The track is the first new music from the band since signing to Frontiers, and arrived in time for Mother’s Day in the US. As ever with Steel Panther, the song combines hair-metal swagger with the kind of cheeky humour that has defined the four-piece across their two-decade career.

A new album is expected to follow on Frontiers, though no details on a release date have been confirmed at this stage.

‘The Mother’s Day Song’ is streaming now.

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In addition to the limited-edition vinyl, Crashdïet has released amusic video for their fan-favourite single, ‘Shine On‘ that you can check out right here at RAMzine.

Automaton contains 12 sing-along anthems with massive drums, guitars, bass, and powering vocals (including a surprise special guest and a haunting voice from the past).

You can purchase the album on limited edition vinyl, with a colour option of purple or red via the Golden Robot Records online store here.

https://youtu.be/KYZNPk5GkN0

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The single is sung with powerful and precise vocals, surrounded by thick driving bass, heavy guitar chops, rock-solid drums and scintillating production. ‘No Man’s Land’ is a story about looking inwards and moving forward, no matter the cost. 

With the motto “go big or stay home”, Crashdïet formed in Stockholm back in the year 2000 and brought in the new millennium with full-throttle speed and excess. Their critically acclaimed debut album Rest In Sleaze debuted in 2005, giving them a spring of success in their home country of Sweden and abroad. Shortly after, their frontman Dave Lepard was found dead at his home, the result of a tragic suicide in January 2006.
 
With a career littered with abuse, tragic deaths and line-up changes, it nearly ended the band more than once, but the band have become known for picking up the pieces and returning to the scene of the crime… Every time. The surviving band members and new blood have carried the glam-metal sleaze-rock torch ever since, touring the world and releasing many acclaimed studio albums.
 
Crashdïet now consists of Gabriel Keyes – vocals, Martin Sweet – guitars, Peter London – bass, Eric Young – drums.

You can order ‘No Man’s Land’ here and check out the lyric video for it right here at RAMzine.

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Featuring punchy guitars and toe-tapping drums, the song explores how the city can make or break anyone who dares take their chances on its streets. Every day finds someone new taking their first steps down the sidewalk, ending up in the highest of places, never realising that the cost of climb is everything you ever were.

You can order ‘Look Me Up (If You Come Down)’ here.

Ghosts Of Sunset is a musical project between singer-songwriter John Merchant and singer-songwriter/multi-instrumentalist Todd Long, along with many guest artists.

With over thirty years’ experience in the music business, Merchant and Long, alongside a cast of musicians with their roots in the 1980s hard rock/hair metal scene, whose resumes included L.A. Guns, Ratt, Enuff Znuff, Kix, and the Lita Ford Band drew attention with the release of their debut EP Headed West.

The singles from that EP –  ‘Miles In-Between’, ‘Never Goodbye’ and ‘Another Rock N Roll Show’ – clocked up several hundred thousand streams between them, plus the charity single ‘All I Wanna Do Is Rock’ had all proceeds going to Save Our Stages.

Back in June, they followed-up releases from the EP with a new single in ‘No Saints In The City’ (available here) as well as more recently, ‘If You’re Not Coming Back’, that can be ordered here, while you can catch the video to it right here at RAMzine.

The post Looking at the Ghosts Of Sunset appeared first on RAMzine.

The song meets you at the intersection of tough rock chick and funky glam boys – and tells you exactly where to go. Turn it up and you can feel the heat of a packed downtown club and smell the whiskey wafting through the air.

Born from the embers of the vibrant Toronto punk scene, back in 1984, the band fronted by vocalist Sally Cato headed for New York City where they became part of the legendary glam/hair metal scene, made demos with Kiss’ Gene Simmons and signed a deal with Elektra Records.

Tours supporting The Dead Boys, Van Zant, Nazareth, Ace Frehley, Cheap Trick, Poison, Rick Derringer, Blue Oyster Cult, Krocus and others followed as did a second album.

Fate had a way of kicking the band in the teeth though, drug overdoses nor excluded. Cato got out while the going was good, becoming a graphic artist, but sadly passed away in 2020.

‘Bleed For Me’ is the fourth single to be released from what will be the band’s posthumous third album, Raw, featuring recordings mad back before they split alongside their demoes with Simmons.

You can buy it here and check out the video for it right here at RAMzine.

The post Bleeding for Smashed Gladys appeared first on RAMzine.

Sally Cato started as a singer in the art rock band The Concordes, while guitarist Bart Lewis did a brief stint with Canada’s most dangerous band, The Viletones, before departing for NYC. Soon after relocating to Gotham, the pair met songwriter Tommy Boyce, who (along with his partner Mickey Hart) had coined most of The Monkees’ songs. Under Boyce’s guidance, the group began rehearsing at a well-known studio in midtown Manhattan.

With Matt Stellutto on drums and bass player, Ken Fox (Toronto’s Raving Mojos, Jason And The Scorchers, The Fleshtones), Smashed Gladys played venues in and around the NYC area, during which time they met Gene Simmons of KISS fame, who offered them a production/management deal.

With the addition of Hilly Micheals, drummer from Ian Hunter’s band, Smashed Gladys went into the studio and recorded close to an album’s worth of material produced by Simmons. He captured the personality and raw grittiness of the band perfectly and by the end of 1984, the band were in the UK recording their first album, Smashed Gladys, with Mark Dearnley as producer.

Smashed Gladys returned to the states and began touring and doing opening slots with The Dead Boys, Van Zant, Nazareth, Ace Frehley, Cheap Trick, Poison, Rick Derringer, Blue Oyster Cult, Krocus and others. It was during this feverish period that they established their infamous Wednesday night series at The Cat Club. The night became a launching pad for several bands, and grew to become a showcase venue, late night hang, and playing party stage for artists such as David Bowie, Duran Duran, Mick Jagger and several others.

Selling out venues in Manhattan and the surrounding tri-state area, Smashed Gladys caught the attention of Elektra Records A&R rep Michael Alago. In 1986 they were signed by Elektra VP, Howard Thompson.

The band played a signing gig to a packed house at one of the first venues they played in NYC – CBGB’s. Elektra picked up the rights to the first record and then sent the band into the studio to work on their next record, Social Intercourse, recorded in NYC with Rick Browdie and in L.A with Michael Wagner doing additional tracking and mixing.

While making the record, they met the artist working in the adjacent studio, Ozzy Osbourne, who made a guest background vocal appearance on the song ‘Cast of Nasties’. Osbourne had warned the band that some of the titles and subject matter on the record might get them in trouble in certain markets and banned altogether from retailers such as Walmart. He was right, and touring in certain Midwestern states became dangerous at times forcing the band to bring along new members … Mr Smith & Wesson!

While making demos for their third record, Smashed Gladys received offers from producers John Paul Jones and Mick Ronson. They went with Ronson and began pre-production, but he fell ill. The band was then picked up by Teddy Slatus, Johnny Winter’s manager and label.  Tragically, Smashed Gladys’ third bass player, Mark Sliker, then died from a drug overdose. Following all these trials and tribulations, Sally Cato left the music business and returned to being a graphic artist, then on May 19th 2020 she passed away.

With the intention of honouring Cato, Golden Robot Records will be releasing the album Raw, a collection of some of the works that were initially the demos for the third record. These have been remixed by the band’s first producer, Mark Dearnley, whose wide ranging credits stretch from AC/DC to Paul McCartney. The album will be rounded out with an additional four songs from the Gene Simmons sessions.

Prior to the album’s release, a series of singles are being released. First off was ‘Bump In The Night’ – A classic 12-bar boogie rock ‘n’ roll song with a twist on the horror movie trope in the vein of Buffy the Vampire Slayer. In the song, singer Cato is looking for a partner to celebrate the bumps in the night, and the guitar driven band is there for the party.

That was followed by ‘Go To Hell‘ back in May. “If you don’t know how to save your soul, you better learn to rock n roll” preaches singer Sally Cato in this high energy boogie number about making it in the Big Apple. Every artist has a love/hate relationship with New York City, and you can feel the fun as Smashed Gladys paints a musical picture of the dark side of Gotham with a stroke of humour. 

You can order previous singles ‘Go To Hell’ here and ‘Bump in the Night’ here., and new single ‘Never Take No‘ here.

The post Smashed Gladys… Never Take No! appeared first on RAMzine.

This heavy track is said to be “filled with melodic hooks that thematically dives into the darkness inside a person’s mind”.

You can order the single here and catch the lyric video for it right here at RAMzine.

ToxicRose got together in Stockholm, Sweden, back in 2010, and soon made an impression within the metal community there, both for their unique look and mix of dark sleaze and heavy metal.  Their self-titled EP and first full-length album, Total Tranquillity, were both accorded what’s been described as “ravishing reviews worldwide”.

2018 saw Johannes Sandberg recruited as bass player and the band has continued its passion for big and epic songs with classic anthem like choruses since. ToxicRose is a band looking forward to performing live again, where the band’s intent is to “always promise you a wild night filled with energy!”  

Previous single ‘Domination’ was “a fast and aggressive, trash metal flavoured fist in your face!”. It can still be purchased here and you catch the official video for it right her at RAMzine.

The post ToxicRose’s Outta Time appeared first on RAMzine.

But tattoos didn’t really advance in the rock ‘n’ roll world until the advent of heavy metal. And that is perhaps because, in the early days of Elvis, Chuck Berry and Bill Haley, a tattoo was seen as needlessly rebellious and, in any case, it didn’t suit the clean-cut image that the stars wanted to project to their record buying public.

Counter-intuitively, tattoos also suggested conformity and compliance; because in the 1960s tattoos belonged mainly to older men (dads and grandads) who had served in the forces during the war years. It is understandable that the adolescent generation did not want to copy their parents. Therefore, none of the Fab Four had tattoos (Ringo has tattoos now, but these date from the late 1990s to the early 2000s) and if bands like the Stones wanted to be rebellious, they didn’t want to do it by inking. Even the Sex Pistols (1975) seemed “clean” in comparison to some of today’s rock stars!

But legend has it that Ozzy Osbourne tattooed smiling faces on his knees while he served his sentence in Winson Green Prison, in the 1970s. And since that casual start, and particularly during the rise of glam metal in the 1980s, tattoos become the easiest visible way of acquiring an immediate rock ‘n’ roll status. A good amount of ink was considered to be a de rigueur statement of intent… it’s the outward sign of an inclination to make loud music — and that’s whether the artist is a rapper, metal head, pop rocker or even a country star. Now, it seems, everyone in the music biz wants to vaunt their ink.

THE LONDON TATTOO CONVENTION will be returning for its 15th year to the iconic Tobacco Dock in Wapping this coming weekend for an international festival of ink-art.

Expect to see the best artists on the planet, enjoy a fantastic environment with exhibitions and live drawings, and exciting performances by street artists and live music from bands such as the swampy-bluesey duo the Dusk Brothers, the Quireboys, the Urban Voodoo Machine, Hells Bells ( the AC/DC Tribute Act) and the legendary Never The Bride.

This is a must for all ink fans…

The International London Tattoo Convention
27th-28th-29th September 2019
Tobacco Dock

Images : www.thelondontattooconvention.com

The post Rockin’ Tattoos — THE LONDON TATTOO CONVENTION 2019 appeared first on RAMzine.

‘For the Love of Metal’ is just that, a celebration of metal, produced by Jamey Jasta, the idea came about while Dee was a guest on Jasta’s podcast. Some ideas fizzle and die, but thankfully this didn’t. A whole collection of metal royalty guests upon the release, with more names than you can shake a stick at taking part (as seems to be a theme recently with releases). As much as it proves the quality of artists out there at the moment, it does at times fall a little short of standing out in the crowd, looking at that from a positive view though, while they might not all jump out at you, the tracks already feel familiar like you know them.

‘Dead Hearts (Love Thy Enemy)’ showcases a glorious and powerful show of forces, as both Dee and Alissa White-Gluz battle their voices for the star of the track, just as good is ‘The Hardest Way’ featuring a Mr. Howard Jones. Bright and fuelling on the fire, the provide the masterful strokes of the album, the light that shines the brightest, often shines for the shortest however, and the rest of the ‘For the Love of Metal’ in comparison seems to rather just go through the motions. While the talent is there, the tracks are good and the album flows nicely and at a good pace, it doesn’t seem to hit that point that makes me want to keep going back for more, it feels like more of an occasional album rather than one I’ll be throwing on every opportunity I get, to be an occasional album though it would need to stand the tests of time, and I think this can do that without breaking a sweat.

By all means get it, it is a great album, but if you go in with your expectations raised, you could find it missing the mark. That said, it does what it says on the tin, it is a show of force that proves a love for metal, it will have the older generations and new generations enjoying something out of it, and that alone can make for a musical affair that you just cannot fault.

‘For the Love of Metal’ was released earlier this month via Napalm Records.

The post Dee Snider – For the Love of Metal appeared first on RAMzine.

Their new 4-track self-titled EP is out this summer and brings some great riffage with the first single ‘Time to Play’ [ the radio-edit is a bonus track on the EP].

Groovy and ever-locomoting ‘Time to Play’ has a striding gait and moments of squelch. The forceful lyric is brought with a red-hot ‘n’ full-blooded voice. And a brilliant wave of silver and melodious guitar comes near the end — to illustrate perfectly. Splendid.

Faster and perhaps more nimble is: ‘Die This Day’ — about growing stronger when those around oppose what you do. Therefore it’s frisky as a bouncy-castle in a squall. The vivacious guitars jump happily while the rhythm thunders. This is vibrant and irrepressible with a glamorous, full-throttle edge that reminded us of Sweden’s Hardcore Superstar.

‘Speed Demon’ begins with a storm of drums and a complexity of guitars. The voice is attractive without being flashy and the rhythms are electrifying.

‘Same Old Same’ is a high-impact, screamifying slur. With addictive bouncing booty and burning-hot guitars. A real treat. The piano tops this off creatively.

This will suit fans of Bon Jovi and Quiet Riot. In other words: there’s enough gauze, breast-meat and backcomb to make it appear glam… yet sufficient unstoppable, manly energy to veer the songs away from pop metal and into serious hard rock territory.

The EP release date is August 17th 2018.

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