesthetic equally attention grabbing.
They started with a bang, kicking off the set with the impressively Led Zep sized ‘Takes One To Know One’, the riffs of Lee Dunham hitting with the same heft and precision of Pagey’s best work, Brendel’s voice a mix of Janis Joplin and a rocky Elkie Brooks.
The shimmering waltz of ‘Never Too Late’ had a filmic and dreamlike quality, the song ending with Dunham winding the spent singer up with a giant prop key and the glorious sweep of ‘You’re Everything’ has elements of Elton John as his most ambitious, the sound a blend of Glam Rock and Soul, the dazzle set to stun.
‘Latest Fantasy’ went from the pastoral to the crunching guitar work heightening the dynamics of the piece, the Brendel seemingly immersed so totally in the song itself that she was transported to another world, the whole audience happily taken with her.
Returning to earth, ‘Why are You Still Here’ put the hammer down once again, it’s jagged heavy rock an adrenaline rush of razor riffs and pounding rhythms, the whole thrilling effect like being strapped to a fairground waltzer as it goes faster and faster.
After that, the Celtic infused ‘Took My Breath Away’ was an atmosphere-soaked change of pace, Dunham’s guitar work and solo superb. The set was rounded off with the interactive drum battle fueled ‘The One’, it’s drama and fun bringing an unexpected sense of community as everyone present got lost in the music as grins got stretched over faces. A highly visual and musically captivating set, Brendel and the band brought their own sparkle to a night that would prove once and for all that Progressive Rock has more soul and humanity than it’s ever given credit for.
Despite a slight technical problem threatening to derail the evening even before he strode onstage, nothing was going to stop Fish make this an event to remember, the set filled with celebratory highs along with some heart-rending moments of pure emotion. Of course, his ability to be able to touch the very heart with his writing has never been in doubt but this was something special, that physical connection between artist and audience that can only be achieved in a live setting, the power tangibly visceral. Opener ‘Grace of God’ was, suitably, like a mainline straight into the veins as it opens with menace and then explodes into something that grows and snakes its way into your brain.
Delving back into ‘Vigil’, it was a welcome return of the brassy ‘Big Wedge’ and the bitingly prescient ‘State of Mind’, the latter dovetailing nicely with the sinewy commentary on police brutality of ‘Man with a Stick’.
Whilst these hit hard, it was a devastating ‘Family Business’ that was most shattering, the shame and anger portrayed in the song almost too much to bear as Brendel’s vocal cries and the solo by John Mitchell added more layers to the poignancy of the lyrics.
The titular ‘Vigil in a Wilderness of Mirrors’ still sounds as fresh as it did, its multiple layers and moods perfect for the live arena. A perfect reminder of just how this transition from the frontman of one of the biggest bands in the country to a solo artist was so perfectly accomplished, the track stands as a show of song writing and arranging strength, Fish throwing everything into it from the whisper to full blooded vocals, the Highland swirl of the drums and the bounce of the chorus.
Whilst the tracks from ‘Vigil’ and ‘Weltschmerz’ are striking when listened to in the comfort of home, the rawness and connection achieved when performed at a show is electric.
The cinematic ‘Rose of Damascus’ is a perfect example of this, the pain and fragility of the lyrical meaning etched into every expression on Fish’s face as he delivers the lines as if the central character’s very life depends on it.
This has always been something the artist has excelled at but it feels particularly striking tonight as the Scotsman opens up a world where an innocent victim is caught in a cauldron of political and religious dogma seemingly void of helping those who need it to be faithful to its tenants.
The drug induced nightmare ‘He Knows You Know’ is a deliriously received trip back to the first Marillion album, greeted like an old friend, its punchy rhythms promoting a mass singalong. The cataclysmic and brooding ‘Weltschmerz’ and the folk infused ‘This Party’s Over’ speak of a life lived, the observation of the minutiae of the psyche drawing us once again in as the rolling bass, swelling keys and jagged
riff flood from the stage. It’s moments like this that make it hard to believe that they’ll be no more albums and only one last tour to come, the singer seemingly having so much more to say and, crucially, having that face-to-face connection with his audience to is the lifeblood between Fish and the faithful.
In that spirit, ‘Cliché’ seems to have more resonance than ever, a love song not just aimed purely at romance but something broader, encapsulating the deep affection existing between the performer and his followers.
Always achingly beautiful, this heightened consciousness added a depth that is woven into the DNA and the solo performed by John Mitchell absolutely stunning, his sublime playing one of the highest peaks of an already monumental evening.
With a triumphant ‘View from the Hill’ closing the set the atmosphere was one of a bittersweetness, the buoyant feel of the music coloured by the knowledge that this, for some present, would be the last time they get to see Fish onstage, barring the happily inevitable encore.
Accompanied purely by keyboards, the gentle and plaintive vocals of ‘A Gentleman’s Excuse Me’ were an intimate start, drawing everyone back into his world before the grand fireworks of ‘Fugazi’, its huge sweep and intensity euphoric.
Another trip offstage before a return for the final climatic run through of ‘The Company’ bringing things to a triumphant head, the sense of being in this together reiterated not just through the lyrics but the bonding together of a roomful of people connected by the music of life.
An untouchable live artist, Fish is able to communicate on a level that few ever achieve and whilst this particular party may soon be over, the memories will always remain. Lives touched and lives changed.
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.
James White & The Wild Fire formed in 2020 and musically are a blend of country, bluegrass, indie and Americana, hailing from Saffron Walden, Essex. The group consists of James White (vocals and guitar), Brooke Bond (double bass), Ed Goldsmith (banjo) and Lee Dorrington (cajon – a box shaped percussion piece).
Despite being unmanaged and unsigned, the band topped the charts on both the Folk and Country Albums charts on Amazon with their debut EP, ‘Making Tracks’, in the summer of this year. This live album was recorded at a sold out home town show.
It is a musical jamboree, hitting political targets on the feisty ‘Democracy Hypocrisy’ – channelling Levellers meets Ferocious Dog – through to an all-out rocker in the shape of ‘Citizen Of Nowhere’. The one song where he can wig out on guitar. ‘Take Me Home’ and ‘Where Did You Sleep Last Night’ would appeal to fans of the Dead South, a band these would be a perfect support for.
Frontman James White is certainly a confident chap and works the crowd well, as well being self-depreciating like when introducing ‘Can We Come Back To This One’, the band’s only love song and written for his now ex.
‘Meet Me At The Creek’ rounds the live album off in a flurry of banjo and a fast paced rhythm. Loving the banjo playing of Ed Goldsmith and the way the music slows down midway through before ending in a rising crescendo.
Oh and the album cover photo was taken by sometime GRTR! writer Martin David Porter, another good reason to check this out then!
James White & The Wild Fire would be a sure fire hit come next year’s festival season, get them booked festival promoters! In the meantime we can enjoy this live offering of a band definitely on the up. ***1/2
Review by Jason Ritchie
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions,
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast 26 April 2026.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). First broadcast on 21 April 2026
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen live or listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 11 May 2026
BREITLER Sentinel (El Puerto Records)
FIRE IN HER EYES Too Late To Change (indie)
KING FALCON Wait (indie)
BEAUTIFUL SKELETONS Come What May (indie)
KARIN PARK Shadow (Size Records)
HARSH Don’t Mess With Me (indie)
Featured Albums w/c 11 May 2026
09:00-12:00 The Best of 2003 – 2025 (Melodic Rock)
12:00-13:00 The Best of 2003 – 2025 (Melodic Hard Rock)
14:00-16:00 The Best of 2003 – 2025 (Singer Songwriter)
Our occasional Newsletter signposts latest additions to the website(s). We also include a selection of recent top albums, based on GRTR! reviewer ratings. The newsletter is sent out a few times a year.
If you’d like to register to receive this occasional mailing please complete the form:
If using a smartphone/tablet please tap here or re-orientate your device
(Note that this registration is separate from site registration which allows you to leave comments and receive daily emails about new content. If you wish to register for this – in addition or separately – please click or tap here – for more information – the form is at the foot of each page. Please read our privacy policy when opting-in to receive emails.
Gig review: KIP WINGER – The Black Heart, Camden, London, 27 November 2021
Kip Winger’s acoustic shows in London at the much missed Borderline became the stuff of legend with their mixture of intimate songs and storytelling and fan participation. They even achieved the ultimate accolade of being a numbered series, so this was billed as the ‘7th Annual Solo Acoustic Evening of Music’. Actually, it had been scheduled to happen pre-pandemic in the same venue, only for the area around the Black Heart to be locked down after a local emergency incident.
The format was familiar, just Kip and his acoustic guitar, though he was being accompanied on percussion by a fellow American, Robby Rothschild who had earlier warmed up with a few solo songs and his own brand of wry humour.
After the usual opener in ‘Cross’, he risked peaking too soon with a series of well known Winger classics as a crowd thickly packed at the front roared along raucously to ‘Easy Come Easy Go’, ’Can’t Get Enough’ (Kip joking he had stolen from Bad Company) and ‘Hungry,’ either side of ‘Who’s The One’, from the darker but more rewarding third album masterpiece ‘Pull’.
After ‘Rainbow In The Rose’, the best reaction yet was in the form of a big singalong to ‘Miles Away’, the volume making up for the fact that the usual duet with a crowd member was a natural casualty of these times. He seemed to have a lot of pent up energy and despite the venue size was fairly belting the songs out, straining his voice to its limit.
Holding the gig in a smaller venue with crowd pressed close against a cramped low stage was a double edged sword. The atmosphere was even more intimate and potentially special, but it also gave potential attention seekers – of whom there have been a number at previous shows – greater scope for disruption.
With fewer European visitors this time, the prime offender was one Samir Winger (sic), the superfan well known at these events for his impression of Kip, screaming ‘now it’s time to surrender’ . Unfortunately on this occasion the joke wore thin with his constant excitable interruptions. Kip indulged him with a weary and diplomatic humour but both Robby and the sound engineer hinted they would have been less forgiving, a view increasingly shared by the crowd as the night wore on, not least as every 15 minutes he would push his way through to the bar and back to the front for his umpteenth whiskey and coke.
After a solo number in ‘Steam’ and an instrumental, some of the more sensible diehard fans shouted out requests which Kip obliged, largely from his more personal solo records- a beautiful ‘Ever Wonder’, ‘Native Sons’ and ‘Nothing’ among them while ‘Pages and Pages’ and ‘Where Will You Go’ saw him take to piano.
We were never too far however from a Winger song including ‘Blind Revolution Mad’, ‘So Long China’ which he hadn’t been expecting to play, and a particular highlight for me in the lesser played but equally good ballad off ‘Heart Of The Young’ in ‘Under One Condition’ (as an aside I remember hearing Tommy Vance playing it on the Friday Rock Show and saying ‘that sounded like Foreigner – ask your Dad who they were’, at which point I realised I might be growing old).
After ‘Headed For A Heartbreak’ with Robby switching to keyboards, and ‘How Far Will We Go’, the night ended as it began with a string of singalong Winger hits – ‘Down Incognito’ including an unlikely conga solo from Robby, ‘Madalaine’ and ‘Seventeen’ plus at one point a snatch of the Cars’ ‘Just What I Needed’.
He had already played for an hour and three quarters but was brought back for a final song- another ‘Pull’ gem in ‘Spell l’m Under’, claiming he had run out of material he had rehearsed.
Though there was less chat than usual about his current projects or calls to bandmates, Kip mentioned he couldn’t wait to return next year, but with a band. Whether that is a regrouped Winger or a band assembled for another purpose, that was a diary date everyone present was already marking up after this timely and enjoyable as ever reminder of his talents.
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.
earMUSIC [Release date 12.06.26] Tarja Turunen releases her tenth studio album and one she calls the “heaviest record of her career”. There are a few notable guest appearances including fellow ex-Nightwish member Marko Hietala, Dani Filth (Cradle of Filth), Apocalyptica, and Chad Smith (Red … Continue reading →
Sunset Blvd Records [Release date 22.10.21] The 2021 Christmas offering from Orleans is something of a welcome surprise. The band have existed in some shape or form since their glory days in the late 1970s on the Asylum label, although … Continue reading →
Welcome to the Brave New World/1984 as this was the first gig I was asked to show my covid pass. Sign of the times but if it keeps live music and entertainment going then it is a small price to … Continue reading →
For those who are unfamiliar with Glasgow, the Barrowlands Ballroom shares its name with Barra’s market which takes up a lot of the surrounding area. The Barra’s market used to be a huge affair which attracted people from all over Scotland looking … Continue reading →
TAYLOR YOUNG BAND Mercury Transit Handrawn Records [Release date 08.10.21] Taylor Young drummed for the likes of The O’s, Young Heart Attack and Polyphonic Spree. Now he takes on the role of band leader and is joined by guitarist, vocalist … Continue reading →
Repertoire [Release date 28.1.22] This 3CD set brings together more than 50 newly remastered tracks, recorded by the R&B/soul powerhouse Chris Farlowe between 1962 and 1969. It’s an eclectic mix of studio, radio session and live tracks, and a definitive … Continue reading →
Nu Metal A Definitive Guide SonicBond Publishing [Publication date 24.09.21] Author Matt Karpe has been busy of late with two of his books published in quick succession. This Nu Metal guide is very comprehensive and a perfect introduction to a … Continue reading →
Dandelion Records & Books [Publication date 08.01.22] Chris Hewitt’s second volume of “The Development of Large Rock Sound Systems” is a lavishly illustrated, 500 photograph strong opus which charts the rise of big PA systems in rock music. It further … Continue reading →
The phrase living legend is overused but in the world of metal Steve Harris deserves this description, as Iron Maiden’s founder member, single-minded visionary, principal songwriter and with his prominent bass playing a big part in the band’s sound. Hell, … Continue reading →
DEEP PURPLE Turning To Crime (earMUSIC) While the production is big, solid and bright, there’s also a live-in-the-studio feel, like it was recorded quickly and spontaneously. Listen with open ears and the album shows the band on great form, and … Continue reading →
Few living people can claim as rich a classic rock pedigree as Kenney Jones- the only Small Faces member still with us, a mainstay in the Faces and Keith Moon’s replacement in the Who. Its not surprising then that the … Continue reading →
The week prior to this gig I had watched the excellent documentary on BBC about the life and music of Lindisfarne’s guiding light Alan Hull. Alan’s creative genius is at the centre of the Lindisfarne legacy and his timeless masterpieces … Continue reading →
Frontiers [Release date: 10.12.21] The Murder Of My Sweet’s latest release, A Gentleman’s Legacy, is a concept album, with a plot worthy of some of the better psychological thriller writers we may have encountered over the years. The band is … Continue reading →
Frontiers [release date 10.12.21] Swedish rock band, Cap Outrun’s debut album integrates Progrock with Melodic Rock. A bold mix of nostalgia and modernism. One of the prime reasons for Progrock’s popularity is the music’s illusion of improvisation. You’re not quite … Continue reading →
The gig was in the upstairs portion of Academy, which is more intimate than the main ground floor venue and provided for a vibrant, enthusiastic atmosphere. Something Piston appeared to thrive on. Their short, powerful set was packed with crowd … Continue reading →
Sonicbond Publishing [Publication date 03.12.21] After a highly readable book on Queen a couple of years ago Sonicbond now publish a book based on my other all-time favourite band the Electric Light Orchestra (ELO). Wisely Barry Delve focusses solely on … Continue reading →
Facebook [Release date 26.11.21] We enjoyed Reading four piece Third Lung’s 2019 EP ‘Sooner Or Later’ here at Ritchie towers and I was delighted to read they have a new EP out. The EP is a compilation of singles, plus … Continue reading →
Noisy Records [Release date 03.12.21] David Cross releases fine instrumental music via his own Noisy Records imprint. Cross was with King Crimson in the 1970s whilst Keeling has scored new versions of the band’s repertoire. You’d expect that their music … Continue reading →
Christmas comes but once a year, and with it the usual mixed bag of toons. But not for us the familiar stylings of ‘Do They Know It’s Christmas’ or ‘Merry Xmas Everybody’. We like to dig deep, a bit like … Continue reading →
AFM Records [release date: 10.12.21] 7th album from German band, Stahlmann. When Rammstein released their first album, in 1995, the German music press coined a new phrase, Neue Deutsch Harte. NDH became a cutting edge calling card for other bands … Continue reading →
Frontiers [release date 10.12.21] In straddling the border between Progmetal and Symphonic Rock, Swedish band, Mercury X have staked out a fertile chunk of territory. This is their debut album (excluding two independent releases). It remains to be seen if … Continue reading →
2021 has been another horrendous year for live music, largely silenced by the coronavirus pandemic. In August, live events in the UK started cautiously with several festivals and, with restrictions lifting for smaller venues, some semblance of live music returned … Continue reading →
Website [Release date 03.12.21] Roly Witherow is a prolific and acclaimed composer in the world of film, theatre and TV. Roly released his debut album ‘Ballads and Yarns’ in 2020, which he now follows-up with this new five-track EP. Roly … Continue reading →
After four decades, four studio albums with Marillion and eleven solo albums it’s drawing close to Fish winding down a long and storied musical career that has seen the towering Scotsman touch the hearts of countless thousands around the globe. … Continue reading →
Facebook [Release date 19.11.21] James White & The Wild Fire formed in 2020 and musically are a blend of country, bluegrass, indie and Americana, hailing from Saffron Walden, Essex. The group consists of James White (vocals and guitar), Brooke Bond … Continue reading →
Kip Winger’s acoustic shows in London at the much missed Borderline became the stuff of legend with their mixture of intimate songs and storytelling and fan participation. They even achieved the ultimate accolade of being a numbered series, so this … Continue reading →
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***** Out of this world
**** Pretty damn fine
*** OK, approach with caution unless you are a fan of the artist or genre
** Instant bargain bin fodder
* Ugly, just ugly
‘Angus McFife’ got the crown into a frenzy as did the disco tinged ‘Universe On Fire’ which had everyone screaming along. We then found ourselves stampeding towards the last song with the ‘Unicorn Invasion Of Dundee’, which again saw a steady stream of bodies being passed overhead whilst punching the air and singing along. Pandemic… what pandemic?
The gig was in the upstairs portion of Academy, which is more intimate than the main ground floor venue and provided for a vibrant, enthusiastic atmosphere. Something Piston appeared to thrive on. Their short, powerful set was packed with crowd interaction during and in-between riff-heavy hard-edged classic rock tunes. Frontman Rob Angelico and drummer Brad Newlands were the ringleaders, never missing an opportunity to provoke some audience reaction. (I saw Newlands at the bar later, wearing a Dr Feelgood jacket and he went up a notch further in my estimation!)
