“For Family And Flag Vol. 1” is the latest compilation from your favorite Pirates that showcases the incredible diversity that we offer and features some new and unreleased tracks!
“LET THE GOOD TIMES ROLL”
written by Theard / Moore
TAKEN FROM – ISLAND BOP
(2020)
Every band needs a good story. Shuffle & Bang is no different. A father and son’s unique approach to Jazz and Jamaican rhythms tells the story of this dynamic group. Drummer Korey Kingston put this group together as a passion project that all started from playing John Coltrane’s Niama in a Roots Reggae feel on one of Kim “Pop’s” Horn’s Jazz gigs. “It just felt right,” says Korey, “and this provided a unique opportunity to bridge the gap between different styles of music that my pops and I know and love”.”
Shuffle & Bang hails from San Diego California, where they recently recorded their debut album “Island Bop.” The bands debut performance was to a sold out crowd in Anaheim California during NAMM week.
Shuffle & Bang is made up of some of the most gifted and talented musicians in the San Diego area. Saxophonist, arranger and composer Robert Dove explains, “When Korey asked me to be a part of Shuffle & Bang, I couldn’t wait to be on board. As primarily a jazz player, I love to find ways to reach new audiences. Shuffle & Bang is something new, something fresh, something to for both the band and the audience to be a part of!”
Lead Vocalist Kim “Pops’ Horn brings the classic, Jazz crooner vibe to the forefront of the stage as pianist Bobby Cressey and Bassist Omar Lopez bring the atonal forays of Jazz, with the energy and authenticity of Jamaican music. Steady rhythms from percussionist Steve Haney adds the perfect compliment to this infectious musical powerhouse.
Shuffle & Bang will always have the dance floor moving and shaking! Says Korey “We love Jazz, we love Jamaican music. Our sound is influenced by all the different styles we love. There is something for everyone in our music.” But this is not just Jazz, or just Ska. This is Jamaican Jazz. This is Island Bop… This is SHUFFLE & BANG!
Hey, everybody, let’s have some fun
You only live but once
And when you’re dead you’re done, so
Let the good times roll, let the good times roll
I don’t care if you’re young or old
Get together, let the good times roll
Don’t sit there mumblin’, talkin’ trash
If you wanna have a ball
You gotta go out and spend some cash, and
Let the good times roll, let the good times roll
I don’t care if you’re young or old
Get together, let the good times roll
Hey Mr. Landlord, lock up all the doors
When the police comes around
Just tell ’em that the joint is closed
Let the good times roll, let the good times roll
I don’t care if you’re young or old
Get together, let the good times roll
Hey tell everybody
Mr. King’s in town
I got a dollar and a quarter
Just rarin’ to clown
But don’t let nobody play me cheap
I got fifty cents more that I’m gonna keep, so
“LET THE GOOD TIMES ROLL”
written by Theard / Moor
TAKEN FROM – ISLAND BOP
(2020)
Every band needs a good story. Shuffle & Bang is no different. A father and son’s unique approach to Jazz and Jamaican rhythms tells the story of this dynamic group. Drummer Korey Kingston put this group together as a passion project that all started from playing John Coltrane’s Niama in a Roots Reggae feel on one of Kim “Pop’s” Horn’s Jazz gigs. “It just felt right,” says Korey, “and this provided a unique opportunity to bridge the gap between different styles of music that my pops and I know and love”.”
Shuffle & Bang hails from San Diego California, where they recently recorded their debut album “Island Bop.” The bands debut performance was to a sold out crowd in Anaheim California during NAMM week.
Shuffle & Bang is made up of some of the most gifted and talented musicians in the San Diego area. Saxophonist, arranger and composer Robert Dove explains, “When Korey asked me to be a part of Shuffle & Bang, I couldn’t wait to be on board. As primarily a jazz player, I love to find ways to reach new audiences. Shuffle & Bang is something new, something fresh, something to for both the band and the audience to be a part of!”
Lead Vocalist Kim “Pops’ Horn brings the classic, Jazz crooner vibe to the forefront of the stage as pianist Bobby Cressey and Bassist Omar Lopez bring the atonal forays of Jazz, with the energy and authenticity of Jamaican music. Steady rhythms from percussionist Steve Haney adds the perfect compliment to this infectious musical powerhouse.
Shuffle & Bang will always have the dance floor moving and shaking! Says Korey “We love Jazz, we love Jamaican music. Our sound is influenced by all the different styles we love. There is something for everyone in our music.” But this is not just Jazz, or just Ska. This is Jamaican Jazz. This is Island Bop… This is SHUFFLE & BANG!
Hey, everybody, let’s have some fun
You only live but once
And when you’re dead you’re done, so
Let the good times roll, let the good times roll
I don’t care if you’re young or old
Get together, let the good times roll
Don’t sit there mumblin’, talkin’ trash
If you wanna have a ball
You gotta go out and spend some cash, and
Let the good times roll, let the good times roll
I don’t care if you’re young or old
Get together, let the good times roll
Hey Mr. Landlord, lock up all the doors
When the police comes around
Just tell ’em that the joint is closed
Let the good times roll, let the good times roll
I don’t care if you’re young or old
Get together, let the good times roll
Hey tell everybody
Mr. King’s in town
I got a dollar and a quarter
Just rarin’ to clown
But don’t let nobody play me cheap
I got fifty cents more that I’m gonna keep, so
“MARCHING ONWARDS”
PREVIOUSLY UNRELEASED
(2020)
COCK SPARRER are widely considered to be one of the most influential Street Punk bands in history.
2017 marked the celebration of their 45th Anniversary, and they show no signs of slowing down, as enthusiasm for the band is not only at an all-time high, but is only increasing!
The thing about Sparrer is that they’re not just a band. They are childhood friends and have been making a noise since they got together way back in 1972. They were playing, drinking, going to football and generally making a nuisance of themselves when the late 1970s punk scene started in London. Finally it seemed that there were hundreds of like-minded people with the same attitude.
However, the boys were from the wrong side of town and didn’t quite fit in with the ‘art school’ scene – they were more at home on the terraces wearing jeans and Dr Martens boots than being fashion victims in bondage trousers. They’ve always done things the way they wanted to. As punk ended up with its own set of rules they were always on the outside as they just didn’t buy into it.
Despite being courted by Sex Pistols manager Malcolm McLaren (who they turned away for not buying a round of drinks), early tours with the Small Faces, Thin Lizzy, Motörhead, and Slade, amongst others, and a record deal with Decca, the ‘music industry’ just wasn’t ready for Cock Sparrer.
British music paper SOUNDS sums it up perfectly in a live review from April 1978:
“Musically and visually, the Cock Sparrer crew are just about as motley and uncouth as its possible for a band to project. Imagine five collectively imageless Cockneys with hair length varying from skinhead to Woody Roller, wearing clothes that looked they pool from the jumble sales, and singing about how East End life is tough but fun…(they)…create a good time sound that occasionally approximates to the original spirit of Slade.”
When the Oi! Scene started in 1980, the band found themselves on a number of compilation albums and a new breed of fans discovered them. This was punk from the streets, and Sparrer and their fans just seemed to fit in. 1983 saw the release of the bands first official album, the seminal SHOCK TROOPS, which today is a certified classic, and regularly features in the ‘most influential punk album ever’ polls.
Never getting – or needing – the critical acclaim they deserved from the music press, the band went largely unnoticed by the masses. However, this brought them cult status amongst those that mattered: the real punk fans! The band have kept that spirit alive for the past 45+ years.
1992 saw the resurgence of the band to a level that they never expected. Many new bands had come along, all of whom cited Cock Sparrer as an influence or the “Godfathers of Street Punk”. What followed was the ability to go anywhere in the world, any night of the week, and play to venues packed with fans all singing their hearts out.
Rarely does a band get the reaction that these guys do. A Cock Sparrer show is an EVENT. It’s like Cup Final day. A family singalong. Theirs is a career in reverse; they’re bigger now than they ever were. They regularly headline all the major punk festivals in Europe, as well as hitting the US to headline events such as Punk Rock Bowling and Riot Fest.
2017 saw the band releasing FOREVER, their first album since 2007’s HERE WE STAND (produced by Lars Frederiksen of Rancid). At long last, but undeniably, the world continues to catch up to the Sparrer crew, as the reviews reflected that it represented new work by a major band and innovator of their genre, still at the top of their game over 4 decades on.
Meanwhile, the band continued going about the business of traveling the world and playing to their fans wherever they are found…which is everywhere! They have even persevered long enough to see the next generation get in on the act, touring at times with Bar Stool Preachers, a band on the rise who are fronted by none other than Sparrer frontman Colin’s son, TJ McFaull!
With enthusiasm for the band only increasing as the years go on, the early months of 2020 found the band in the studio once again, with the intent to bring even more new music to the stage in 2020…and beyond!
Cock Sparrer – over 45 years on, are still five blokes in a pub, still five mates having a laugh…still more than just a band.
Time flies or so they say, I’ve been taking it day to day
I haven’t really noticed to be true
All of a sudden it caught me out, not sure anymore what it’s all about
Seconds out, I’m coming after you
Marching onwards
Steaming ahead
Forward into battle once again
Marching onwards
Steaming ahead
Forward into battle once again
The kids grow up, they fly the nest, you tried to bring ‘em up right, you did your best
Back on track with nothing left to do
It seems like only yesterday, hold on tight don’t throw it away
Face the facts, I’m coming after you
Marching onwards
Steaming ahead
Forward into battle once again
Marching onwards
Steaming ahead
Forward into battle once again
Make today your greatest day
I wouldn’t have it any other way
Make today your greatest day
I wouldn’t have it any other way
Watching the clock, watching the time, watching the days and months go by
I couldn’t really work out what to do
Seasons come and seasons go, whatever the weather I seem to know
The time is right and I’m coming after you
Marching onwards
Steaming ahead
Forward into battle once again
Marching onwards
Steaming ahead
Forward into battle once again
“MARCHING ONWARDS”
PREVIOUSLY UNRELEASED
(2020)
COCK SPARRER are widely considered to be one of the most influential Street Punk bands in history.
2017 marked the celebration of their 45th Anniversary, and they show no signs of slowing down, as enthusiasm for the band is not only at an all-time high, but is only increasing!
The thing about Sparrer is that they’re not just a band. They are childhood friends and have been making a noise since they got together way back in 1972. They were playing, drinking, going to football and generally making a nuisance of themselves when the late 1970s punk scene started in London. Finally it seemed that there were hundreds of like-minded people with the same attitude.
However, the boys were from the wrong side of town and didn’t quite fit in with the ‘art school’ scene – they were more at home on the terraces wearing jeans and Dr Martens boots than being fashion victims in bondage trousers. They’ve always done things the way they wanted to. As punk ended up with its own set of rules they were always on the outside as they just didn’t buy into it.
Despite being courted by Sex Pistols manager Malcolm McLaren (who they turned away for not buying a round of drinks), early tours with the Small Faces, Thin Lizzy, Motörhead, and Slade, amongst others, and a record deal with Decca, the ‘music industry’ just wasn’t ready for Cock Sparrer.
British music paper SOUNDS sums it up perfectly in a live review from April 1978:
“Musically and visually, the Cock Sparrer crew are just about as motley and uncouth as its possible for a band to project. Imagine five collectively imageless Cockneys with hair length varying from skinhead to Woody Roller, wearing clothes that looked they pool from the jumble sales, and singing about how East End life is tough but fun…(they)…create a good time sound that occasionally approximates to the original spirit of Slade.”
When the Oi! Scene started in 1980, the band found themselves on a number of compilation albums and a new breed of fans discovered them. This was punk from the streets, and Sparrer and their fans just seemed to fit in. 1983 saw the release of the bands first official album, the seminal SHOCK TROOPS, which today is a certified classic, and regularly features in the ‘most influential punk album ever’ polls.
Never getting – or needing – the critical acclaim they deserved from the music press, the band went largely unnoticed by the masses. However, this brought them cult status amongst those that mattered: the real punk fans! The band have kept that spirit alive for the past 45+ years.
1992 saw the resurgence of the band to a level that they never expected. Many new bands had come along, all of whom cited Cock Sparrer as an influence or the “Godfathers of Street Punk”. What followed was the ability to go anywhere in the world, any night of the week, and play to venues packed with fans all singing their hearts out.
Rarely does a band get the reaction that these guys do. A Cock Sparrer show is an EVENT. It’s like Cup Final day. A family singalong. Theirs is a career in reverse; they’re bigger now than they ever were. They regularly headline all the major punk festivals in Europe, as well as hitting the US to headline events such as Punk Rock Bowling and Riot Fest.
2017 saw the band releasing FOREVER, their first album since 2007’s HERE WE STAND (produced by Lars Frederiksen of Rancid). At long last, but undeniably, the world continues to catch up to the Sparrer crew, as the reviews reflected that it represented new work by a major band and innovator of their genre, still at the top of their game over 4 decades on.
Meanwhile, the band continued going about the business of traveling the world and playing to their fans wherever they are found…which is everywhere! They have even persevered long enough to see the next generation get in on the act, touring at times with Bar Stool Preachers, a band on the rise who are fronted by none other than Sparrer frontman Colin’s son, TJ McFaull!
With enthusiasm for the band only increasing as the years go on, the early months of 2020 found the band in the studio once again, with the intent to bring even more new music to the stage in 2020…and beyond!
Cock Sparrer – over 45 years on, are still five blokes in a pub, still five mates having a laugh…still more than just a band.
Time flies or so they say, I’ve been taking it day to day
I haven’t really noticed to be true
All of a sudden it caught me out, not sure anymore what it’s all about
Seconds out, I’m coming after you
Marching onwards
Steaming ahead
Forward into battle once again
Marching onwards
Steaming ahead
Forward into battle once again
The kids grow up, they fly the nest, you tried to bring ‘em up right, you did your best
Back on track with nothing left to do
It seems like only yesterday, hold on tight don’t throw it away
Face the facts, I’m coming after you
Marching onwards
Steaming ahead
Forward into battle once again
Marching onwards
Steaming ahead
Forward into battle once again
Make today your greatest day
I wouldn’t have it any other way
Make today your greatest day
I wouldn’t have it any other way
Watching the clock, watching the time, watching the days and months go by
I couldn’t really work out what to do
Seasons come and seasons go, whatever the weather I seem to know
The time is right and I’m coming after you
Marching onwards
Steaming ahead
Forward into battle once again
Marching onwards
Steaming ahead
Forward into battle once again
“NOBODY’S LISTENING”
TAKEN FROM – NOBODY’S LISTENING
(2020)
The Slackers are self styled masters of Reggae, Ska and Rock’n’Roll from New York City.
The Slackers began in 1991 in NYC. After years of local gigs and rehearsing in a dingy basement in Manhattan’s lower east side, the band released its debut album, Better Late Than Never, in 1996. The band’s success resulted in the release of a second album, Red Light, on the Epitaph label in 1997. Since then the Slackers have released 11 more studio albums (The Question, Wasted Days, Slackers & Friends, Close My Eyes, Slackers in Dub, Peculiar, Boss Harmony Sessions, Self Medication, Lost and Found, The Great Rocksteady Swindle, and The Slackers [self-titled, 2016] ) 3 live albums (Live at Ernestos, Upsettin Ernestos, Slack in Japan), several EPs (International War Crimminal, My Bed is a Boat), and numerous singles and compilation tracks.
Since 1997 the Slackers have played over 100 shows every year in a total of 46 american states, 7 Canadian provinces, 22 European countries, 5 Latin American countries, and 2 Asian countries.
The band’s musical style is distinct from their contempories; a mix of early Jamaican music with classic 50’s and 60s American styles. There are influences from 50s and 60s Rock’n’Roll, Rythmn and Blues, Jazz and Latin music. Singer Vic Ruggiero has coined the term ‘Jamaican Rock’nRoll.’ to describe it. He says, “The band might play a classic Jamaican style but the vocals are distinctly American east coast, revealing the obvious connection of Jamaican music to the Doo-Wop of Harlem and the Bronx.”
Is anybody listenin’?
I said is anybody listenin’?
Because I talk and I talk and maybe I’ll start walkin’
If nobody listen to me
It’s a one sided conversation
It’s just a one sided conversation
You know I’m gettin’ annoyed tryin’a make my point
And nobody listenin’ to me
Am I insane?
Or do you start when I start?
Hold on just wait!
I said, “what are you sayin’? …man you’re breakin’ my heart!”
“Hello everybody.
It’s nice to be at the party…”
I say, “hey what’s shakin’?” but if I’m not mistaken,
Nobody listen to me
NOBODY!
Why should I care?
But your vacant stare is hard to ignore.
You’re standing there
And I’m standing here wondering what I came here for
Hello everybody
It’s nice to be at the party
I said “hey what’s shakin?” but if I’m not mistaken
Nobody listen to me
Nobody listen to me
Nobody listen to me
There ‘aint nobody listenin’!
“NOBODY’S LISTENING”
TAKEN FROM – NOBODY’S LISTENING
(2020)
The Slackers are self styled masters of Reggae, Ska and Rock’n’Roll from New York City.
The Slackers began in 1991 in NYC. After years of local gigs and rehearsing in a dingy basement in Manhattan’s lower east side, the band released its debut album, Better Late Than Never, in 1996. The band’s success resulted in the release of a second album, Red Light, on the Epitaph label in 1997. Since then the Slackers have released 11 more studio albums (The Question, Wasted Days, Slackers & Friends, Close My Eyes, Slackers in Dub, Peculiar, Boss Harmony Sessions, Self Medication, Lost and Found, The Great Rocksteady Swindle, and The Slackers [self-titled, 2016] ) 3 live albums (Live at Ernestos, Upsettin Ernestos, Slack in Japan), several EPs (International War Crimminal, My Bed is a Boat), and numerous singles and compilation tracks.
Since 1997 the Slackers have played over 100 shows every year in a total of 46 american states, 7 Canadian provinces, 22 European countries, 5 Latin American countries, and 2 Asian countries.
The band’s musical style is distinct from their contempories; a mix of early Jamaican music with classic 50’s and 60s American styles. There are influences from 50s and 60s Rock’n’Roll, Rythmn and Blues, Jazz and Latin music. Singer Vic Ruggiero has coined the term ‘Jamaican Rock’nRoll.’ to describe it. He says, “The band might play a classic Jamaican style but the vocals are distinctly American east coast, revealing the obvious connection of Jamaican music to the Doo-Wop of Harlem and the Bronx.”
Is anybody listenin’?
I said is anybody listenin’?
Because I talk and I talk and maybe I’ll start walkin’
If nobody listen to me
It’s a one sided conversation
It’s just a one sided conversation
You know I’m gettin’ annoyed tryin’a make my point
And nobody listenin’ to me
Am I insane?
Or do you start when I start?
Hold on just wait!
I said, “what are you sayin’? …man you’re breakin’ my heart!”
“Hello everybody.
It’s nice to be at the party…”
I say, “hey what’s shakin’?” but if I’m not mistaken,
Nobody listen to me
NOBODY!
Why should I care?
But your vacant stare is hard to ignore.
You’re standing there
And I’m standing here wondering what I came here for
Hello everybody
It’s nice to be at the party
I said “hey what’s shakin?” but if I’m not mistaken
Nobody listen to me
Nobody listen to me
Nobody listen to me
There ‘aint nobody listenin’!
“WHEN THIS WORLD ENDS”
TAKEN FROM – SOUNDTRACK TO YOUR APOCALYPSE
(2020)
In a time when new punk bands have less and less to say, a bright light shines across the pond from Brighton, England. The Bar Stool Preachers are bringing back the essence of punk: music with a message. And do we ever need it in our world today! Defying genres, impossible to put in a box, challenging to the best of writers, this is a band you’ll want to interview rather than review. And B.S.P. are ready and waiting for your questions, excited to tell you of their intent, passions, goals and dreams. Whether you want to talk about their volunteer work, the political causes they hold dear to their hearts, or just hear about living in the most exciting and progressive town on the island, these boys are up for it!
Their latest album is the perfect blend of intelligent punk anthems and poignant, unsentimental love songs, both combined with the most infectious music you’ll hear this decade. “Grazie Governo” (Italian for “Thank You, Government”) exemplifies this, as the tongue-in-cheek title is the first indication that The Bar Stool Preachers are wise beyond their years. But you get a full thirteen songs of hits on this record, no filler, with a different song rising to the top to be ‘your favourite’ on every listen. Yes, this album is that good.
From the eclectic scene of punk and ska bands in the UK, The Bar Stool Preachers are a band for EVERYONE – a group of blue collar musicians who can instantly connect with anyone they play for. Exhibiting a tireless DIY work ethic that is unparalleled by its peers, the band has traveled the world gaining fans with engaging performances on the back of its critically acclaimed debut “Blatant Propaganda.”
Frontman Tom McFaull has a storied musical lineage running through his veins. The son of Colin McFaull, singer of the legendary Cock Sparrer, he’s learned a lesson or two from his father. With this pedigree, the younger McFaull leads the charge for a new generation of punk bands with incomparable charisma and anger that cannot fail to impress.
But their family is more than blood. Having Aimee Interrupter (The Interrupters) lending her voice on “Choose My Friends” and Pirates Press Records’ extended family (including Rancid, The Bouncing Souls, Dropkick Murphys and many others) in their corner, The Preachers are fortunate to have a wealth of experience and support to help lift them to their inevitable heights. They are also already famed for turning every show attendee, writer, photographer, interviewer and other bands’ members into fast friends within minutes of meeting. Yes, they are that special.
After an exceptionally successful 2018, touring in North America three times (with The Interrupters and Street Dogs), as well as their normal relentless coverage of Europe and the United Kingdom, BSP showed that they weren’t slowing down as 2019 began. More European touring followed, and now they are about to embark on another UK tour with The Mighty Mighty Bosstones, as well as three more US tours already booked before the end of this year. They’ll be out on the road in North America with The Bouncing Souls and The Bronx, inter-spliced with some west coast touring with Bad Cop/Bad Cop. There’s a new video for “High Horse” that’s out now. And whilst they aren’t touring? Why, of course, they’re writing album number three!
When, when this world ends
I’ll be the one stood outside the front
Of your house
Asking, can you feel it?
Here at the edge of things
There’s no salvation on your screen
Tonight it’s just you and me
Just you and me
Na, Na, Na, Na, Na, Na, Na, Na
Are we falling apart at the seams?
Na, Na, Na, Na, Na, Na, Na, Na
To me it’s like we’re stuck
Did you hear the modern world has ended?
Not with a bang but with house arrest
Don’t forget the violence, the poverty, the bloodshed
But now it’s time to do your best
Ain’t it strange now we can’t breathe
We might have this chance to fix it all
If we do things right, just this time
We don’t have to go back to normal
If this is the end of our ride
Well i’m proud to be here by your side
Woahhhh
I’m scared!
Who’s scared!
We’re running out of time
Woahhh
So I cry
We cry!
We’re running out of time
Woaaahhhh.
Take my hand, I’ll be your very last best friend
Coz my mate John
Said the world will end
So look up, look up, look up
Your world’s on fire
Just look up, look up, look up
Your world’s on fire
Wouldn’t it be sick?
To not be a dick on a supermarket trip?
Wouldn’t it be so cool?
To make capitalism do the socialist shuffle
Wouldn’t it be so great?
If they didn’t line their pockets with the welfare state
Wouldn’t it be the one?
If we could heal together, when all is said and done
Woahhhh
I’m scared!
Who’s scared!
We’re running out of time
Woahhh.
So I cry
We cry!
We’re running out of time
Woaaahhhh.
Take my hand, I’ll be your very last best friend
Coz my mate John
Said the world will end
Na, Na, Na, Na, Na, Na, Na, Na
Is this falling apart at the seams?
Na, Na, Na, Na, Na, Na, Na, Na
To me it’s like we’re stuck between dreams
Na, Na, Na, Na, Na, Na, Na, Na
Are we falling apart at the seams?
Na, Na, Na, Na, Na, Na, Na, Na
If we are, mine’s a gin
“WHEN THIS WORLD ENDS”
TAKEN FROM – SOUNDTRACK TO YOUR APOCALYPSE
(2020)
In a time when new punk bands have less and less to say, a bright light shines across the pond from Brighton, England. The Bar Stool Preachers are bringing back the essence of punk: music with a message. And do we ever need it in our world today! Defying genres, impossible to put in a box, challenging to the best of writers, this is a band you’ll want to interview rather than review. And B.S.P. are ready and waiting for your questions, excited to tell you of their intent, passions, goals and dreams. Whether you want to talk about their volunteer work, the political causes they hold dear to their hearts, or just hear about living in the most exciting and progressive town on the island, these boys are up for it!
Their latest album is the perfect blend of intelligent punk anthems and poignant, unsentimental love songs, both combined with the most infectious music you’ll hear this decade. “Grazie Governo” (Italian for “Thank You, Government”) exemplifies this, as the tongue-in-cheek title is the first indication that The Bar Stool Preachers are wise beyond their years. But you get a full thirteen songs of hits on this record, no filler, with a different song rising to the top to be ‘your favourite’ on every listen. Yes, this album is that good.
From the eclectic scene of punk and ska bands in the UK, The Bar Stool Preachers are a band for EVERYONE – a group of blue collar musicians who can instantly connect with anyone they play for. Exhibiting a tireless DIY work ethic that is unparalleled by its peers, the band has traveled the world gaining fans with engaging performances on the back of its critically acclaimed debut “Blatant Propaganda.”
Frontman Tom McFaull has a storied musical lineage running through his veins. The son of Colin McFaull, singer of the legendary Cock Sparrer, he’s learned a lesson or two from his father. With this pedigree, the younger McFaull leads the charge for a new generation of punk bands with incomparable charisma and anger that cannot fail to impress.
But their family is more than blood. Having Aimee Interrupter (The Interrupters) lending her voice on “Choose My Friends” and Pirates Press Records’ extended family (including Rancid, The Bouncing Souls, Dropkick Murphys and many others) in their corner, The Preachers are fortunate to have a wealth of experience and support to help lift them to their inevitable heights. They are also already famed for turning every show attendee, writer, photographer, interviewer and other bands’ members into fast friends within minutes of meeting. Yes, they are that special.
After an exceptionally successful 2018, touring in North America three times (with The Interrupters and Street Dogs), as well as their normal relentless coverage of Europe and the United Kingdom, BSP showed that they weren’t slowing down as 2019 began. More European touring followed, and now they are about to embark on another UK tour with The Mighty Mighty Bosstones, as well as three more US tours already booked before the end of this year. They’ll be out on the road in North America with The Bouncing Souls and The Bronx, inter-spliced with some west coast touring with Bad Cop/Bad Cop. There’s a new video for “High Horse” that’s out now. And whilst they aren’t touring? Why, of course, they’re writing album number three!
When, when this world ends
I’ll be the one stood outside the front
Of your house
Asking, can you feel it?
Here at the edge of things
There’s no salvation on your screen
Tonight it’s just you and me
Just you and me
Na, Na, Na, Na, Na, Na, Na, Na
Are we falling apart at the seams?
Na, Na, Na, Na, Na, Na, Na, Na
To me it’s like we’re stuck
Did you hear the modern world has ended?
Not with a bang but with house arrest
Don’t forget the violence, the poverty, the bloodshed
But now it’s time to do your best
Ain’t it strange now we can’t breathe
We might have this chance to fix it all
If we do things right, just this time
We don’t have to go back to normal
If this is the end of our ride
Well i’m proud to be here by your side
Woahhhh
I’m scared!
Who’s scared!
We’re running out of time
Woahhh
So I cry
We cry!
We’re running out of time
Woaaahhhh.
Take my hand, I’ll be your very last best friend
Coz my mate John
Said the world will end
So look up, look up, look up
Your world’s on fire
Just look up, look up, look up
Your world’s on fire
Wouldn’t it be sick?
To not be a dick on a supermarket trip?
Wouldn’t it be so cool?
To make capitalism do the socialist shuffle
Wouldn’t it be so great?
If they didn’t line their pockets with the welfare state
Wouldn’t it be the one?
If we could heal together, when all is said and done
Woahhhh
I’m scared!
Who’s scared!
We’re running out of time
Woahhh.
So I cry
We cry!
We’re running out of time
Woaaahhhh.
Take my hand, I’ll be your very last best friend
Coz my mate John
Said the world will end
Na, Na, Na, Na, Na, Na, Na, Na
Is this falling apart at the seams?
Na, Na, Na, Na, Na, Na, Na, Na
To me it’s like we’re stuck between dreams
Na, Na, Na, Na, Na, Na, Na, Na
Are we falling apart at the seams?
Na, Na, Na, Na, Na, Na, Na, Na
If we are, mine’s a gin
“BATTERY STREET”
TAKEN FROM – UNDER TENSION
(2020)
Blending elements of Cock Sparrer, Bouncing Souls and 50s Rock & Roll, The Drowns are a positive force in a negative era. Featuring members of MadCap, Time Again, and Success, The Drowns have forged their anthemic sound with years of experience. With having only been a band for just a short time, they are already playing major festivals all over the world, and have tons of touring under their belt. When you mix strong and confident sing-alongs with heartfelt rock ‘n’ roll riffs, you can’t go wrong.
The city lights, burned brighter than they ever were
Where I’m from, we night to keep the light on
The sound of the trains was the blood running through our veins
Fueling our hearts taking a run up and down the coast
The sea ways and steel
The kingdoms before the wheel
She still looks beautiful, but her dress costs more this time
It’s just not the same because our hearts are in the wrong place
There’s too many people sleeping under the bridge tonight
Don’t label me me with a number I’ll never see
You can’t put a price on a family name
Look mister please the only difference between you and me is I know who I am
I know where I’m from
I’ve got skin in the game
What do I know, my education tells you my roll
Don’t pass judgement as you pass by me tonight
But I was here long before, and I’ll be here when you try to talk my home
I’ll never beg
I’ll never plead for what is mine
When you look at the world, tell me what do you see
I see flesh I see blood, I see me
You’re telling me that it’s worth just as much to you
These docks, Delridge, that pidgin point view
Look mister please the only difference between you and me is I know who I am
I know where if from Columbia roll on
“BATTERY STREET”
TAKEN FROM – UNDER TENSION
(2020)
Blending elements of Cock Sparrer, Bouncing Souls and 50s Rock & Roll, The Drowns are a positive force in a negative era. Featuring members of MadCap, Time Again, and Success, The Drowns have forged their anthemic sound with years of experience. With having only been a band for just a short time, they are already playing major festivals all over the world, and have tons of touring under their belt. When you mix strong and confident sing-alongs with heartfelt rock ‘n’ roll riffs, you can’t go wrong.
The city lights, burned brighter than they ever were
Where I’m from, we night to keep the light on
The sound of the trains was the blood running through our veins
Fueling our hearts taking a run up and down the coast
The sea ways and steel
The kingdoms before the wheel
She still looks beautiful, but her dress costs more this time
It’s just not the same because our hearts are in the wrong place
There’s too many people sleeping under the bridge tonight
Don’t label me me with a number I’ll never see
You can’t put a price on a family name
Look mister please the only difference between you and me is I know who I am
I know where I’m from
I’ve got skin in the game
What do I know, my education tells you my roll
Don’t pass judgement as you pass by me tonight
But I was here long before, and I’ll be here when you try to talk my home
I’ll never beg
I’ll never plead for what is mine
When you look at the world, tell me what do you see
I see flesh I see blood, I see me
You’re telling me that it’s worth just as much to you
These docks, Delridge, that pidgin point view
Look mister please the only difference between you and me is I know who I am
I know where if from Columbia roll on
“WATCH YOUR BACK”
TAKEN FROM – WATCH YOUR BACK
(2020)
Let’s get the basic facts out of the way first: Charger is an exceptionally powerful (and popular) trio from the East Bay. Andrew McGee plays guitar. Matt Freeman sings and plays bass. Jason Willer drums and sings too. You may recognize one or more of these names if you’re the type of person who reads liner notes to genre-defining albums.
Formed in 2018, Charger wasn’t created as a band so much as a musical challenge between two lifers in the punk scene who wanted to push each other to dig deep into their shared roots, influences, and musical passions, to create something truly exciting. As a result, Charger’s music feels indebted to the giants but not reliant on them, meaning there’s room for growth and innovation within this decades-old blueprint of how to make someone’s heart race and blood pump.
While Charger’s members each carry a musical pedigree, it’s not about what they’ve created before — it’s about the unholy racket they’re making now. Charger is the soundtrack to circle pits and bar fights, to long nights and even longer mornings, to unexplained bruises and epic hangovers (and headbangovers).
Searching for all signs of dissent
Restriction of freedoms at every attempt
Grass roots resistance contained
Looking for that patsy someone to blame
Don’t show your face
Can’t leave a trace
Watch your back they got there eyes on you
Step out of line they’ll put you down
Handcuffed and beaten face down on the ground Illegally surveilled by the state
Enhanced interrogation
No control of your fate
Don’t show your face
Can’t leave a trace
Watch your back they got there eyes on you
Followed pursued and harassed
Disappeared invisible it happens so fast
Justify there means to there ends
All with be lost nothing left to defend
Don’t show your face
Can’t leave a trace
Watch your back they got there eyes on you
“WATCH YOUR BACK”
TAKEN FROM – WATCH YOUR BACK
(2020)
Let’s get the basic facts out of the way first: Charger is an exceptionally powerful (and popular) trio from the East Bay. Andrew McGee plays guitar. Matt Freeman sings and plays bass. Jason Willer drums and sings too. You may recognize one or more of these names if you’re the type of person who reads liner notes to genre-defining albums.
Formed in 2018, Charger wasn’t created as a band so much as a musical challenge between two lifers in the punk scene who wanted to push each other to dig deep into their shared roots, influences, and musical passions, to create something truly exciting. As a result, Charger’s music feels indebted to the giants but not reliant on them, meaning there’s room for growth and innovation within this decades-old blueprint of how to make someone’s heart race and blood pump.
While Charger’s members each carry a musical pedigree, it’s not about what they’ve created before — it’s about the unholy racket they’re making now. Charger is the soundtrack to circle pits and bar fights, to long nights and even longer mornings, to unexplained bruises and epic hangovers (and headbangovers).
Searching for all signs of dissent
Restriction of freedoms at every attempt
Grass roots resistance contained
Looking for that patsy someone to blame
Don’t show your face
Can’t leave a trace
Watch your back they got there eyes on you
Step out of line they’ll put you down
Handcuffed and beaten face down on the ground Illegally surveilled by the state
Enhanced interrogation
No control of your fate
Don’t show your face
Can’t leave a trace
Watch your back they got there eyes on you
Followed pursued and harassed
Disappeared invisible it happens so fast
Justify there means to there ends
All with be lost nothing left to defend
Don’t show your face
Can’t leave a trace
Watch your back they got there eyes on you
“LOST”
TAKEN FROM – LOST
(2020)
Lost
There’s nowhere left to go
Far away from everything we were
Far from what we know
A fire burned the shores
While we drifted out to sea
Lured out by a lie disguised as fate
Doom disguised as dreams
What has anger done?
What have we become?
Drifted out to sea so far we can’t return
Greed has made us leave a place we should’ve stayed
Are we burning everything our fathers made
False perception that we see
Telling us that ignorance protects identity
If only there was light
To guide us back to being
Better than the people we became when we drifted out to sea
For a false identity
What has anger done?
What have we become?
Drifted out to sea so far we can’t return
Greed has made us leave a place we should’ve stayed
Are we burning everything our fathers made
What has anger done?
What have we become?
Drifted out to sea so far we can’t return
Greed has made us leave a place we should’ve stayed
Are we burning everything our fathers made
“LOST”
TAKEN FROM – LOST
(2020)
Lost
There’s nowhere left to go
Far away from everything we were
Far from what we know
A fire burned the shores
While we drifted out to sea
Lured out by a lie disguised as fate
Doom disguised as dreams
What has anger done?
What have we become?
Drifted out to sea so far we can’t return
Greed has made us leave a place we should’ve stayed
Are we burning everything our fathers made
False perception that we see
Telling us that ignorance protects identity
If only there was light
To guide us back to being
Better than the people we became when we drifted out to sea
For a false identity
What has anger done?
What have we become?
Drifted out to sea so far we can’t return
Greed has made us leave a place we should’ve stayed
Are we burning everything our fathers made
What has anger done?
What have we become?
Drifted out to sea so far we can’t return
Greed has made us leave a place we should’ve stayed
Are we burning everything our fathers made
“WORKING POOR”
PREVIOUSLY UNRELEASED
(2020)
Based in Vancouver, BC, Canada…Bishops Green is a melodic, hard-hitting street-punk band drawing creative influence from the early 80s punk rock and European Oi! scenes.
You wake up in the morning another restless sleep
You look inside the mirror and what do you see
You pour yourself a cup of tea and think about the day
You put your boots on your feet and head right down your street
Walk right in punch the clock dread another shift
Stick it out hear the whistle blow – not yet time to go
Pour yourself a cup of tea – near the end of day
Punch the clock out the door and head back down your street
Another day is gone
Another day is gone
Another day is gone
Another day is gone
You wake up in the morning – another restless sleep
You look inside the mirror and what do you see
You pour yourself a cup of tea and think about the day
You put your boots on your feet and head right down your street
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
“WORKING POOR”
PREVIOUSLY UNRELEASED
(2020)
Based in Vancouver, BC, Canada…Bishops Green is a melodic, hard-hitting street-punk band drawing creative influence from the early 80s punk rock and European Oi! scenes.
You wake up in the morning another restless sleep
You look inside the mirror and what do you see
You pour yourself a cup of tea and think about the day
You put your boots on your feet and head right down your street
Walk right in punch the clock dread another shift
Stick it out hear the whistle blow – not yet time to go
Pour yourself a cup of tea – near the end of day
Punch the clock out the door and head back down your street
Another day is gone
Another day is gone
Another day is gone
Another day is gone
You wake up in the morning – another restless sleep
You look inside the mirror and what do you see
You pour yourself a cup of tea and think about the day
You put your boots on your feet and head right down your street
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
Another day is gone
“TAKING BACK THE NEIGHBORHOOD”
TAKEN FROM – BRACE YOURSELF
(2020)
SEIZED UP was formed in Santa Cruz, California in early 2019 with Bl’ast singer Clifford Dinsmore, Fast Asleep guitarist Danny B., Good Riddance bassist Chuck Platt and The Distillers/Nerve Agents drummer Andy Granelli. The idea to form the band came after Fast Asleep (Buzzard / Platt / Granelli / Deep Six Records) had stopped playing and Dinsmore was eager to start something new with the guys, knowing it would be a great mix. A flash back of what all members are into, and that’s driving hardcore punk. Seized Up worked with Paul Miner at Buzzbomb Recording to recorded 11 songs for their first full length release. The group made its live debut in Santa Cruz in December of 2019 and this left people wanting more.
Gentrification is strange
Almost invisible as it invades
Then she’s evicted and he’s addicted
Once normal people out on the streets
Now she’s addicted
We’re all evicted
Broken community
Out on the streets
Trust fund hippies living off their dads
Jesus beards and Mercedes vans
No consequences for anything they do
Entitled yuppie fucks got nothing to lose
Meanwhile
The whole West coast has gone to hell
No graveyard plot they wouldn’t sell
No sacred stone goes left unturned
No God damned bridge they haven’t burned
Better put us locals in cages
Our outrage reached contagion bloodshed unfolds as it should
Taking back the neighborhood
Taking back the neighborhood
Taking back the neighborhood
Local culture disappears
That sacred past we all hold dear
There’s a silver tongued wolf
Breaking the news to you
That you have to leave that place that you’ve called home for 20 fucking years
This
Means
War
“TAKING BACK THE NEIGHBORHOOD”
TAKEN FROM – BRACE YOURSELF
(2020)
SEIZED UP was formed in Santa Cruz, California in early 2019 with Bl’ast singer Clifford Dinsmore, Fast Asleep guitarist Danny B., Good Riddance bassist Chuck Platt and The Distillers/Nerve Agents drummer Andy Granelli. The idea to form the band came after Fast Asleep (Buzzard / Platt / Granelli / Deep Six Records) had stopped playing and Dinsmore was eager to start something new with the guys, knowing it would be a great mix. A flash back of what all members are into, and that’s driving hardcore punk. Seized Up worked with Paul Miner at Buzzbomb Recording to recorded 11 songs for their first full length release. The group made its live debut in Santa Cruz in December of 2019 and this left people wanting more.
Gentrification is strange
Almost invisible as it invades
Then she’s evicted and he’s addicted
Once normal people out on the streets
Now she’s addicted
We’re all evicted
Broken community
Out on the streets
Trust fund hippies living off their dads
Jesus beards and Mercedes vans
No consequences for anything they do
Entitled yuppie fucks got nothing to lose
Meanwhile
The whole West coast has gone to hell
No graveyard plot they wouldn’t sell
No sacred stone goes left unturned
No God damned bridge they haven’t burned
Better put us locals in cages
Our outrage reached contagion bloodshed unfolds as it should
Taking back the neighborhood
Taking back the neighborhood
Taking back the neighborhood
Local culture disappears
That sacred past we all hold dear
There’s a silver tongued wolf
Breaking the news to you
That you have to leave that place that you’ve called home for 20 fucking years
This
Means
War
“THOUGHT IS FREE”
TAKEN FROM – CRISIS POINT
(2019)
Subhumans are one of the most influential bands from the UK Anarcho-Punk scene of the 80’s, filed right alongside Crass and Conflict, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them – Punk, UK82, Crusty, etc, – there lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes.
Forming in 1980, recording and releasing a series of live and demo cassette tapes on their own Bluurg label, they continued to release music throughout the 80’s – building a powerhouse of a back catalog that completely stands the test of time. Their debut LP ‘The Day the Country Died’ (1983), with its Orwellian influence, is considered by many to be a classic and has sold in excess of 100,000 copies. The second album, ‘From the Cradle to the Grave’, came swiftly the following year (1984), and although the same frenetic pace is in evidence, this marks a significant musical development for the band. In 1985 Subhumans broke up, citing the usual musical differences, although had managed to release a third, maybe ironically entitled, LP ‘Worlds Apart.’ A final EP was released posthumously in 1986, ‘29:29 Split Vision,’ a further demonstration of how far the band had come musically from their initial leanings.
Dick Lucas subsequently joined Culture Shock and then formed political ska-punk band Citizen Fish in 1990, both bands releasing many albums, and still playing today. Subhumans had a couple of reunion shows in the nineties, before a more permanent return for the 21st century, including 2 major tours of the US, the first resulting in the ‘Live in a Dive’ LP. The Subhumans then released a further studio album in 2007, ‘Internal Riot,’ again on Bluurg Records. The band is still passionate and angry, illustrated by Dick saying “Being in a band is the source of most of my passion and drive! The live experience of sharing it with people keeps it ongoing, the release of anger, frustration and initially negative/destructive states of mind is a release from the downward spiral of keeping it all bottled up and it feels positive/constructive as a result.”
The social and political commentary of bands like Subhumans forged a path, along with their contemporaries, for punk to change lives and opinions around the world. Sadly the things they sang about forty years ago are largely just as important now, sometimes more so in an age of Trump and Brexit. We can’t wait to hear more of what they have to say about the current political climate, the immense imbalance of wealth and power, and the causes they hold near and dear to their hearts.
The world is getting smaller
The pressure is sublime
Some people want the way we think
To be monopolized
Purveyors of convenience
A thousand talking heads
Would much prefer the customers
Whose brains are empty
Empty brains
Don’t complain
Are easy trained
Who controls the mindset
Controls the status quo
The pillars of society
Are built on our say so
If we refuse to play along
They lose the thought control
Imagination overrides
The will to keep the people
Nice and quiet
And compliant
Non-defiant
They can put a line through sentences
Sentence those who write
Delete the onscreen versions
Of opinions they don’t like
Contain the contradictions
That open people’s minds
Illegalize the actions
That follow close behind
They can put chains on your body
Persecute your soul
Ridicule your attitude
But never get control
Of instinct intuition individuality
You can put a price on anything
But thought is free
“THOUGHT IS FREE”
TAKEN FROM – CRISIS POINT
(2019)
Subhumans are one of the most influential bands from the UK Anarcho-Punk scene of the 80’s, filed right alongside Crass and Conflict, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them – Punk, UK82, Crusty, etc, – there lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes.
Forming in 1980, recording and releasing a series of live and demo cassette tapes on their own Bluurg label, they continued to release music throughout the 80’s – building a powerhouse of a back catalog that completely stands the test of time. Their debut LP ‘The Day the Country Died’ (1983), with its Orwellian influence, is considered by many to be a classic and has sold in excess of 100,000 copies. The second album, ‘From the Cradle to the Grave’, came swiftly the following year (1984), and although the same frenetic pace is in evidence, this marks a significant musical development for the band. In 1985 Subhumans broke up, citing the usual musical differences, although had managed to release a third, maybe ironically entitled, LP ‘Worlds Apart.’ A final EP was released posthumously in 1986, ‘29:29 Split Vision,’ a further demonstration of how far the band had come musically from their initial leanings.
Dick Lucas subsequently joined Culture Shock and then formed political ska-punk band Citizen Fish in 1990, both bands releasing many albums, and still playing today. Subhumans had a couple of reunion shows in the nineties, before a more permanent return for the 21st century, including 2 major tours of the US, the first resulting in the ‘Live in a Dive’ LP. The Subhumans then released a further studio album in 2007, ‘Internal Riot,’ again on Bluurg Records. The band is still passionate and angry, illustrated by Dick saying “Being in a band is the source of most of my passion and drive! The live experience of sharing it with people keeps it ongoing, the release of anger, frustration and initially negative/destructive states of mind is a release from the downward spiral of keeping it all bottled up and it feels positive/constructive as a result.”
The social and political commentary of bands like Subhumans forged a path, along with their contemporaries, for punk to change lives and opinions around the world. Sadly the things they sang about forty years ago are largely just as important now, sometimes more so in an age of Trump and Brexit. We can’t wait to hear more of what they have to say about the current political climate, the immense imbalance of wealth and power, and the causes they hold near and dear to their hearts.
The world is getting smaller
The pressure is sublime
Some people want the way we think
To be monopolized
Purveyors of convenience
A thousand talking heads
Would much prefer the customers
Whose brains are empty
Empty brains
Don’t complain
Are easy trained
Who controls the mindset
Controls the status quo
The pillars of society
Are built on our say so
If we refuse to play along
They lose the thought control
Imagination overrides
The will to keep the people
Nice and quiet
And compliant
Non-defiant
They can put a line through sentences
Sentence those who write
Delete the onscreen versions
Of opinions they don’t like
Contain the contradictions
That open people’s minds
Illegalize the actions
That follow close behind
They can put chains on your body
Persecute your soul
Ridicule your attitude
But never get control
Of instinct intuition individuality
You can put a price on anything
But thought is free
“DAMAGED HEART”
TAKEN FROM – THE PAIN, THE BLOOD, AND THE SWORD
(2020)
Originating in Paris, France, members from Street Kids, Maraboots and Komitern Sect decided to start an English speaking oi band which sparked the beginning of Lion’s Law in 2012. Since then they have taken the international stage by storm, playing with the original oi bands of Europe.
Lion’s Law is Swann (bass guitar), Daick (rhythm guitar), Louis (vocals, lead guitar), Thomas aka Thomoi (drums) and Wattie (singer). They are members of many other bands making up the heart of the oi scene in France.
Trust me, you don’t wanna stay silent
Don’t you try to hide that pain and that sorrow that darken your mind
May you wake up from their fake dream
May you feel alive
May the tears that you shed wash the ire in your eyes
Don’t be your worst enemy
Don’t be what you hate to see
Don’t get trapped into the windings of your own misery
That’s how you end up
Having a damaged heart
So make your way up
‘Til you can’t go back
There’s no giving up
Forgiveness ain’t that far
You’ll make your way up
To the brightest stars
The endless melancholy will be purified
Overcome your doubts and your path will be clarified
May you live up to the challenge of one day feeling alive
Don’t the let the devil in, its request will be denied
Refuse to go to war
Against who you really are
Refuse their fake ideals and seek for the brightest star
Or you will end up
Having a damaged heart
So make your way up
‘Til you can’t go back
There’s no giving up
Forgiveness ain’t that far
You’ll make your way up
To the brightest stars
“DAMAGED HEART”
TAKEN FROM – THE PAIN, THE BLOOD, AND THE SWORD
(2020)
Originating in Paris, France, members from Street Kids, Maraboots and Komitern Sect decided to start an English speaking oi band which sparked the beginning of Lion’s Law in 2012. Since then they have taken the international stage by storm, playing with the original oi bands of Europe.
Lion’s Law is Swann (bass guitar), Daick (rhythm guitar), Louis (vocals, lead guitar), Thomas aka Thomoi (drums) and Wattie (singer). They are members of many other bands making up the heart of the oi scene in France.
Trust me, you don’t wanna stay silent
Don’t you try to hide that pain and that sorrow that darken your mind
May you wake up from their fake dream
May you feel alive
May the tears that you shed wash the ire in your eyes
Don’t be your worst enemy
Don’t be what you hate to see
Don’t get trapped into the windings of your own misery
That’s how you end up
Having a damaged heart
So make your way up
‘Til you can’t go back
There’s no giving up
Forgiveness ain’t that far
You’ll make your way up
To the brightest stars
The endless melancholy will be purified
Overcome your doubts and your path will be clarified
May you live up to the challenge of one day feeling alive
Don’t the let the devil in, its request will be denied
Refuse to go to war
Against who you really are
Refuse their fake ideals and seek for the brightest star
Or you will end up
Having a damaged heart
So make your way up
‘Til you can’t go back
There’s no giving up
Forgiveness ain’t that far
You’ll make your way up
To the brightest stars
“NOW OR NEVER”
PREVIOUSLY UNRELEASED
(2020)
45AD is five friends who dress well and drink heavily. We describe our music as a truck full of Cock Sparrer records crashing into a truck full of Otis Redding records. Maximum Oi’N’B!
I’m much more of a coward
then I’ve ever been a saint
So I find myself embittered
Hands covered in yellow paint
I muster up my best toothy grin
To prove to her I don’t care
While some rich kid in a zeppelin t-shirt
Runs his fingers through her hair
But it’s now or never
It’s not that I am satisfied
I’m just too proud to complain
I’m not what you’d call stoic
I’m just quietly gone insane
I remember when we started out
We were the best of friends
And there’s nothing sadder than seeing business
Bring that to an end
But it’s now or never
Well, I know that true love
Is the stuff of fairy tales
I’ve seen the pain of delusion
And all that that entails
Well, I’ll accept the reality
That what we had is gone
I’ll grin and laugh and hide my tears
Until I am alone
But it’s now or never
“NOW OR NEVER”
PREVIOUSLY UNRELEASED
(2020)
45AD is five friends who dress well and drink heavily. We describe our music as a truck full of Cock Sparrer records crashing into a truck full of Otis Redding records. Maximum Oi’N’B!
I’m much more of a coward
then I’ve ever been a saint
So I find myself embittered
Hands covered in yellow paint
I muster up my best toothy grin
To prove to her I don’t care
While some rich kid in a zeppelin t-shirt
Runs his fingers through her hair
But it’s now or never
It’s not that I am satisfied
I’m just too proud to complain
I’m not what you’d call stoic
I’m just quietly gone insane
I remember when we started out
We were the best of friends
And there’s nothing sadder than seeing business
Bring that to an end
But it’s now or never
Well, I know that true love
Is the stuff of fairy tales
I’ve seen the pain of delusion
And all that that entails
Well, I’ll accept the reality
That what we had is gone
I’ll grin and laugh and hide my tears
Until I am alone
But it’s now or never
“BLACK CLOUDS”
TAKEN FROM – KINGS
(2021)
Antagonizers ATL is like a shot gun to your soul of good ol dirty rock n roll. Expect plenty of guitar work and back up vocals and sing-a-longs. If you aren’t having a blast and wanting to jump on the stage, then you’re just not at our show.
Do my best and give my all
Sometimes win, sometimes I fall
Times I win, times I lose
Hate it when I always choose
So wrong, oh so wrong
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Keep on swingin’ and I’m missin’, too
At least I’m swingin’, and not cryin’ the blues
I’d rather fail than not try
Give my all ’till the day I die
So wrong, oh so wrong
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Go away!
I see those black clouds overhead
Try to follow me until I’m dead
I close my eyes and laugh inside
Only the weak run and hide
I’m gonna swing to the left, swing to the right
Duck and dive ’till I’m out of sight
No damn clouds gonna hold me back
I’m on the move and I’m on the attack
On the attack!
I’d rather fail than not try
Give my all ’till the day I die
So wrong, oh so wrong
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Go away!
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Go away!
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Go away!
“BLACK CLOUDS”
TAKEN FROM – KINGS
(2021)
Antagonizers ATL is like a shot gun to your soul of good ol dirty rock n roll. Expect plenty of guitar work and back up vocals and sing-a-longs. If you aren’t having a blast and wanting to jump on the stage, then you’re just not at our show.
Do my best and give my all
Sometimes win, sometimes I fall
Times I win, times I lose
Hate it when I always choose
So wrong, oh so wrong
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Keep on swingin’ and I’m missin’, too
At least I’m swingin’, and not cryin’ the blues
I’d rather fail than not try
Give my all ’till the day I die
So wrong, oh so wrong
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Go away!
I see those black clouds overhead
Try to follow me until I’m dead
I close my eyes and laugh inside
Only the weak run and hide
I’m gonna swing to the left, swing to the right
Duck and dive ’till I’m out of sight
No damn clouds gonna hold me back
I’m on the move and I’m on the attack
On the attack!
I’d rather fail than not try
Give my all ’till the day I die
So wrong, oh so wrong
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Go away!
Black clouds over my head
Open my eyes and I see red
Black clouds over my head today
Go away!
Black clouds over my head
Open my eyes and I see red
Black clouds won’t go away
Go away!
“NEED”
PREVIOUSLY UNRELEASED
(2020)
It’s barely 9 o’clock in the morning. Punks shouldn’t be awake this early in the day, let alone actually being functioning members of society. But Lenny Lashley is different.
He’s up early, driving back to his Boston stomping grounds following a show in Brooklyn the night before with Street Dogs; he’s been their guitarist for the past half-decade.
They’re not Lashley’s first band, and they likely won’t be his last: The 53-year-old musician is a punk lifer through and through, and his respect and reverence for the scene is only bested by his innate ability to make music that resonates with the listener. “I take what comes down the pike,” Lashley says, as he steers his way back home. “Fortunately, people seem to want to have me around. I’m fortunate in that regard.”
Lashley might very well be Boston’s best-kept secret (his long-running band Darkbuster is held in the highest of regards locally), but it’s through his solo project, Lenny Lashley’s Gang Of One, that he hopes to foster deeper, more meaningful connections — not just with the listener, but with himself. “As a singer/songwriter, I get more of a personal level connection with my solo music,” Lashley admits. “I’m more open and honest on a personal level with myself. A lot of times I write stuff in the moment and I don’t realize I’m giving myself advice.”
A perfect example of this subconscious therapy is “Lonesome,” a standout on Lashley’s new album All Are Welcome, out February 15 on Pirates Press Records. The song is a nakedly honest look that anyone who’s been around the bar scene long enough can relate to. “I wrote that three years ago, just before I got sober,” he admits. “In retrospect, that was me at a low point, expressing it through song. That’s kind of how I communicate with my inner self.”
“Lonesome” is the oldest song on All Are Welcome, but not on purpose: Lashley obsessively documents songwriting ideas and melody fragments on his laptop, but as he returned from a Street Dogs tour earlier this year, his laptop went missing — as did all his demos. “A lot of the stuff on this record was written after the laptop got stolen until the time we went into the studio,” he says, remarking that studio time was booked in the coming weeks. “It was pretty nerve wracking in that regard, but really special in hindsight. I’m pretty forgetful, so if I can remember a hook, that means it was probably pretty good.”
All Are Welcome’s hooks were cultivated by Pete Steinkopf, best known as the guitarist of the Bouncing Souls but who has become a formidable producer in recent years, documenting Beach Slang, Dave Hause, the Menzingers and more. But this isn’t just a solo acoustic release: Lashley tapped some talented friends to give him a hand “I just love working with Pete,” Lashley gushes. “He’s a great dude with great ideas. Plus I was lucky enough to get Joe Sirois from the Mighty Mighty Bosstones to play drums, and Johnny Rioux from Street Dogs handled the bass, so all the cards really fell into place.”
Another one of All Are Welcome’s standout tracks is “Betty’s,” which sounds like a Springsteen song recorded at 33 and played back at 45. Lashley credits his bandmates for the electricity.
“The energy comes from Joe and John,” he says. “I was playing it a bit slower than that, and Joe jumped on it and said it should be on the quicker side. To sing and play it that fast, it took a little while for me. It’s a heart-pumper!”
While the album is full of anthems (“Revolution” is quickly becoming the MLS club New England Revolution’s official fight song), the true meaning behind All Are Welcome comes in its title track, which earnestly drops in a chunk of Martin Luther King’s “I Have A Dream” speech atop a powerful mid-tempo number that finds Lashley getting political in the kindest way possible.
“I tend to not want to be preachy or standing on a soapbox about my own personal views, but as I was writing that song, recent developments in immigration… it undermines my idea of what we should stand for as a country, basically,” he admits . “That’s where that all came from. The MLK speech was such an enlightening thing for the time. It seemed like a catalyst, a change. I think that’s what we need: More people who are willing to speak out and say, ‘Hey, this isn’t right.’ Unfortunately, everybody isn’t as eloquent as Dr. King was. So with all respect and reverence, we used that soundbite.”
All Are Welcome uses its brisk runtime to effortlessly jump from country and folk to punk and classic rock, with Lashley digging deep to express himself in new ways. Lashley will have a chance to showcase his talents in front of thousands of people every night as he hits the road alongside Dropkick Murphys for a month this February and March. But no matter the crowd size, Lashley has one goal in mind: connection.
We’ve all felt our share of sorrow
Sometimes this world’s filled with pain
Whenever I’m weak
Pray that I’ll become strong again
If none of your windows are open
You can’t be touched by the breeze
You might not know love
You can sure know that I believe
You’re all that I want
You’re all that I need
Summer of ’20 came quickly
Winter can’t offer an end
Desperate times
Abandon all hope once again
We’re all trying hard not to worry
Some things inherently changed
Those of us know
The song it still remains the same
You’re all that I want
You’re all I need
You’re all that I want
You’re all I need
Once all we had was love
Now it just ain’t enough
There’s no redemption here
This time I’m leaving
You’re all that I want
You’re all I need
You’re all that I want
You’re all that I need
“NEED”
PREVIOUSLY UNRELEASED
(2020)
It’s barely 9 o’clock in the morning. Punks shouldn’t be awake this early in the day, let alone actually being functioning members of society. But Lenny Lashley is different.
He’s up early, driving back to his Boston stomping grounds following a show in Brooklyn the night before with Street Dogs; he’s been their guitarist for the past half-decade.
They’re not Lashley’s first band, and they likely won’t be his last: The 53-year-old musician is a punk lifer through and through, and his respect and reverence for the scene is only bested by his innate ability to make music that resonates with the listener. “I take what comes down the pike,” Lashley says, as he steers his way back home. “Fortunately, people seem to want to have me around. I’m fortunate in that regard.”
Lashley might very well be Boston’s best-kept secret (his long-running band Darkbuster is held in the highest of regards locally), but it’s through his solo project, Lenny Lashley’s Gang Of One, that he hopes to foster deeper, more meaningful connections — not just with the listener, but with himself. “As a singer/songwriter, I get more of a personal level connection with my solo music,” Lashley admits. “I’m more open and honest on a personal level with myself. A lot of times I write stuff in the moment and I don’t realize I’m giving myself advice.”
A perfect example of this subconscious therapy is “Lonesome,” a standout on Lashley’s new album All Are Welcome, out February 15 on Pirates Press Records. The song is a nakedly honest look that anyone who’s been around the bar scene long enough can relate to. “I wrote that three years ago, just before I got sober,” he admits. “In retrospect, that was me at a low point, expressing it through song. That’s kind of how I communicate with my inner self.”
“Lonesome” is the oldest song on All Are Welcome, but not on purpose: Lashley obsessively documents songwriting ideas and melody fragments on his laptop, but as he returned from a Street Dogs tour earlier this year, his laptop went missing — as did all his demos. “A lot of the stuff on this record was written after the laptop got stolen until the time we went into the studio,” he says, remarking that studio time was booked in the coming weeks. “It was pretty nerve wracking in that regard, but really special in hindsight. I’m pretty forgetful, so if I can remember a hook, that means it was probably pretty good.”
All Are Welcome’s hooks were cultivated by Pete Steinkopf, best known as the guitarist of the Bouncing Souls but who has become a formidable producer in recent years, documenting Beach Slang, Dave Hause, the Menzingers and more. But this isn’t just a solo acoustic release: Lashley tapped some talented friends to give him a hand “I just love working with Pete,” Lashley gushes. “He’s a great dude with great ideas. Plus I was lucky enough to get Joe Sirois from the Mighty Mighty Bosstones to play drums, and Johnny Rioux from Street Dogs handled the bass, so all the cards really fell into place.”
Another one of All Are Welcome’s standout tracks is “Betty’s,” which sounds like a Springsteen song recorded at 33 and played back at 45. Lashley credits his bandmates for the electricity.
“The energy comes from Joe and John,” he says. “I was playing it a bit slower than that, and Joe jumped on it and said it should be on the quicker side. To sing and play it that fast, it took a little while for me. It’s a heart-pumper!”
While the album is full of anthems (“Revolution” is quickly becoming the MLS club New England Revolution’s official fight song), the true meaning behind All Are Welcome comes in its title track, which earnestly drops in a chunk of Martin Luther King’s “I Have A Dream” speech atop a powerful mid-tempo number that finds Lashley getting political in the kindest way possible.
“I tend to not want to be preachy or standing on a soapbox about my own personal views, but as I was writing that song, recent developments in immigration… it undermines my idea of what we should stand for as a country, basically,” he admits . “That’s where that all came from. The MLK speech was such an enlightening thing for the time. It seemed like a catalyst, a change. I think that’s what we need: More people who are willing to speak out and say, ‘Hey, this isn’t right.’ Unfortunately, everybody isn’t as eloquent as Dr. King was. So with all respect and reverence, we used that soundbite.”
All Are Welcome uses its brisk runtime to effortlessly jump from country and folk to punk and classic rock, with Lashley digging deep to express himself in new ways. Lashley will have a chance to showcase his talents in front of thousands of people every night as he hits the road alongside Dropkick Murphys for a month this February and March. But no matter the crowd size, Lashley has one goal in mind: connection.
We’ve all felt our share of sorrow
Sometimes this world’s filled with pain
Whenever I’m weak
Pray that I’ll become strong again
If none of your windows are open
You can’t be touched by the breeze
You might not know love
You can sure know that I believe
You’re all that I want
You’re all that I need
Summer of ’20 came quickly
Winter can’t offer an end
Desperate times
Abandon all hope once again
We’re all trying hard not to worry
Some things inherently changed
Those of us know
The song it still remains the same
You’re all that I want
You’re all I need
You’re all that I want
You’re all I need
Once all we had was love
Now it just ain’t enough
There’s no redemption here
This time I’m leaving
You’re all that I want
You’re all I need
You’re all that I want
You’re all that I need