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Recordings_1 List

Hitting play with anticipation the melodic riff comes out jaunty, but with a hint of menace, strolling, ambling, dancing in and out of the shadows, taking breath then the drum beat (Joe Lazarus) announces we are here.
The leaping guitar gives way to Mogg’s soothing, sweeping “Ohh” and you know now there is a story coming, a soliloquy to tell that only Phil can.
The bouncing riff provides a backdrop to lyrics that grab you with delight, life is there to be enjoyed but it takes a fight and nothing comes easy.
You have to be in it to win it, a bit of spice and spirituality all gets into the mix, death is awaiting, but awaits us all so keep on getting into the ring.
Driven by bass (Tony Newton) that is masterfully understated throughout but provides the foundation for the musical and lyrical stories to be told.
The lyrics come tumbling, riff pausing before Neil Carter unleashes on the six string then Tommy Gentry takes over in a ripping flurry. A final reminder that you need to eat and enjoy before “Apple Pie” drops off a cliff.

This is the first track and a feeling of something special is going to come your way but how is it going to unfold?

A helicopter take off intro’s into a pounding riff and pounding riff, Phil is joined by Zoe Love on backing vocals as Phil goes into storyteller mode telling of life’s dark and greasy side.
With the right angel shining your way you can go into the dark side and come out laughing.
Melodic ‘Ohh’ ing builds into a ripping guitar as the song build into a climatic end. (Sunny Side of Heaven).

Thunderstorm flashes a backdrop to an acoustic slowly picking, finding it’s way into a swaggering riff as another story is about to be told. That a “Face of an Angel” is gonna bring you trouble. Space and a band acting as one is given in portions that are perfectly balanced as this song goes a walking.
The guitar is haunting, tones of a previous German guitarist ringing true to these ears throughout this album.
The solo drops into a staggering riff walk before Phil kicks into a final verse.

Echoing riff finger picking drives into a pounding beat that bounces with Phils lyrics as a story of betrayal unfolds. On the road of life, rhyming guitars and lyrics take you over and above he horizon before masterful fret board work kicks in, stops and drives on. (I Thought I Knew You).

Echoing shades ring true before a bouncing, swaggering tune kicks in and explodes with orchestral strings adding depth. A volatile solo beautifully gives a warning that yes indeed, something wicked this way comes, climaxing with more strings and backing vocals before bowing to “The Princess Bride” and it’s a Lights Out era sounding sequel into the voyeuristic “Other Peoples Lives”.
It carries an intoxicating heaviness that plucks at the heart strings as Phil embarks on a tale of watching from afar.
A ripping solo carries it through and out of bounds.

No time to catch breath as “Tinker Tailor” kicks into with harmonic sing along chorus to die for. This is a stomper where the musicians and vocalists unite as one and put the musical boot in.

A watery entry that leads into some killer chops, then Phil's warm, enveloping vocals wrap around into ripping secondary guitar. The melody squeezes out into a sun burst and then the “Weather” is all over too soon as life goes on without you.

“Harry’s Place” is a sixties throwback with Neil flexing his blow on the flute giving it some oomph and grove. A bass on the run is joined by killer chops as they get ready to race. Phil fires the starting gun and they are off.
Knocking on the door of “The Wrong House” as the unwelcome guest gets a seeing to. A tale of deserved torture as the wicked solo runs up the fret. A twisting tale unwinds with fire, pump and bounce.

Swanky, sweaty blues jazz keys intro into another ripping guitar as Phil’s harmonies voice intertwines with the more strings, the harmony takes you higher. It makes you burn as the story of “Shane” unfolds.

Laid back blues rock of “Storyville” wraps the album up, with Phil's romantic side coming out. Is this his swansong praise to Emma? One can only guess as story cuts deep and draws musical blood.

This is an album that to my ears is all killer no filler, each composition twists and turns with expert playing from all involved.
It show cases what Phil Moggs vocals are all about.
While not carrying the heaver rock moments of UFO it certainly rocks where it needs to while ripping with fire and ice.
This is a musical five out of five star album, and if you dare to take the trip you are certainly in for a treat.
Keep On Rockin’

Moggs Motel

Phil Mogg and Others

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A debut album of significant blues rock proportions that weeps, crashes, rises and rides like an unstoppable force of nature. Here is a track by track breakdown of this outstanding album.

Track#1 – Beford Blues
Rip roaring shout along chorus rocker that sets the tone of intent. Fuelled by serious riffing, a ripper solo that goes into a bass, drums drive before culminating in more of the same.

Track #2 – Hypnotise
A riff with swagger with rock shades of Tracii Guns swirls and rises into a shout a long line of “Come On, Come On, Come On, Come On”. Guitar solo’s ridding over ranging drums. What more needs to be said than winner, winner chicken dinner.

Track #3 – Before the Moment Dies
A stepping riff that a dipping dive that has emotion soaked vocals that dig the shoulder into. Slows to shuddering solid wall of chords before rising high.

Track #4 – Sunset Rider
Slowing the pace down a tad with blues soaked guitars AoD raises the metal finger high. Done with ain’t no sunshine soul and flowering guitar work.

Track #5 – Black Magic Love
Bouncing druming intro with megaphone vocals explode into an intoxicating rocking riff that demands swinging moves when listened to. More outstanding solo runs echoing into crunchy riffs.

Track #6 - J.E.P
Lonely drum beats sets a menacing riff into action like Chopper with blade in hand this stalks along like a mad man in the alley. Killer riff with harmonic singing this has standing proud swagger. A solo that bends you at the knees and cries out in screaming vengeance.

Track #7 – Left Handed Cigarettes
Complex riffing kicks into a racing charge flowers into a smoke cloud of sweet, sweet vibrations.

Track #8 – Mandy
More back beat riffing and soulful vocals crutch along that evoke involuting movements of your neck muscles. This one is dripping with sweet honey.

Track #9 – Devil Woman
The groove continues of hard blues riffing, crashing cymbals, and bubbling bass.

Track 10 - Ballard of the Short Stem Rose
Slow southern country rock that powers into embracing chorus and Mount Vesuvius erupting soul. Featuring the legendary Ama Quinsee on backing vocals a fitting way to close off this magnificent debut release.

Art of Dysfunction are:-
Michael Menna - Lead Guitar
Kyle Haydock - Bass and Vocals
Ashley Gallop - Rhythm guitar
Royce Mack - Drums

Art of Dysfunction

Art of Dysfunction

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Catching up on some pre 2023 releases starting with one that slid into the top three and has the staying power to maintain that position.
Named after the drum kit, driven by Bill, that fuels the beat throughout “Green Machine” by Electric State is the opus in question.
“Get In You” kicks off with riff that grabs you attention and is a signal for the danger to come. It explodes into riff-bass-drums electrifying wall of sound before it drops, allowing lead vox Rob to seduce the listener into thinking it’s safe to enter before the safety blanket is ripped by another burst of power. And so it evolves, rising to leave you breathless.
“Riot” follows with a creeping story of under privilege being overcome with a distorted break that is never ending, with ringing cymbals celebrate the victory.
Track three bangs on the door, begging to be let in, as sirens chase. Letting the stranger in riff mister Russ pulls one out of the bang to let Rob vocals soar. Rising and falling the sirens call mixed with muffed calls of a madman on the loose. Epic!
Rampaging bass calls out the “Government” in block buster movie score that rises and falls.
Net up creeping bass by Paul floats in before drums and the riff kicks in. Vocals that make you want to join in has turned this track into a much loved sing-a-long. “Light It Up” lives up to the title and sets fire to this album, with Russ letting loss with a fireball solo.
With a spooky intro “FMH” is a stomping grind with melody that ascends, talking you over the half way mark that has just flown past, such is the timeless expression of solid rock this album represents.
“Mirror” is yet another romper stomper track that flies, kicks, bites and soars flying like a eagle and dives like a shark before it rises to bite off your legs leaving you devastated and crying out for the doctor.
The pace does not stop with “Fed By The Algorithm” shouting out the confusion of the internet takeover, and like William Wallace, cries out for “Freedom”. Another track that also transforms into an anthem in the live setting. The studio version also features some top-notch megaphone backing vocals.
Flying out of the blocks “Run” kicks and twists like a mad dingo making off with it’s snatched prize.
“We’re Just Blood” is another sing-a-long anthem that unities the world and could be construed as a cry against the politics of division that leads to war and suffering.
The recording ends with a rampaging number that drives along, feeding the questioning spirit and lets you look into “Tomorrow’s Sun”. It leaves you screaming “lets play it again”

Electric State are Russell Christie (guitar) Bill Shaw (bass), Paul Leahy (bass), Rob Viney (vocals).

Green Machine

Electric State

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(originally published 2015) From 2013 we have “All I Want Is Every Thing” from local Perth outfit Ragdoll. Although in today’s ever changing world I think this is a classic frozen in time.
I feel like I’ve been in the dark when the title track from “All I Want Is Every Thing” kicks in. It’s pure power with vocals of bass Ryan having a “glass wrapped in velvet” feel to them.
“Astray” is a beautiful little number that floats along a bit like Skid Row’s “Breaking Down”. Brilliant riffing from Leon makes it hard to believe Ragdoll are a three piece.
“Replaceable” takes you down and rises with a magnificent update melody.
The next track “Break You” is very busy and shows off that the unit is cooking musically. There can be no arguing the class of each player on this track.
Last track is “Self Censored” starts with some delicate finger picking, drum rolls from Cam and bounces into some melody lines where Ryan shows his voice is in the range, of yes that man again, Ron Keel.
As the track fades out and you pick yourself, and dust yourself down you and left me wondering why Ragdoll is such a new name for these ears.

All I Want Is Every Thing

Ragdoll

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(originally published 2015) As they are getting a bit of exposure on local radio thought it was fitting to start with Legs Electric’s “Maximum Rock ‘n’ Roll” five track CD.
Intro track “Illicit-Love” kicks in with a riff from Hell and Laura McComack teasing with a stinging lick before erupting into an electrifying lead break.
Next up “Trigger” seems to start out low and crawling but like a black panther jumps out and grabs you by the throat. The powerful vocals of Ama Quinsee shine through. It has a feel of early Ron Keel / George Lynch collaborative work. Nice one!
Abby Slones leads in with a pumping bass before a wicked riff has you bouncing off the walls. Also some nice work on muffled vocal effects. The lead break on “Temporary Road” is a killer.
Fourth track “Black Magic “carries a Hendrix feel to it with some slick riffs, rolling drums, and swirling lead guitar.
The EP finishes off with “She’s Like A Saint” with a slow build up with drum rolls building up to a great hook line that makes you want to get up and move. A feature is some audacious bass runs from Abby with a nice “lock, load and fire” effect to drive the point home these Lady’s mean business. Are they Saints or Sinners of Rock?
Excellent first outing from this outfit, and like any nasty addiction leave you hanging out for more.

Maximum Rock ‘n’ Roll

Legs Electric

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A blow by blow account of the latest and great offering from The Southern River Band. Rolling …
As the first track, “Chimmy”, commences you are sucked into a deadly rip that throws you about like a washing machine, shaken not stirred. A riff cuts in with a fatal grind and you know there’s no escape from this magnificent musical journey. A chill runs up your neck like a killer walking over your grave, the guitar solo rips into your spine letting the blood flow, Lethal.
The friendly, uplifting razor sharp riff of “Second Best” kicks off. It’s such a feel good number one tune that sings “Love, Love and more Love”.
“Do You Miss Me?” is a west coast good time laid back spliff of a song. Echoing tones of hot nights, cool breezes and heart broken love.
WA’s answer to “Rocky Mountain Way”, “When It All Falls Apart”, is built around lead purveyor of all things SRB, Callum Kramer’s (guitar and vocals) inspired guitar play. A relentless blues based riff that has undertones of an AC/DC bad boy beat. Cutting deep this one leaves a musical scar. In a Live forum this will bring tears, bleeding noses and flowering roses. KILLER.
Track five, “Where She Wants Me”, is a party boogie, stomp along, feeling good , getting you on the mood. Get yer dancing shoes on.
The spirt of Wishbone Ash rises again. Like a fork shaped bone rising up from burnt offering’s of your treasured vinyl collection a cold chill runs up your backbone and the world is as one. Make a wish to this number and you never know if may come true. “Playing to Win” the boogie blasts on.
“Tinderalla” rips ‘n’ tears, frantic and jagged. Live sweat, melodic Motorhead meets The Doobie Brothers. Another spring board for Callums dynamic fretboard action.
Closing track “Little Victories” is a slow blues number that winds you down is a cool cruising manner. More cold chills as the SRB fever kicks in. Moral of the story: stick with the Love. A groove that’s smooth, leaving you on fire.

Rumour & Innuendo

Southern River Band

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(originally published 2017) The paced keyboard chords that open this latest opus from Krysler also unfold the pages of a story that draws you into a multi-layered, web of hopes, dreams and emotions of a troubled, but gifted, troubadour.
Chord by chord, track by track you become entwined in Krysler’s tangled music web that is woven.
This one is a grower that, like cancer, gets a grip and doesn’t let go. Stealthily Krysler creeps in, steals your soul and seeps into every pore.
Relentless in the presentation’s, “Why Didn’t You Stay” winds into “Heartbeat Calling” then uplifts into “Shadows Move” and so on and so forth as the story is laid bare.
Stand out tracks? Hard to choose from the plethora of gems but “Chasing Sparks”, “Soul Deceiver” and the touching heart strings of “A Thousand Stars” are all worthy of consideration.
Krysler – poet, punk drunk, lover, loser, dreamer, father, traveller. But who really is this complex cardboard cut-out?
Only you can choose if you dare to cross over, into the other side of the mirror and risk all.

Chasing Sparks

Krysler

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Datura4 have conjured up a mesmerising creation that explodes and ignites the sprit forward, towards the never ending quest for the perfect boogie.

This recording gets to the source. The first opus kicks off with an eight second intro that could be mistaken for a nod to Skyhooks and Status Quo before bursting into a relentless, perfected timed and buoyant number.
Pushing off into free fall space “Going Back to Hoonsville” is a mighty statement. A return to youth that fades out but never dies as leading light Dom Mariani (vocals/guitar) and the amalgamation of minds know as Datura4 (Wazza Hall-drums, Stu Loasby-bass, Bob Patient-organ/piano, Jozef Grech-guitar) boogie into the distance.

Drums by Wazza kicks off the blues swagger anthem that “Secret Society” is. Here Bob starts tinkering with your head, bringing his deft touch on keyboards to the fore. Here is also where Jozef slides into the groove.

“Open the Line” is a blues induced riff dance sixties groove that you feel The Stones would have killed for. This is also fades into the distance driven by Wazza and in a live situation this is another one that could go on forever.

“Bad Times” messes with the mind as what could have been an Eddie Van Halen intro kicks into a solid boogie number that uplifts, smiles and has, yes that word again, swagger.

Bursting out “Black Speakers” is a dark, deep blues groove that is menacing. Constricting and heavy this one explodes in to a guitar freezy with Dom/Jozef burning it up.

The only CD running order change from the Splatter Vinyl is where title track “Neanderthal Jam” moves up from vinal closing to CD track six. This a lighter feel to it that paradoxically is spurred on by Stu on the bass. Here he underwrites the contract and lets the music do the talking while Datura4 continue scaling the hairy mountain.

“Hold My Life” bounces the aural view like a Highland jig. Special guest Howie Smallman laces the flavour with a Gaelic flavoured blues harp (if such a thing exists).

Bursting back with a frenzied, breathless number “A Worried Man’s Boogie” is priceless and flexes an upbeat harp.

“Digging My Own Grave” is heavy and urgent, running through black, back alleys of your mind. Twin guitars let loose a la Wishbone Ash/Thin Lizzy in this persuasive, invaluable and essential musical masterpiece.

The first of the CD extra tracks is “Fish Fry”, a stomp along groove that enquires, asking questions and brings Bob into soothe the mind with his exquisite touch. A jagged mountain ridge river where salmon jump.

Closing the CD “Drive-By Island” has, as the name suggest, a sunshine drive groove that expands beyond the boogie and sails into the “boy-to-man” dreams. It picks up and runs on the desert beach driven by a sunny, echoing solo that is dangerous in the extreme.

Datura4’s fifth album is nothing short of a masterpiece that just begins to capture the eloquence and danger of their live performances. Where the boogie just begins to never end ………

Neanderthal Jam

Datura4

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