10460512_10152503534982311_5105631701497624378_nAs we all know, rock n roll is a hard life – with no certainties or superannuation payment at the end of your playing days. 99% of musicians don’t make much money at all – and as the years go by, many artists suddenly find themselves no longer in demand as they may have been in previous years. I don’t know any musicians nowadays who don’t have to work, (at least part time) to make ends meet – let alone support their chosen profession. Which brings me in a roundabout way to Mick Blood. Times have been tough for the Lime Spiders front man – and in recent weeks got a whole lot worse.  Needing to leave Queensland for a fresh start in March, Mick set off looking for a new home. After a torrid time of several months, Mick finally found a new pad in Newcastle NSW and set about getting back into work and getting on with his life. But within a few days of moving in, Mick was bashed unconscious one June night in Stockton, leaving him with serious head injuries. He is now in hospital and requires a long period of treatment, recuperation and life re-building. Mick faces an uphill battle in retaining his accommodation and is quickly coming to the end of his life-savings after all that he has been through this year. A benefit gig is being held in a few days in WA to raise some money for Mick, but a web site has also been set up where you can donate a few dollars to help him out. As Mr Rockbrat and I have attested before on many occasions, the contribution Mick has made to Australian rock n roll over a long period of time is beyond significant and deserves way more recognition. The Lime Spiders gave us some absolutely incredible tunes, garage rock that was world class  – ‘Out of Control’, the classic ’Slave Girl’, ‘25th’ Hour’,Wierdo Libido and ‘Volatile’ to name a few.  Their 1990 album ‘Beethoven’s Fist’ is one of my favourite Australian rock albums ever, littered with rock classics and a WAY underrated album. (read a review of that album below). Mick’s shrieking vocal delivery was distinct – no one sounds like him, before or after. If, like me, you enjoyed the music of the Lime Spiders either live or on record, now maybe the time to return the favour and throw a few bucks Mick’s way when he’s not doing so great. For more information on the Mick Blood Benefit, head here. Get well soon Mick.

Review of Beethoven’s Fist LP by Cowboy Col (this originally appeared in Vicious Kitten Fanzine #3) in 1995

The Lime Spiders bit back hard in 1990, with what proved to be their final Long Player. They released an EP in 1992 which turned out to be their last hurrah, and in that year secured the opening slot for The Black Crowes on their first Australian tour. It was only through vigourous networking by Virgin head honcho Dicky Branson that scored them that gig – not. Black Crowes – Chris and Rich Robinson had hand picked them, after witnessing the rock n roll monster that the Lime spiders were, on a previous U.S tour. This record stands as one of the most complete rock n roll albums to come out of Australia in recent times. From go to whoa, every track is huge. ‘Cherry Red’. Hit single. Top ten. Should have been. Three minutes of high energy rock bliss, complete with sing-along chorus. The other standouts on this record include ‘Real Thing’, ‘I Get Off At The Next Stop’, the sonic relentlessness of ‘9 Miles High’ and ‘Silent Partner’. The opener – ‘Scene Of The Crime’ is another standout track, high quality, harmonized garage rock at it’s best. For mine, this album ranks as vocalist Mick Blood’s finest moment, in a long and inspired rock n roll career. Richard Lawson and Phil Hall provide the thunderous rhythm section, while Gerard Corben’s razer sharp guitar work is nothing short of amazing. ‘Beethoven’s Fist’ was produced by Kevin ‘Caveman’ Shirley and also features the talents of Mark Wilkinson (Girlies, Kcrunch, Brother Brick) guesting on additional guitar. Five years on, this album serves as a testament to The Lime Spiders. This ten song platter is chock full of loud, melody laced, uncompromising rock n roll, and no real fan of rock n roll should be without it.



Without a doubt – the BEST KISS album of all time, is quite possibly Paul Stanley’s ‘bootleg solo album from 2005.  From the man who penned such Dylan like lyrics as ‘You Make Me Rock Hard ‘, and ‘Uh All Night’  comes an album chock full of the man’s stage banter. Released in 2005, this  fan-made disc compiles 70 tracks worth of Stanley’s distinctive song introductions and on-stage banter. If it’s one thing KISS do well – its the cliche. Their music is cliched, their interviews are cliched, and of course, the on stage banter has more cliches than you can shake a stick at.  Just for you – ‘PEOPLE’. I said ‘ JUST FOR YOU PEOPLE!’ HERE IT IS – The best and only KISS album you really need. Get it here.  You can Google the artwork.

Simmons - cliched, boring and irrelevent

Simmons – cliched, boring and irrelevent

Not surprising to note that the most odious man in rock n roll , Gene $immons, has again offended people with his comments. This time the buffoon with the ridiculous looking wig has been caught with his foot well and truly in his mouth, and has hit the headlines again for all the wrong reasons.

Simmons has claimed that “poor people should show millionaires more appreciation”, and that “without the 1% of super-rich, including himself, the economy would not thrive and the world would descend into chaos. The one percent pays 80 percent of all taxes. Fifty percent of the population of the US pays no taxes. The one percent provides all the jobs for everybody else. If the one percent didn’t exist there would be chaos and the economy would drop dead,” he told UTSanDiego.com. Simmons said, “Try being nice to rich people. I don’t remember the last poor person who gave me a job.” What a turd. For a guy who is work 175 million pounds, and has acquired his wealth from many working class (and working poor) people, an ounce of humility would be too much to ask wouldnt it. How about  opening up the Gene Simmons Hospital ? How much bloody money does one person need anyway ?

For a man who spent his entire career singing about his crotch and playing big dumb rock to a largely teenage audience – his relevance in 2014 is way overstated. And before all the blindly devoted KI$$ naysayers start jumping up and down, let me state that I loved big dumb rock – during adolescence. Get the point, cartoon rock for teens and now, pre teens.

Simmons says, “People often confuse my pride and self-confidence with arrogance. I’m like an animal in the jungle that pisses on the ground and doesn’t ask permission,” he said. Big surprise there, Simmons talking in cliches. “We are your humble servants”, “You are my bosses” – he says of KI$$ fans. Hopefully his latest verbal diatrebe will open up the eyes of some KISS drones to what a bore he really is. What astounds me is that interviewers and the media at large still care what he has to say – when in reality he has been trotting out the same self absorbed clichés for 30 years. His main topics of conversation are – himself, his wealth and his appendage. He tries to come across as an intellectual, yet has the wit and repartee of an oaf – and consequently ends up sounding like the obnoxius and delusional git that he is. When will he and KI$$ go away? Enough already, go away.

Read the entire article here: http://ultimateclassicrock.com/gene-simmons-poor-people/

If you want to hear another example of this obnoxious buffoon, listen to the interview he did a few years back with Terry Gross on NPR. Simmons feels threatened by Gross’ superior intellect. https://archive.org/details/TerryGrossInterviewWithGeneSimmons






glam_savagesWhat: Glam Savages 1986 Sydney Gig Poster
Winning Bid: $30.50 AUS
Starting Bid: $8.95 AUS
Sale Date: 17 June 2014


…’Official Aussie screenprinted gig poster…with a pasted-on section with details of three Sydney gigs in Darlinghurst and Kings Cross (Sydney), on 29th and 30th July, and 1st August 1986…unusually with playing times quoted as well…

These guys included Mark Easton, ex of The Kelpies and Soggy Porridge, and rhythm guitarist Ron Barrett, plus bass player Nick Szentcuti (plus a couple of others), but these 3 went on to form the original Candy Harlots in mid-1987.’

 I love it when this kinda stuff pops up on eBay. As is correctly stated in the spiel, this band was a forerunner to the Candy Harlots – the loud, leather n’ sleaze outfit who had the Syndey underground in a spin back in the late 80s…and a band whom we followed all over Sydney. Cannot be certain but I ‘think’ some of the Candy’s tunes like ‘Vicious Love’ had their beginnings in Soggy Porridge and Glam Savages days – but the memory is hazy. Anyway, I love it when cool stuff like this surfaces every so often. Dig it ! Video footage of this band is pretty much non-existent, so I will add some Soggy Porridge and Candy Harlots instead. If you wanna know more about Mark Easton, check out the audio interview we did with him some time back.


In April this year, Rolling Stone Magazine wrote a very good article about the life of former KI$$ guitarist Vinnie Vincent entitled ‘The Long Kiss Goodbye – the Search For Vinnie Vincent.” Short of a book coming out on Vincent, this article is the next best thing and sure makes an interesting read. Aside from introducing to the band guitar solos with a million notes, (that were not in the least bit annoying), Vinnie was also the one to introduce wigs to KI$$, a tradition that is still maintained. All jokes aside though, his is a sad tale of self loathing, alcoholism and self destructive personalities if ever there was one. From ripping off KI$$ fans (accurately described as “somewhere between Deadheads and Trekkies on the obsessiveness scale”), to keeping dead dogs on ice, and even to the Hendrix topping act of  pissing on his own guitar, this is a story worth reading. I challenge you to sit through the Vinnie guitar solo from Quebec 1984 (above) for the entire 6 minutes. It’s about as tedious as driving in congested traffic. Better, read the entire article below.



Originally posted on The Rockbrat Blog:

ImageAs a self-confessed girl-band geek, I often scour YouTube to see who is out there making waves. It is often like trying to locate your lost white cat in a snow storm – there are so many videos of shitty guitar players who feel it necesary to upload bad sounding recordings of their horrendous offerings.Some time back I struck gold – discovering a 26 year old Parisian gal who plays the meanest rock-guitar since Miss Orianthi. Her name is Juliette Valduriez – not too much is known about her. Fact is that some of her home-made video clips have attracted hits of over one million views each and she has over 70’000 subscribers. She is not just a shredder – she plays with tons of feel and emotion which cannot be learnt – it is a gift. Her 15 recordings include covers of Ozzy, Stones, Hendrix, Motorhead, Floyd and a…

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‘About Time’ was released late last year, and it is Foley’s first album in 30 years. That’s right – the smouldering blonde with the piercing eyes and dulcet tones is back in a BIG way – with ‘About Time’ being the best thing she has done to date. Her voice still sounds as strong and identifiable as ever, yet the big difference between this and her previous albums  – is that ALL the tunes on ‘About Time’ are memorable, making it easily her most complete album. When looking for album inspiration, Foley looked to the music that started her down the rock ‘n’ roll road as a teenager in St. Louis, the three-minute masterpieces that made her into a singer – The Shirelles, The Rolling Stones, The Shangri-Las. Those influences (and more) are in abundance on ‘About Time’.  There’s plenty to appeal to the Ian Hunter / Mick Ronson  purists whose influence blue printed much of her first album, with likable, catchy  rockers (‘Worried Woman’, ‘Nobody Ever Died From Cryin’),  yet if you are thinking ‘Night Out’, think again. In 2014, Foley’s vocals are ripe and refined, treading towards Americana and blues/jazz terrain that give her songs not just immense appeal, yet show in no uncertain terms that that Foley is on top of her game as a vocalist. However it’s the sheer quality and depth of the songs that give her the space for expression as a vocalist, and collectively, the songs on ‘About Time’ are superb. Most of the tracks are written by Paul Foglino, an award-winning songwriter from NY’s folk/country faves 5 Chinese Brothers. ‘If You Can’t Be Good’ with its lyrical twist and catchy melody lines is stunning roots country, as is ‘All Of My Suffering’. In fact it’s hard to find superlatives to highlight each tune when all are standouts. The brooding slow blues of ‘Guilty’ highlight robust and sultry vocals that never sounded better, or stronger – whilst ‘Madness’ conjures up images of Bourbon Street’s smoky clubs  from yesteryear. The catchy ‘If You Had A Heart’ is draped in melodic sensibilities. Infectious pop of the highest order and in a just world would be Top 10.  The reflective ‘Any Fool Can See’ is another goodun, one of several tunes that show Foley looking back over her past, (‘I’ve Been Around The Block’ is another). The plaintive ‘Everything’s Gonna Be Alright’ has a sanguine charm that leaves the listener with a smile on their face – and after 12 tracks I’m left wanting more! Foglino has proved himself to be a top shelf songwriter, and the perfect foil for Foley. ‘About Time’ is one of the surprises of the year – and my favourite album of 2014 – (a claim I don’t make lightly with half the year just done!) yet it is quite simply – that good. Foley is more than just a pretty face, she always has been the real deal – and with ‘About Time’, she should justifiably get the respect she deserves. 9.5 out of 10.

Head to her web site where you can download Cowboy Col’s album of the year for only 10 bucks!