Disclaimer: This photo album is solely the property of Andy Jansons. It is strictly forbidden to copy any part of these images, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Bones Gramercy Theatre, New York City, NY 12th November 2018 Review by Andy Jansons
It’s not every night you hear a lady yell at you “get ready to get boned”… but that is exactly what lead singer Rosie Bones, from British born, female duo, rock band Bones declared to the audience right after ‘Happy’, the opening song of their set. She said that shortly after taking a sip from her whiskey flask. What a character!
Bones are currently on tour, supporting American fashion-art rock band Palaye Royale. On November 12th they made a stop, for a sold out show, in New York City’s Gramercy Theatre. Bones started out in London, UK but now call LA their residence!
Bones are stylish, provocative and ultra-talented and although, as of now, they have no record released, they still have a decent amount of songs for a set. Their most popular with the public seemed to be single ‘Beautiful Is Boring’ and the David Bowie cover ‘I’m Afraid Of Americans’. Rosie sings with a devilish style, she like toying with the audience while delivering lyrics that give a middle finger to the sky. Carmen Vandenberg is simply amazing on guitar, delivering solos like a seasoned rock star. They incorporate Blues, Alternative & Indie Rock in their style of playing and have defined themselves as ‘Future Rock’. Both ladies have a great chemistry on stage and it’s simply a matter of the time until Bones hit the big time!
Disclaimer: This review is solely the property of Andy Jansons and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
1968 – BALLADS OF THE GODLESS Release Date: 06/07/2018 Running Time: 38:24 Review by Alun Jones 8/10
Sometimes, without warning, it all comes flooding back and I’m thrust into the nightmare of that jungle. Thirty days on patrol with no chopper cover. The heat, unbearable; sweat running in rivers down my spine. Cradling my M16 like a good luck charm, praying under my breath that there ain’t no VC gonna unload a torrent of lead at me and my buddies. Trudging on, hour after hour, waiting to get back to the LZ for evac. Chukka-chukka-chukka, the Hueys overhead and the rush of wind from the blades.
Maybe these guys from 1968 were in Nam too. Maybe this debut album, “Ballads of the Godless” is actually a lost relic from those days that’s just been unearthed. Maybe 1968 invented heavy, psychedelic rock after hearing Hendrix and Cream and some of those old blues guys. Certainly seems crazy enough to be true.
Opening with “Devilswine”, 1968 lay out their ground plan confidently. It’s a mighty power groove that makes your head nod, setting the tone for the whole album. “Screaming Sun” follows and adds a more psychedelic shine, Jimi Coppack’s vocals soaring while the riffs hammer. “Temple of the Acid Wolf” adds further intricate detail, with shades of vintage Soundgarden. 1968 set about laying waste to all in its sights like Ozzy manning the Air Cav machine gun on a strafing run.
It’s not all Ride of the Valkyries mayhem however. Last track on Side 1 (vinyl lovers!), “S.J.D.” is an instrumental that provides a more reflective tone. Acoustic guitar and piano feature, in a stylistically fine salute to the classics of the genre.
This bleeds nicely into Side 2, track 1 – “Chemtrail Blues”, where guitarist Sam Orr gets chance to unleash Hendrixian guitar flourishes over a bluesy beat. It’s like that time me and my buddy chewed acid in a fox hole while under fire. The rocket traces in the sky lit up like God’s neon veins.
“McQueen” opens with some infectious bass, before melting out of a mellow vibe and into a crushing chorus. The bottom end is nice and heavy throughout, The Bear delivering pummelling yet warm playing.
Rhythms are also tight and show a groove more contagious than jungle malaria. Dan Amati on drums shines on “The Hunted” in particular. Final track “Mother of God” brings on a deceptively laid back, acid dripping feel as we finally get some R’n’R in Saigon.
“Ballads of the Godless” reveals more and more depth, thought and intricacy with each listen. On this first album, the band make good on a lifetime studying from the past masters. My only question is how will 1968 continue to evolve and add to their sound? I can’t wait to find out.
For now, it’s back to reality. No more choppers overhead, cries in the jungle and that oppressive, relentless heat. Until I spin “Ballads of the Godless” again… Tracklist
02. Screaming Sun
03. Temple Of The Acidwolf
05. Chemtrail Blues
07. The Hunted
08. Mother Of God Social Media: https://www.facebook.com/1968Band/
Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
Every Mother’s Nightmare – Grind Running time: 20:31 HIGHVOLMUSIC and Rock N Growl Promotion Release Date: 06/10/2017 Review by Dawn “The Metal Priestess” King 8/10
Despite being a fan of the hair metal/ glam metal era of music (albeit a few years after it actually happened!) Every Mother’s Nightmare only hit my radar when my then brother in law wanted a copy of their album “Deeper Shade of Grey.” I managed to get hold of it and, while doing him a copy of it, did myself one too, and there it sat on my cd shelf, only being played one or two times.
Now, if this album is anything to go by, I missed out on something there! This is the sort of rock that “brings back the feeling that we should probably just drink another beer, kick back and stay a while.”
Formed in the early 1990’s, Every Mother’s Nightmare arrived quickly onto the Memphis rock scene, where they were from, and as word spread about their high-energy live performances, they soon caught the attention of Clive Davis of Arista Records, signing with the label, and they soon became staples on MTV’s Headbangers Ball with their music videos for “Walls Come Down”, “Love Can Make You Blind” and “House of Pain.”
They opened shows for bands such as Cheap Trick and Dream Theater before they started to headline their own shows, drawing in large crowds and selling out venues. Over the years, they have been featured in hundreds of hard rock magazines, both nationally and internationally, and have appeared on many talk shows, such as The Joan Rivers talk show.
After their release of Deeper Shade of Grey in 2002, the band relied purely on their live performances, only releasing an EP called Grind in 2015. But, 2017 saw them make a comeback with their first full length album in 15 years, their sixth album, also called Grind.
The new album consists of eight studio tracks, produced by Justin Rimer at Cross Trax Studios, the five tracks on the original EP plus three brand new studio tracks, plus three new live tracks, recorded from the band’s live performance at Minglewood Hall in Memphis, Tennessee on 21st August 2016. These live tracks were produced by David Cowell at Cleaved Owl Productions, with mastering done by Brad Blackwood at Euphonic Masters.
The album also features some guest musicians in the form of Jim Dandy (The Jim Dandy), who guest vocals on the track Stand Up, Wayne Swinny (Saliva), guest guitarist on Snake and Zach Myers (Shinedown), guest guitarist on the album opener Loco Crazy, a catchy tune with monster guitar riffs and the song that told me this was going to be a great album!
Singer Rick Ruhl is the only surviving original member but has changed his look from the spandex, leather and makeup of the Glam Metal era, to a long-haired country boy dressed in jeans now. But, although the look may have changed, the sound is still the same.
This album has a bluesy, southern hard rock sound to it, with some stonking riffs and fantastic solos. Rick has surrounded himself with some very talented musicians, and this has produced a great southern flavoured rock album, full of great hard rock songs, pure rock tunes and a power ballad that has its own raw edge.
The band know their strength is in their live performances, reflecting this with the inclusion of the three live tracks at the end of the album and it is these live performances that have kept them going through nearly thirty years with just six albums recorded.
I loved this album. It is a feelgood album with some cracking tracks from some very talented guys. I wish I had listened to Every Mother’s Nightmare earlier and I will definitely be checking out that album that’s sitting on my cd shelf gathering dust.
Disclaimer: This review is solely the property of Dawn “The Metal Priestess” King and Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities