The Broken Law

I hate committing myself on here to gigs as they inevitability fall through like the Dawn Ray’d show did on Monday! It was my first day back at work after a week off and a distinct lack of quality sleep on Sunday night, combined with a 3:45am alarm call on Monday meant I was fast asleep at home when I should’ve been otherwise engaged.

Friday, fingers crossed, I should be seeing local leg-ends Discharge tear a massive hole in the Rebellion Club in Manchester. This post could as easily have been written a month ago as one of the first bands I’m seeing in 2018 ended up being the last band I saw in 2017.

It could be the first gig of a Manchester double (or even quadruple) header over the weekend. It’s payday tomorrow so if I commit to buying tickets for Friday and Saturday then there is a higher probability of me making the journeys to the rainy state of Mancunia.

Whenever my next exposure to Discharge’s ferocious noise blasts occurs it will put the number of shows I’ve seen by the band into double figures. It’s nothing to be overly proud of though as it should have happened much sooner. From the nine aural assaults I’ve endured so far, four have been in the Potteries, one each in London, Manchester and the ever so exotic Crewe and the final two in Holland and France. Unfortunately though none of those were first (or even second) time around and have all been since their 2006 reincarnation with the now departed Varukers screamer Rat on “vocals”.

Since their signing to Nuclear Blast Records a few years back and the release of End of Days with JJ replacing Rat, the bands shows seemed much more frequent and a bit more high profile. Their hometown show a month ago could be considered a warm up for the prestigious slot they played just before New Year.

They opened up the show at the Los Angeles Forum for the Glen Danzig fronted Misfits, touted as the original Misfits even though they have Dave Lombardo of Slayer fame occupying the drum stool. It seems quite bizarre that a band who played in front of a 150 or so people for a tenner a short bus ride from their parental homes two days before Christmas then played a sold out venue 5,300 miles away that holds 17,500 people with tickets costing ten times more just over a week later.

Most of today and tomorrow will be spent blasting out some of the finest and most aggressive music to come from the mean streets of Stoke on Trent by an unlikely band that had a huge hand in moulding the extreme metal scene as it is now, more than four decades after their tentative steps. It was most definitely angry music for an angry and frustrated generation and all these years on it still remains the same. Stoke tends to do that to people!


Sturdy Wrists

When I went back to work at 5am on Monday I only had four days off between then and finishing for Christmas. Make that five. As I’ve ended up with an unwelcome sick day today. I wait nearly two years for a day ill and I end up with three in a month or so. Oh well.

On Friday I will be adding Manchester’s Sound Control to a pretty prestigious looking list of venues. The Wheatsheaf, Stoke. JB’s, Dudley. The Foundry, Birmingham. Bradford Rios. Astoria, London. Jilly’s, Manchester. Some of the venues where I’ve spent many an hour in the last three decades. With the exception of the Wheatsheaf which was remodelled as a no music pub, all are now closed and several demolished.

My listing isn’t 100% accurate as I know there are dozens of shows missing from my list of Wheatsheaf gigs, but my top ten venues account for 474 sets witnessed (not actual gigs but the different performances by the bands seen). From those ten stages only four are places I can still look forward to seeing a band in. The tenth on the list is one I haven’t been to since 2001. It sporadically has gigs, but not by any bands I want to see.

In 48 hours the final curtain for me in Sound Control comes down when San Diegan’s Rocket From The Crypt play the venue. At some point in the near future the building will be demolished to make way for student accommodation for the huge university campus less than a mile down Oxford Road. The university grounds are also the first place where I saw the band play in 1996 and I haven’t seen the band in the intervening 21 years either.

Guitarist and vocalist Speedo (John Reis to his parents) and his band of well dressed merry-men formed in 1990. Their early albums are great pieces of melodic punk rock, but their big break in the UK came with the success of album number four Scream, Dracula, Scream! in 1995 which spawned their biggest UK chart hit On A Rope reaching the dizzy heights of number 12. A decade and three albums later the band split bar a one off show until a full reformation in 2013.

Almost four years ago to the day was the last time I should’ve seen the band, again in Manchester, but I was under the weather and didn’t make the show. Fingers crossed that isn’t the case come Friday.

As I found out last time I wrote about the sextet, the official RFTC videos are notoriously hard to find on YouTube, unless I’m looking in the wrong places? Sturdy Wrists is linked here from the Daily Motion site, so I hope it plays OK. The track was released on the 1992 album Circa: Now!

The Howl

October the 31st rumbles over the horizon and again regular people seem to embrace the spooky lifestyle for a “holiday” that now seems to be lasting a for a whole week in recent years. 

I used to have a pretty realistic looking skull on the windowsill staring out on to the street some years ago, for those interested it was the skull adorning the top of an unofficial Metallica box set. I believe it led to some disdain from a few neighbours. Roll on those years since and some of those same neighbours now decorate their windows with cobwebs, spiders, skeletons and bats. Oh and skulls! 

Our road doesn’t have too many kids living on it, so we don’t have to endure an endless steam of kids roaming the area for treats (or as my wife likes to put it begging). Having said that though we seem to be the 1313 Mockingbird Lane house that kids are told to steer clear of.  

Sometimes I feel slightly embarrassed at this time of year as it feels like I’m jumping on the spooky bandwagon for a bunch of days, but pick any particular day of the year and I’m undoubtedly clad in black (or green), wearing something adorned with a skull, a demon or some kind of monster. I’m also as likely to watch a horror show or film on Christmas Day or Easter as I am on Hallowe’en. 

Any way, to jump on the bandwagon and “celebrate” something for the day of ghosts, ghouls and pumpkins here’s a short blast of death rock from Samhain. 

For the uninitiated Samhain in the band that pretty much flew under the radar after the Misfits dissolved and frontman Glenn Danzig went mainstream with his eponymous band. Originally a side project for Glenn that turned full time they released three albums between 1984 and 1990, they eventually morphed into what is still actively known as Danzig. 

There was major label interest in Samhain fronted by James Hetfield and Cliff Burton. Samhain were signed to a major label, but the suits only really wanted Danzig as a solo artist, but he insisted in taking Eerie Von along for the ride. He was convinced to use the Danzig moniker to prevent any issues as and when members of the band left and were replaced. 

This video is a homemade video for the track The Howl taken from their 1984 debut album Initium released on Danzig’s independent label Plan 9. Even back then the Michael Golden designed horned skull that has became synonymous with Danzig the band was already in use. 

Give Me Fire

It’s been a very long time since I saw any of the second wave of punk bands on stage, unless it’s been Discharge. But tonight, sobriety willing, I’m hoping to make it up town to see GBH.  

I’ve seen them, along with the likes of the UK Subs, Exploited, Sham 69 and Anti Nowhere League, loads of times over the years. But I fear using online technology isn’t very punk rock so my last recorded sighting of the Brummie punx was way back in 1996. I must’ve seen them in the 21 years since? 

A lot of those bands passed through the Potteries in the mid to late 90’s and I saw most of them locally. If ’96 was the last time I saw them, then tonight will be the first time I’ve seen them whilst I’m in a state of inebriation! 

A lot of the bands are still treading the boards, but more so now they appear to be confined to a more festival style setting. A series of all day events under the Calling banner have been going strong over the last few years. Even though I’m slap bang centre of North West Calling (Manchester) and Midlands Calling (usually Wolverhampton), I’m yet to take the plunge and get along to any, mainly because I have other gigs planned. The same with the long standing Rebellion weekend in Blackpool, a veritable who’s who of punk spread over four days and multiple stages on the coast of the Irish sea. Usually this weekend has clashed with Bloodstock. 

I was seriously tempted with a drive to the Golden Mile this year to experience the punk showcase as there were a few bands I’d like to have seen. But once the stage times were released into the public domain that put paid to that idea. Virtually every band I wanted to see was spread over all four days and due to hit the stage post 9pm, in a few cases after the witching hour and I was working the next day. Saved me some cash anyway  

Tomorrow’s stumbling block is my towns annual beer festival. I’m supposed to be off work all of this week. Today is my fifth and final day that I’ve worked this week. We have plans Saturday, so that only leaves tonight to sample some fine (and not so fine) ales. Let’s wait and see how that pans out. 

Give Me Fire was released as a single by Clay Records in 1982, but never made it onto a studio album until the 2002 reissue on Captain Oi! Records of City Baby’s Revenge. 


Not getting home until gone 3pm today hasn’t been very conducive to me making it to Liverpool tonight. I was in the house for less than ninety minutes until I had to leave again. I’m out now until nearly 7pm and a train is twenty minutes after that. Not too bad I can probably hear someone say, but factor in a 3:40am alarm call today and tomorrow and it’s a no go. I’m sure I’ll have missed a great gig tonight. 

Tomorrow night I have a brace of options and both much closer to home. There’s a Motörhead tribute band playing at Eleven. A few miles further on sees A Page of Punk making a return visit to The Potteries. 

A Page of Punk hail from Tokyo, Japan and play a ferociously fast brand of punk. Not as fast as those I should’ve been seeing tonight, but fast enough. Lots of 1,2,3,4 count ins to pretty short songs. 

I’ve seen the band once before again in Newcastle under Lyme back in 2013. My main reason for attending that show was to see the short lived Thirty Six Strategies play one of their earliest shows. For those who don’t know that was yet another one of Ian Glasper’s bands. That show, as the poster attests, was a peculiar mix of bands all gathered under the punk banner. 

I’m not sure about any of the other bands playing on Friday, but getting four bands for a fiver you can’t really go wrong for a bit of Friday night entertainment. There’s a slim chance I’ll be seeing them again in Leeds on Saturday, but for how busy I’ve been at work lately I fear that’s another show to bite the dust. Sometimes I really hate my job, having to be in early six days a week plays havoc with my social life! At least I’ve only got four days next week then purportedly a straight run of ten days off. 

The track translated as Itarutokoro is included in their latest album Punk Day – Beautiful Day via I Hate Smoke Records. 

Let The Truth Speak

Hopefully tonight I should be off to see reactivated and rejuvenated punk band Warwound support Icons of Filth on the outskirts of Manchester. Originally it was to be held at the Retro Bar, right on the doorstep of Piccadilly train station. Since the venues demise a few weeks ago it’s now somewhere in Levenshulme. Jumping on a train looks like too much hard work. There’s a long wait in Piccadilly to head back south to Crewe so I might as well drive and be home in half the time. 

Warwound were a short lived band back in the early 1980’s for a few years. Various members splintered into other groups like the Varukers and Sacrilege. Then bassist, now guitarist, Damien resurrected the name with a trio of musicians well respected within the punk and hardcore scene to blast out some old Warwound songs alongside a smattering of Sacrilege and Varukers standards. The original demos got an updated release and a few days ago an album of new material, Burning the Blindfolds of Bigots, surfaced. I heard snippets of the album when I saw the band in Leeds back in March, so I can’t wait to get my grubby hands on a proper copy. 

The bass player of the rejuvenated outfit is Ian Glasper who I’ve known for more than twenty years since I first met him at a Stampin’ Ground gig in a youth club in Rugeley in 1996. Throughout all the bands I’ve seen in the last 28 years this guy is probably the one I’ve seen on stage the most. He’s been in quite a few bands and besides Stampin’ Ground who are the band I’ve seen more than any other, I’ve also witnessed him with Decadence Within, Suicide Watch, Freebase and Thirty Six Strategies. 

A throw away comment at an Earth Crisis show in Dudley many moons ago led me to my first shows abroad where I was offered a space in a van for a few shows in Belgium. Since that weekend I’ve had the bug to travel overseas for gigs. 

If you like your D-beat punk with huge chunky swathes of metallic hardcore then Burning the Blindfolds of Bigots is probably the album that you’ve been waiting for this year. 

Serve And Protect

So Netherlands DeathFest last weekend was quite a good few days away. I saw some very good bands and the exceptional Demolition Hammer were the band of the festival. I also had to endure some dross and suffer half a day on Monday in a rainy Eindhoven where everywhere in the city appears to be closed. It was good to be back home – even if it was later than expected – to be greeted by the wife and an absolutely mental puppy. 
Saturday afternoon sees me tackling the M62 north for my first trip to Leeds for 2017. New York City band Citizens Arrest grace the minuscule stage within the Temple of Boom for their first ever UK shows (the second being in the same venue on Sunday) and I believe their first ever European visit.  

Their original run lasted between 1989 to 1991, and saw them release a few 7″ and 12″ sized pieces of vinyl in that short period. They weren’t very prolific with their live performances and only played a couple of dozen times all on the eastern side of the States and a solitary Canadian show. They were playing around the time of the whole New York hardcore explosion, but I’ve never really known them associated with the scene at the time from their home city. I think they may have been a bit too punk (with a lot of Boston hardcore influences) for some of the lower east side crew. 

Seven years ago they regrouped with a line up containing members who’d previously been in the band and played a handful of shows Stateside. Various members of the band have played in a wide variety of bands since the initial split such as Assück, Hell-No, Colossus and Born Against. 

With this show in Leeds, and bringing Infest, Drop Dead and Siege over last year for exclusive European shows, it makes you wonder who has won the lottery in Yorkshire! Two sell out crowds with eleven support bands would only bring the venue around £4,500 from ticket sales. Half a dozen return flights from Newark would swallow up virtually all of the door takings, so someone is really doing this for the love of their music. I can’t really complain as I’ve seen four bands who I’d never have expected to have seen on British soil and I didn’t have to suffer more journeys to London for them. 

Obviously there’s no MTV video for anything Citizens Arrest have done, but the majority of their back catalogue is readily available via YouTube. Serve and Protect was originally released on the 1990 7″ A Light Into The Darkness on Wardance Records, and has had several rereleases since.