November 23 @ Bierkeller — Bristol, UK
November 24 @ The Portland Arms — Cambridge, UK
November 25 @ Dingwalls — London, UK
November 26 @ Slade Rooms — Wolverhampton, UK
November 27 @ Fibbers — York, UK
November 28 @ O2 Academy 2 — Sheffield, UK
November 30 @ Belgrave Music Hall — Leeds, UK
December 1 @ The Cluny — Newscastle, UK
December 2 @ King Tut’s — Glasglow, UK
December 3 @ Kazimer — Liverpool, UK
December 4 @ The Ruby Lounge — Manchester, UK
The album hits a soul stride with “Leave it All Behind” and “Right On, the former sounding as if Arthur Alexander stepped out of the studio just long enough for the band to work up an original, the latter could be Little Feat’s heavier alter ego. Handsome Jack’s music resonates with the atmospheres of rock’s great ballrooms – the Avalon, Fillmore, Winterland, Agora, Grande – and the bands who rocked them. They call their music “boogie soul,” but the boogie gave birth to rock and their souls are plugged into an extension cord that stretches from Buffalo to the Delta.
Read the complete review here
The Blues Magazine has been named Best Publication at the 2014 European Blues Awards.
The award was announced by Gateway 97.8 FM’s Ashwyn Smyth via the station’s Digital Blues Show.
The Blues Magazine editor Ed Mitchell says: “We’re especially thrilled to receive a European award as we’ve been working hard to establish the magazine in Europe. Receiving this award shows that we’re making our mark on what is a huge scene. We’re still only just over two years old but I think we’ve caught the spirit of a reinvigorated blues scene in the UK, Europe, USA and the rest of the world.
“It takes a great team effort to keep the quality as high as it is. The mag’s art editor Steven Goldring and production/live editor Claudia Elliott have been pivotal in the success.
“Steven Goldring has given the magazine a look which puts it in a league above the competition. I’ve always said the blues – past and present – should be celebrated with the best photography and writers. We give blues the respect it deserves.
“Claudia has taken control of the magazine’s live reviews pages. Blues is at its best on the live stage, it’s the scene’s lifeblood, and her sterling coverage has helped make the magazine an important resource for blues fans.”
Congrats to the Blues Magazine for this award, and thanks again for the nice Alive feature!
The album ends with an unexpected one-two punch; first, there’s a stellar cover of the Four Tops’ classic “Reach Out I’ll Be There,” which holds tight to the heartfelt soul of the original while grinding down the song’s edge to something that’s more jagged and roughened. Collins and company come off like distant cousins to The Animals, and that’s no bad place to be in my book. Then there’s “Walk Away,” sweet and forlorn, with Collins being left but seemingly resigned to the end of the relationship. – Read the whole review on the Space City Rock site
Power-pop is one of the most contradictory forms in rock n’ roll. A genre designed to mine from the best parts of early Beatles and Beach Boy harmonies, Pete Townsend’s massive guitar jangle and sweetness and simplicity of The Everly Brothers, power-pop is so expertly enjoyable that it is rarely present in the world of mainstream music. On his last record, Paul Collins crowned himself The King Of Power Pop, a title he makes a strong argument for. He is most famous as drummer of The Nerves, the influential but short lived 70’s group best known for “Hanging On The Telephone” which would later become a radio staple when covered by Blondie on their humongous Parallel Lines record. He would later play in The Breakaways and The Beat (later re-named The Paul Collins Beat) and has been recording and playing shows fervently for the past 30 years.
Feel The Noise is as pure to the form as any record in his Collins’ career. His voice has barely aged, executing Buddy Holly hiccups on “Baby I’m In Love With You” and pulling off a far-fetched on paper cover of The Four Tops’ “Reach Out (I’ll Be There.”) A hard working master of his craft, Collins rarely misses a step, singing love songs and songs about rock n’ roll, like the inspired title track. He may not be reinventing the wheel, but he is a master of his craft, of which he has few peers. – Jamie Frey
Elmore Magazine site here
If you had any fear that rock n’ roll was dead, don’t worry because all the things that you love about it are alive and kickin’ now that East Los Angeles four-piece The Bloodhounds have released their debut studio album, Let Loose! via Alive NaturalSound Records. Power pop legend Arthur Alexander (Sorrows, The Poppees) produced this mouthwatering slice of rock ‘n’ roll pie and I highly recommend you sink your teeth into it. Steeped in and indebted to the rock ‘n’ roll traditions of the Rolling Stones honky tonk swag, Dylan’s epic vocal drawl, and everything in between — The Bloodhounds draw from the greatest of influences but create one kickass record to call their own. Throw your shoulders back, roll up your sleeves, and buckle up for maximum rock overdrive.
Read the feature on the Grimy Goods site
The energy that Collins and his band (producer Jim Diamond on bass and electric guitar, Eddie Baranek on electric guitar and David Shettler on drums supplementing Collins’ own rhythm guitar playing) display through this album is breathtaking. The band storm through the songs. Even on tracks like ‘With a Girl Like You’ where Collins and company slow things down a little, the power in his vocals along with Baranek’s stunning guitar sound still make for an exhilarating ride. There’s a distinct 50’s flavour to some of these songs too. Collins has made no secret of the fact that he wanted to make a rock and roll album, that he wanted to prove that good old fashioned rock and roll was still alive and relevant today, and he’s succeeded.
(…) Thanks Paul Collins, you’ve just made thousands of jaded music fans happy again while showing the young pretenders how it should be done and at the same time winning them over to. ‘Feel the Noise’; play it loud with company and see how long it takes before “Who is that?” is fired at you, followed by the words “It’s bloody good”. – Malcolm Carter
Read the complete review on the Pennyblackmusic site
November 1, 2014
When I write a review I tend to want to avoid saying what other bloggers say. I want to tread new ground, to reinvent the wheel, to mix metaphors … I want to put some thought into my writing, to do justice to music that moves me. Sometimes, though, the most eloquent I can be is simply to say, ” … Damn!!” From Los Angeles, I knew I’d like the Bloodhounds as soon as I came across their picture on the cover of their debut, Let Loose! My expectations were doubled by the fact that the album was being released by the tremendous Alive Natural Sound Records, home to so many other “Damn!!” acts who flirt with a deadly concoction of punk, blues and roots music. A band with Latin roots, the Bloodhounds can’t help but bring to mind “another band from East L.A.,” though the influence is less direct in their songs. What is there is that same love of classic R&B, early rock and garage punk, with cuts like “Wild Little Rider” and “Crackin’ Up” sounding like 60s era nuggets. Bucking the theory that you can’t judge a band by one song title, there’s the immediate classic “Try a Little Reefer”. The sloppy electric guitar, overamplified harmonica, underlying organ and gang vocals give you exactly what you’d expect/hope for with a name like that. Like J Roddy Walston or Lee Bains III & the Glory Fires, I want to blast the Bloodhounds from my busted speakers. I want to share “Bottle Cap Blues” with the neighbors and their contentedly clucking backyard chickens. Sure the music is derivative, but there’s no denying that Let Loose! has authentic soul. Damn!!
Read the whole review on the Routes & Branches site