The Muggs "On With The Show"

The second song "Slow Curve" is from the album On With The Show

The Muggs are back with another offering of blues inspired boogie rock! These boys from Detroit remain one of the finest examples of that authentic hard rock sound, and if this were the 1970s, I guarantee they would be headlining an arena show. This time around, the band is sporting a much more noticeable rhythm section to back up the powerful guitar of Danny Methric.

I remember when the Muggs were voted off 'The Next Great American Band' because the judges thought Danny couldn't sing. This criticism seems to have affected their style on this album. The playing is much more balanced, and subdued, which fits Danny's voice very well. The fast-paced blues rock of the first album has been toned down, but that isn't a bad thing. Whereas the first album was explosive and furious, this album is a tighter, and a more authentic blues.

"Curbside Constellation Blues" is a bloody amazing track, and contains some of the most beautiful guitar and piano work I have heard in a long time. I wouldn't hesitate to compare this to some of the classic blues songs that we all know and love. Hopefully, the band decide to continue in this direction as a permanent addition of piano to the lineup would be stellar. Bravo to the Muggs!

The rest of the album is quite solid as well. "Down Below" starts off hard, and continues on relentlessly. "Get It On" is very similar to their previous album. It's fast, it's hard, and it rocks. "Just Another Fool", Motown Blues", and "Never Know Why" are all reminiscient of that classic Detroit sound. "Slow Curve" is a return to the style of "Get It On", with it's fast guitars, driving solos, and funky rhythm. The album ends with "Somewhere Down The Line", a slower song reminiscient of a 70s arena ballad.

The Muggs are a 'power trio' in the finest tradition of the title. Together, Methric, Denardo, and Rost have created their own little pre-1975 world of pure rock n' roll. Their debut hearkened back to Cactus and Humble Pie. After their sophomore effort, they can add Cream to that list. They've managed to fuse the pure hedonism of their first effort, with a softer groove, to create an awesome album. Highly recommended.

The Hellacopters "By the Grace of God"

"By the Grace of God" from the album By the Grace of God

2004's By the Grace of God is the fifth CD release from these punk rockers from Sweden, and one of my favourites. It's not on the same level as Grande Rock or High Visibility. That said, it is still a fine album, and better than most other efforts that are released to the public. I wouldn't hesitate to call it one of my most loved albums of the decade.

The guitar-centric effort begins with the opening piano key of the title track and immediately launches into a fury of percussive energy. That fury never lets up. The entire album manages to maintain an awesome sense of consistency. Robert Eriksson has done a great job in the back on this album, and he manages to hold his own against the twin guitars of Andersson and Dahlqvist.

After the wicked opening track, the band launches into my personal favorite "All New Low", which trails away in an fantastic guitar and piano duel. "Down on Freestreet" contains some beautiful wailing guitars, the Chuck Berry cover "Better Than You" is a great bottle of explosive energy, "Carry Me Home" has a nice and soft melody, which oozes of optimism. That perfect twinning of hard-rock guitar and piercing piano continues through the latter half of this album. They are always complimenting each other, by feeding each other in a delicious cycle. In my opinion, it's bloody brilliant.

The Hellacopters have established themselves as one of the premiere Garage-punk bands over the last decade, and their recent decision to call it quits is a shame. The rabid listeners will lament the loss of such a wonderful band. But we will all continue to praise the fine music that they have created, the energy they brought to the genre, and the revitalization that they helped to create.



"Carry Me Home" from the album By the Grace of God

The Golden Gods "The Thorny Crown of Rock and Roll"

"Even I Don't Know" from the album Thorny Crown of Rock and Roll

These guys are probably the biggest bitch-slap that rock and roll has received in the last decade. Simply put, their music is ferocious. Simon Scott is a terrific front man, wailing on his guitar and with his beautiful voice. One of the best vocalists I've heard, I'd say. I think he has tons of potential. The rest of the band is just as technically proficient. The giant, Dan Trilik, rocks out on his bass in a fur coat and not much else. In the back, Richard Shelton Davis lays down some funky rhythm. Together, the trio lays produces a sound reminiscent of Humble Pie, with the energy of the Hellacopters.

I get the impression that these guys felt like they had something to prove. A lot of people dismiss '70s revival' as nothing but a bunch of cover-bands and bar bands meant to entertain a bunch of out-of-touch drunks. The Golden Gods totally blow that cliché out of the park. The music can hearken back to the past and still be relevant to the present.


"Dynamite Lady" from the album Thorny Crown of Rock and Roll

Their album was released in 2006, the band broke up in 2007, and I'm still pissed off. Honestly, what the hell is wrong with us? We let these guys slip through the cracks. If you love grandiose slabs of70s-ish guitar, the funk rhythm of Grand Funk, and hard fuckin' rock, then you must own this record. Buy it. Now. I guarantee you will get a nice kick in the teeth, and will curse whatever gods you hail that the Golden Gods have closed their temple for worship. Prepare to be rocked, heathens.


"Stone Fox" from the album Thorny Crown of Rock and Roll

Len Price Three "Rentacrowd"

"Rentacrowd" from the album Rentacrowd

The Len Price Three hail from the Medway Towns in the U.K., and released Rentacrowd under the Wicked Cool Label last year. Coming off hot from their well received debut, Chinese Burn, the trio from Medway manage to keep the energy high throughout their sophomore effort. They play a sort of Who-meets-Kinks garage pop rock, and keeps things short and sweet. They blow through a baker's dozen worth of tracks in about a half hour, managing to keep everything short and sweet. Upbeat, quick, and sharp seems to be the order of the day with the Len Price Three.

The album is really strong, and it's hard for me to find a song that I did not enjoy. "Rentacrowd", "If I Ain't Got You", "No Good" and "With Your Love" are all favorites, but it's hard not to find time for the rambunctious energy of "Girl Like You". The peppy ballad, "Julia Jones", also has a lot of charm. That said, songs like "Mesmer", "Cold 500" and "Australia" sound like a calm within the storm, and were a bit less appealing. I was left eagerly anticipating the return to the next foot-stomping track.

Some might say that they are simply derivative and unoriginal, but this isn't about reinventing the wheel. There is nothing new in rock n' roll, and sometimes performing and sounding great trumps attempting to sound original. The Len Price Three manages to do just former, and in the process, a bit of the latter. I honestly would not be surprised if this band hit it big.

"With Your Love" from the album Rentacrowd

The Satelliters "Where Do We Go?"

"Abba" from Where Do We Go?

An old hand in the garage-rock scene, The Satelliters come all the way from Frankfurt, Germany, and have been making their own brand of modern garage rock since 1993. The band recently made headlines with their song "Why do they know?", which was chosen by Little Steven Van Zandt for his Coolest Songs in the World, Vol. 5. They manage to perfectly capture the spirit of 60s-angst much better than most modern garage rock revivalists, and still maintain some sense of originality. The Satelliters has been plying their trade for over a decade, and their experience certainly shows on their newest album Where Do We Go?


Opening with a fantastic cover of the Paragons' "Abba", the Satelliters launch into a vibrant chorus of garage punk tunes that makes me pine for the 60s. Including covers of "No Good Without You Baby" by the Byrds, and "I'll Make You Sorry" by the Shadows of Knight. This mind-blowing fuzz release also contains great original songs. After eight albums, these German lads still manage to perform fantastic garage-punk songs. "For You" oozes with proto-punk energy and catchy guitar riffs. "Where Do We Go" "You Cannot See" "Why Do They Know" are all energetic, catchy, and sound like classics out of a forgotten age.

They are probably one of the most successful bands in the garage-rock revival, and perhaps the most authentic. This album feels like it was lifted out of the past, full of psychadelic guitar, farfisa organ, maracas, tambourines, vibrating echo sound, and snotty-punk ass vocals. Fans of garage take note, the Satelliters are another winner from the wicked catalogue of Los Angeles' Dionysus Records.

Stone Rider "Three Legs of Trouble"

Stone Rider is the newest addition to the Trustkill label, and comes out of Atlanta, Georgia. They play a great blend of modern southern rock, with a classic edge. The sound is fierce and groovy, echoeing the hard rock of the 1970s. Three Legs of Trouble has a heavy sound that you feel but are never overwhelmed by. You just sort of groove along and feel yourself nodding your head. The sound never lets down, and is pretty consistent throughout the album. It's not a few hit singles packed with half a dozen clunkers. It's a solid album, through and through. Stone Rider does not necessarily pave any new ground, but they have managed to create a solid debut that is fun.

From start to finish, Three Legs of Trouble is a fine rock album. The songs segue into each other nearly flawlessly, which creates the illusion that the album is just one long track. If you are searching for a good album to lose yourself in for a while, whether it be driving down the highway or chilling in your basement, then look no further.

So far, it is hands down, one of my favorite release of the year. I'm looking forward to seeing what these young guys from Atlanta do in the future. They are definitely a band to watch out for.

In the Spotlight: Southern Bitch

An Extra-Strength Bottle of Strong Medicine

"Come On" from the album Snake in the Grass

They say that before Lynard Skynard chartered Convair 240, they had been planning to collaborate with Neil Young on an album, and so a rock n' roll legend was born. What would said album have sounded like? If you have ever wondered what might have been if fate had not taken it's course, then look no further than Southern Bitch. This quartlet from Athens, Georgia blends country crunch with searing guitar leads, powerful rhythm, wailing vocals, and authentic lyrics. Call it southern rock, call it mountain rock, call it whatever you want. I'll just call it rock n' roll, and enjoy the show.

Frontman Alex Musick is the whole package; a talented singer, songwriter, and guitarist. He spouts one of the most distinctive writing and singing styles in recent memory, with a voice that would not be out of place among the classic blues and soul outfits of yesterday. With wife-guitarist Wendy Musick, bassist Chuck Bradburn and drummer Taylor Sproull, the band belts out an alternative meets classic rock fusion that is both refreshing and familiar.

Simply put, Southern Bitch is the real thing: no bullshit rock n' roll that reaches back to the roots of rock without sounding derivative. A blending of poignant lyrics, fantastic instrumentals, and soulful vocals. Somehow they have created a sound that can put out hard rockin' numbers and still keep an indie vibe about it. It is a horrendous crime that this band is not more well-known, as they would be a refreshing dosage for an ailing popular music scene.

"Free Man Now" from the album Snake in the Grass

In 2006, Southern Bitch released their third LP, 'Strong Medicine'. It followed 2004's politically charged 'Snake in the Grass', which featured the hit song Free Man Now. The sound of the Athens' quartlet reaches maturity on this album, and it displays their style to be firmly their own. The lyrics, vocals, and music all click together so perfectly and manage to capture a sound that is classic yet fresh. This is no modern one-hit wonder album, but a collection of great tunes from start to finish. Get Ready and Real to Me may be the standouts, but they are definitely not all Southern Bitch has to offer.


My hat is off to this fantastic band!

Visit the Southern Bitch website to check out their albums!

Lost in Time: The Electric Flag

A Good Player Can Make Any Guitar Sound Good

If you have ever seen The Trip by Roger Corman, and were taken away by the blues-jazz-psychadelic soundtrack, then you may know this band. It was the brainchild of the legendary bluesman, Mike Bloomfield, and known as the The Electric Flag.

"Stop" from the album Super Session
Featuring Michael Bloomfield, Al Kooper, Barry Goldberg and Harvey Brooks

The Electric Flag was a short-lived band of Mike Bloomfield, which he formed after his stint with the Paul Butterfield Blues Band. He brought together a collection of some of America's most seasoned musicians, including: Buddy Miles, Harvey Brooks, Barry Goldberg, and Peter Strazza. They made their live debut at the Monterey Pop Festival in 1967, but were not included in the documentary that many of us have seen.


Bloomfield sought to combine the traditional Big Band Blues sound with Contemporary Soul, mix in a little country, gospel, and jazz, and slap a horn section on top of it all. This fusion of big band and hard rock, and a pioneering use of horns, predated Blood, Sweat, & Tears and the Chicago Transit Authority. The first studio album, and their only successful one, A Long Time Comin' would be the only work produced by the original lineup.

"Killing Floor" from the album A Long Time Comin'

Drug abuse, clashing of egos, and management disasters tore the band apart. Goldberg and Bloomfield left only a month after the album's release, and despite efforts by Buddy Miles to continue, the band disappeared in 1969. Most of the band went on to become highly influential in the music industry, especially among San Francisco's community of musicians. Buddy Miles would go on to work with Jimi Hendrix, in the Band of Gypsys. Nick Gravenites would become a legend in the San Francisco scene, working with Big Brother and the Holding Company and Janis Joplin. Mike Bloomfield himself returned to San Francisco where he scored movies, played sessions and produced other artists.


The seminal work of the Electric Flag, may very well be Super Sessions, which was born out of a nine-hour jam session organized by Al Kooper. He recruited Mike Bloomfield, Barry Goldberg, and Harvey Brooks of the Electric Flag. Even on the eve of the band's breakup, they managed to capture the fusion of American music that was the essence of the Electric Flag. An amalgam of horns, blues, soul, gospel, and rock. After the first day in the studio, Mike Bloomfield abruptly stormed out of the studio after suffering a bout of 'chronic insomnia' brought on by his heroin addiction. Al Kooper hastily called his friend, Stephen Stills, who sat in for Bloomfield on the last three tracks of the album.


The purely instrumental 'Stop' from Super Session is definitely my favorite song. “Killing Floor”, “Wine” and “Over-Lovin' You” are also top quality tunes. I would strongly recommend that all lovers of blues, soul, and jazz music check out the Electric Flag.




"Wine" from A Long Time Comin'