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There’s no-one better qualified to decry “this counterfeit world” than Pat Todd as he does on the opening cut of the same name on his new album.

Todd’s been The Real Deal for three decades, first with Los Angeles underground legends The Lazy Cowgirls and more recently with The Rankoutsiders. “Blood & Treasure” is long=player number-four and builds on a substantial body of work.

People sometimes look down their noses at the term “bar band”. Why is a mystery. Isn’t a “bar band” the antithesis of a “stadium band”? Todd has assembled one of the world’s best bar bands in The Rankoutsiders and it would be a travesty to think of them playing Coachella.

You might think of it as just another European label re-issuing an American artist’s old work on vinyl - a smart commercial move because nobody in Europe buys albums on CD - if they can help it.But you should consider Hound Dawg Records' engineering the re-appearance of the first record for Pat Todd’s post-Lazy Cowgirls outfit as a public service. Here’s why:

Once upon a time, in the relatively genteel state of Virginia, there was a self-destructive punk rock band called The Candy Snatchers. Named after a trashy crime flick, they spilt beer and bled all over American stages before their guitarist prematurely shuffled off this mortal coil a decade ago, and they promptly fell apart.

L.A.-based The Ringleaders have Larry May of The Candy Snatchers on vocals and for that reason, among others, you need to pay attention.

The rest of the band – Hans Molnar (the Hellbenders) on guitar with Tim Bender (Death by Stereo) on drums and Mark Ho (Hollywood Hate) on bass – are similarly well-credentialed. Fully cranked, they sound like they’re heading to Hell in a Honda while out of their heads on glue.

When both irretrievably corrupt, collaborating, billionaire owned, fat cat political parties are 100 percent complicit in knowingly propping up completely fabricated, mythological stories to manufacture consent for a babies in cages prison state and permanent lies for imperialist wars for the insatiable profits of the one percent, hungry ghost, demonic extortionists at the top, it is absolutely essential that we, the people, educate our peers, and organize authentic resistance, and become the new media.

If you think you might appreciate an album's worth of simple, Nick Gilder style, solid gold pop hooks galore spiked with revolutionary truth-telling and courageous common sense, you will probably really thoroughly enjoy this important LP! John Dissed is a modern day Billy Bragg or Joe Strummer and "American University" is his ambitious D.I.Y. tour de force concept album, a pleasing throwback to the days of the Adverts, Lords Of the New Church, and Wanderers with a cinematic Pink Floyd ambience.

All That Shines Under The Hollywood Sign by Iris Berry (Punk Hostage Press)

“It appeared clear to me - partly because of the lies that filled my history textbooks - that the intent of formal education was to inculcate obedience to a social order that did not deserve my loyalty. Defiance seemed the only dignified response to the adult world.”
- Timothy B. Tyson, Blood Done Sign My Name: A True Story)

“Most men today cannot conceive of a freedom that does not involve somebody's slavery. They do not want equality because the thrill of their happiness comes from having things that others have not.”
- W.E.B. DuBois, Darkwater: Voices from Within the Veil)

"The fortunate is seldom satisfied with the fact of being fortunate. Beyond this, he needs to know that he has a right to his good fortune. He wants to be convinced that he 'deserves' it, and above all that he deserves it in comparison with others. He wishes to be allowed the belief that the less fortunate also merely experiences his due. Good fortune thus wants to be 'legitimate' fortune." - Max Weber

"A catalog of catastrophic events shaped our lives..." - Iris Berry

ALMOST GOLD...

Iris Berry is my favorite movie star. In my personal rocknroll pantheon, she will always be the queen of the Hollywood underground. Hard livin' hellion, heroine, helper, healer, auteur, essayist. She lived on 10, on full-blast, for a long time, and has written several riveting books about it, including "Daughters Of Bastards", and her latest enchanting collection of poetic reminiscing's, "All That Shines Under The Hollywood Sign".

Part of the reason she is always such a big hit on the spoken word circuit is because we are all getting older and are increasingly nostalgic for our own wayward punk rock youth, and therefore, love hearing those far out and heavy, true tales from her seen it all history, but also, because something about her speaking voice is oh so very consoling and soothing, it is a tender, understanding salve for the sad and lonely, and scarred for life, all 'us last of the last, limping landmarks and leather clad convalescents. She has a comforting presence, because she emanates real deep, genuine article beauty, from the inside out. We can all recognize her as one of our kind. 

Down on 7^th Avenue b/w I will Give up – Pat Todd and The Rankoutsiders (Dangerhouse/Heavy Medication)

Some people use “bar band” as an insult when it’s a badge of honour. There is no more exacting proving ground. Pat Todd and The Rankoutsiders are the best bar band in the world and here’s the proof.

“Down On 7^th Avenue” was written the night before Los Angeles’ finest went into the studio and it’s delivered as only a band that knows itself inside out can. A scorching rocker propelled by a tight-as-a-fish’s-arse engine room, crunching guitars and Todd’s impassioned vocal, it jumps off the turntable. The reprise is the sting in the tail.

B side “I Will Give Up” is more mellow, a ‘50s rocker with some tasteful Duane Eddie licks and tinkling piano that’s reflective of the band’s rootsy ethos.

Buy or die. There's no excuse for not owning this. 

Buy it  

I'm one of the aging old arthritic punks who grew up on bands like the Adverts, Lords Of The New Church, the Clash, Disciples Of Soul, and The Godfathers, who all had vital and socially conscious messages about injustice in their rebel songs, so I was never that gung ho about all the corny and cliche, '90s skinny tie, booger rock exploitation the big corporations pushed upon the gullible public, that kinda just seemed to be squeaky clean, upper class rich people going through the motions of dyeing their hair green and rippin' off the Ramones some more.

“We're the most underground, underground band out there,” says Loren Molinare of the Detroit-born-and-bred early L.A. punk veterans The DoGs, whose second LP “Hypersensitive” from 2012 will finally be released on vinyl via prestige Polish punk ‘n’ roll label Heavy Medication Records on September 1. 

“We’re really proud to reissue this ‘lost classic’ for the first time on vinyl,” says Heavy Medication president Derrick Ogrodny. “We're honored to work with such protopunk legends and think it’s about time these DoGs had their day.”  

“We're one of the last bands with original members that actually sound like a proper Detroit rock band,” continues Molinare, the man Ogrodny calls “the Pete Townshend of punk rock.” “And yes, I mean some things never change. We carry on that tradition. That's what we do.

“We're just kind of picking our spot. We're white trash Detroit rock ‘n’ rollers about the same age as the old black blues men who were out doing it before they died. A lot of our peers have passed away, and we do not take it for granted. 

Call The Dogs – The Streetwalkin’ Cheetahs (Heavy Medication)

Their youthful days of diving across tables and sliding down the length of venue bars are probably behind them but they still matter: If The Streetwalkin’ Cheetahs have made a bad record, well, you know the email address. The veteran LA outfit gets off the chain again on this four-song 10-incher, their first release since the stellar “One More Drink” album of 2021, and it hits the spot as well as any dive bar cocktail.

These days sax player Geoff Yeaton is firmly integrated into the line-up and adds an extra dimension to the Cheetahs’ trademark high-energy Detroit sound. The title tune is as good an example of that, featuring some stabbing guitarwork from lead vocalist Frank Meyer and Bruce Duff.  

Resurgent Ausitralian label Dog Meat Records is thrilled and proud to release a new album by a resurgent rock 'n' roller and an old friend Pat Todd and his band The Rankoutsiders.

“Sons Of The City Ditch” is the seventh album by LA's finest rock'n'roll band and comes some 36 years after Dog Meat’s first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. 

The new album shows that Pat’s voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between “Exile on Main Street” and “LAMF”.

Pat Todd will be touring Australia solo, in a double-bill with Mad Macka from The Cosmic Psychos and The Onyas in late 2023. Stay tuned for details.

The new album is highlighted, as usual, by Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. 

Mess You Up – JJ and The Real Jerks (Heavy Medication Records)

The lines are so blurred these days that you can’t guess where most bands applying a defibrillator to rock and roll’s ailing heart come from. So-called scenes are fragmented and the means of production rest in many sets of hands, thanks to technology and the information democracy of the Internet.

Wind back the clock a couple of decades and JJ and The Real Jerkscould be from snowed-in Sweden or inner-city Sydney rather than sprawling Los Angeles.

This 12-inch, eight-song EP is razor sharp, fun garage rock and roll in the style of The Hivescrossed with Dead Boys.Big twin guitars and occasional sax punctuate the songs, which throw up plenty of hooks.  

"The idea that 'disinformation' is something that just happened during the last four years is absurd. How did the U.S. public become the most ill-informed, easily manipulated public on the planet if not as a result of systematic 'disinformation' from the rulers? Now these same rulers want to 'regulate' social media speech." - Ajamu Baraka

“Fascism should more appropriately be called Corporatism because it is a merger of state and corporate power.” - Mussolini

Ridiculously, I am suspended from social media, by fascist corporatists for posting this quote. How Zucked-up is that? I've been Zucked. You could be next.

All the left media sites are being censored, demonetized, or taken down, by corporatist Zuck-bots, and the gentrification shitlibs accept this, casually and completely, because their pyramid-scheme higher-up superiors have told them that censorship is okey-dokey, because social media is privately owned, and therefore, tech-lord billionaires have the right to censor any facts, opinions, quotes, or evidence that contradicts their corporatist agenda. More worryingly, attractive and beloved celebrity figureheads have, once again, been recruited to promote monopoly tech-lord control of information flow, by telling their followers to rat on any voices online that question or contradict official narratives, as spreading mis-information. This is exactly the cultish Blue MAGA equivalent of crazy Trump yelling "fake news".

"Seems like yesterday, but it was long ago...."

JUNKYARD STILL GOT IT IN SPADES!
 
Back when I still thought Axl Rose was a could do no wrong, a rebel hero who had courageously escaped a hellish small-town disreputable dishwasher fate, not unlike my own, the misunderstood, fucking innocent, ginger haired, rural Mike Monroe from the corn-fed Midwest, I recall him wearing an old school Junkyard t shirt in all those "Circus" and "Hit Parader" pinups I had taped all over the walls of my first shoebox bachelor apartment that the totally New Wave love of my young life had helped me paint purple.

I really thought I'd arrived! We had a promising basement-show punk band, in those days, but we still lived in a shitty, dumb, nothing to do, farm town straight out of the saddest Bob Seger songs. I never liked the bigoted, cross-eyed rednecks at the veterans halls, the musclebound, bullying suburban jocks in the Camaro's, the racist history teaching wrestling coaches, the sports-bar drunkards with the barbecue stains, the Izod shirted country-club conformists, nutty extremist church crazies, or dickhead fratboy cops. I never liked their bullshit hierarchy, kneejerk customs, hazing rituals, or boot camp drill sergeant, behavior modification tactics, not to mention, their senseless cruelty and complete lack of style.

There might be some irony in the band name considering their obsession with ‘70s glam rock, but Smash Fashion are from Los Angeles so maybe not. 

These veterans have been around for a dozen years in this form and call their music Dandy Rock. Even a cursory listen to the A side has Cheap Trick written all over it so it’s no surprise after some judicious online research to see them cited as a prime influence.

Cactusville – The Hangmen (Acetate Records)

In the wake ‘n’ bake legal reefer for rich white people Portland woke college culture, any mention of Burroughs is severely frowned upon because the dude was a bad man who killed his wife, but he accurately predicted this whole modern day dystopian police state NSA culture of surveillance capitalism and snitches and official narrative protecting fact checkers thinking they are helpful helpers doing their part for vegan wokeness. Nobody has the right to be left alone anymore, or mind their own business. That is their college kid idea of virtue, being micro mini Judge Dredd/Judge Judyvigilante deciders. "I like you, I don't like you." They all wanna be the jury, judge, and executioner, and the judgements are severe, as Leonard Cohen sang, in his prophetic, "Waiting For The Miracle To Come".

_{David Roach (centre) and Junkyard.}

Consider yourself lucky if you still have access to Vive Le Rock magazine from Merry Olde. They still write about real rock ‘n’ roll! That mag might write about the Cult, the Damned, Psychedelic Furs, or the Jesus & Mary Chain. They still put The Clash right there on the cover! Ya know?

I’m still livin’ in the’80s. I was mostly into like, Prince, Duran Duran, David Bowie, and Adam Ant, but I hung around with like the stoner heavy metal dudes who liked Ozzyand Dio and shit. Think “Beavis N Butthead”. That shit was real.

I miss newsstands and comic book and record stores, print media. I still don’t carry an iPhone. Where I live. Amazon killed all the book stores and the free press is dead in my country. Daniel Hale, Craig Murray, Chelsea Manning, Julian Assange, Edward Snowden, John Kiriakou, Col. Ann Wright, Ray McGovern...all the real whistleblowers are slandered, hounded, tortured or kidnapped. Seymour Hersh is blacklisted. Max Blumenthal gets harassed. Amy Goodman sadly works for billionaires now and helps sell pro war narratives. Abby Martin, Ben Norton, Jeremy Scahill, John Pilger, and Glenn Greenwald get ignored. Color me depressed.

Where they’ve come from is academic; it’s where Fast Cars are now that counts. The onetime ‘80s Sydney mod-power-pop band has been a creative duo since reforming in 2015, working on opposite sides of the globe. “LAX” suggests distance only makes the creative muse all that much stronger. 

“LAX” is what people used to call a “concept album” - back when single song downloads weren’t the staple currency of the musical economy. I know what you’re thinking: Concept equals Pretentious. Wrong. “LAX” stays well away from that precipice. It’s 12 songs of classy psych pop, alternately dreamy and lush, occasionally funky or wrapped in strings, and framed loosely on the theme of seeking your dreams in a big city. 

“LAX” is also a Dropbox record. Dropbox is the cloud app that’s become stock-in-trade for projects like this. With vocalist-guitarist Di Levi based in Bristol, UK, and guitarist-songwriter Fabian Byrne living in Sydney, Australia, the swapping of ideas, sketches, recorded parts and, ultimately, fleshed-out songs, had to occur online.

Stories To Tell – The Hangmen (Acetate Records)

There’s a timeless quality about the music of The Hangmen that can’t be touched by many. Swagger meets roots rock on a seedy Los Angeles backstreet, they’re now up to Album Number Seven with no signs of the fire diminishing.

Formed in 1984 around singer-guitarist Bryan Small, signed by major labels (twice), they’re (yet another) American band chewed up and spat out by an industry that panders to the lowest common denominator. Always has, always will. Drugs got in the way, too. Raise a glass to little labels like L.A. imprint Acetate for giving them a home. 

Our common friend and fellow traveller, the outrageously talented Tom Sanford of Winter Killsand Beachwood Sparks, introduced me to Evad Frommein some secret rebel rocker social media group online about a decade ago.

We became fast friends and kindred brethren.

Evad is one of the best frontmen and underground rock ‘n’ roll performers and songwriters in the Divided States Of Fear And Slavery we've seen since probably the long gone heyday of Raji's and English Acid, when bands like Celebrity Skin and Stars From Mars and Raw Flower and the purple-haired Zeros ruled the dive bars.

Of course ever since the mid-‘90s, the Wall Street land barons have been tearing down all of rock ‘n’ roll's most venerated landmarks, from CBGB to Tower on Sunset, to build always more unattainable, prohibitively expensive condos and hotels for lawless hedge fund managers and big pharma and private prison shareholding rich people. In the war crazed USA! USA! mockingbird Big 5 corporate mainstream, the entire media has been disgracefully hijacked and weaponized to promote forever war and a fascist police state for the past 25 years. So no high quality rock’n’ roll gets heard on our public airwaves. They can't ever really kill it, but it's all back underground, now.

“…there’s pretty things in Palookaville…” - Pat Todd & The Rankoutsiders (Hound Gawd!)

Unless you’re one of the lucky few you won’t have yet heard the latest album from ex-Lazy Cowgirls frontman Pat Todd and his pack of old stagers, The Rank Outsiders. So what’s the point of a song-by-song description? You’ll forget the song titles before you clap ears on the real things, anyway. So let’s dispense with that bullshit and tell you how it will make you feel, instead…

Slap it onto the turntable or whack it into the player. Crank it. Good and loud. The opening G chord of “All The Years #1” kicks in and hangs in the air, and it’s like an old friend just walked in the door with a case of cold beers and a headful of fresh stories. 

It’s all jagged riffs and Todd’s impassioned vocal, urgent and insistent. It sounds immediately familiar, yet fresh, a menu of yarns set to punkish, rootsy rock and blues, basted in minor chords and a harmonica dry rub, and roasted in a slow cooker.