Top Sounds - D

DEAD ENDING - II {Alternative Tentacles} Second release from this exemplary HC outfit put together by Vic Bondi. If the debut was impressive (and it was - see below!), this simply sweeps that record away in a carnage of fuzzed HC guitars and a general no-fucking-filler attitude. You get five tracks, three of which don’t reach the one-minute mark but are perfectly formed slices of raging ‘core that include the opener ‘Until It Falls’ and ‘Dead Ending’ itself. Correspondingly, closer ‘Speed Of Lies’ crawls outta the speakers in a FLIPPER sludge of discordance and bile. As always with Bondi, the vocals are enraged but clear and hit political targets with suitable aplomb as ‘Indefinite Detention’ proves. A massive, aggressive record - even by Bondi’s standards - and one that leaves the listener gagging for more. Compared with the debut, this did seem to have a slightly rawer sound - more stripped down if that’s possible. That said, these songs hit with a power that is unparalleled. Punk Rock? Fucking right!!  Hardcore? The way it should be!!

DEAD ENDING - S/t {Alternative Tentacles} Now, here is something that got me as excited as a 7-yr-old on Christmas Eve! This is the new project from Vic Bondi, he of ARTICLES OF FAITH and REPORT SUSPICIOUS ACTIVITY (among others) fame. It’s not just Bondi though as the guitarist is Jeff Dean (NAKED RAYGUN and THE BOMB), Derek Grant (ALKALINE TRIO) plays drums and last but not least, Joe Principe (RISE AGAINST) fills out the bassist’s shoes. It’s a damage-inducing quartet too as opener ‘All Your Satellites Are Falling’ proves; it's an inventive but blasting slice of quality 80s-style HC. Bondi’s vocals are huge, scathing and lyrically intelligent as ‘Ninety-Nine’ focuses on the Occupy movement and elsewhere we get attacks at capitalism, war and America. While ‘Ninety-Nine’ and ‘This Is A Stick Up’ are clear, concise HC blasts, it’s the slower BLACK FLAG/ NOMEANSNO bile of ‘Wasted’ and closer ‘All The Way Down’ that could be a RAYGUN classic that really impress. Awesome stuff - Bondi has never made a duff record and this would be among his most ferocious best. First 500 come on gold vinyl (take heed tho: 499 are only available as mine is NOT for sale) and includes a download card. Comparisons are no doubt going to be levelled with OFF! but this is more political, more inventive and on a decidedly better label. Essential. (31.07.12)

DEAD ON, THE - s/t {Boss Tuneage} A very smooth yet powerful slice of pop-rock from this new Chicago band that has been formed from the ashes of WOOLWORTHY and THE REPUTATION. It’s without a doubt that these songs are well constructed tunes, pivoting around solid guitars and distinct melodies and at its very best - like ‘Hold Me In Suspension’ and ‘You Make My Love Grow’ it comes over as a fusion of ‘Don’t Tell A Soul’ era REPLACEMENTS, early CHEAP TRICK and prime-time POSIES. Production befits such a sound too; it’s bold, clear, retains an edge about the guitars but is also radio-friendly. Interestingly, on only two plays, a lot of the songs had lodged themselves in my mind - ‘Nobody Loves You Like The Devil Do’ in particular. Have to say it is a little too smooth for my ears and I am sure that’s probably just what the band was aiming for as opposed to garageland burnouts and Punk Rock seizures. Recommended if you like stuff on Deep Elm Recs and that kinda BUFFALO TOM alt-indie-rock stuff. (07.02.14)

DEAD TO ME - Moscow Penny Ante {Fat Wreck} Well, this has just fucked up my 2011 Top 10! Easily, this stands as one of the year’s best - it not a Top Five contender. DEAD TO ME has always been a good band, but this, the band’s third album, has elevated them to the levels of greatness. Not too sure what’s changed; there’s just an assured confidence and an originality about the songs without losing any of the infectious charm the band always had. I heard a constant STIFF LITTLE FINGERS influence (circa 'Nobody's Heroes' album in particular) but mixed with the resounding, compulsive anthems witnessed on THE ARRIVALS ‘Volatile Molotov’ album and an ALL urgency. Best songs? There’s not a duffer here, but ‘Reckless Behaviour’ could be the best song ALL never wrote. Lyrically this is even better than previous releases mixing the poignant (‘Dead Pigeon Tricks’) with the political (‘Undertow’, ‘No Lullabies’), the historical (‘The Trials Of Oscar Wilde’) and the personal (‘I Love My Problems’) Great packaging that includes a flash digipack and additional quotes to the song lyrics. Totally satisfying in every way; DEAD TO ME can now clearly claim to be among the Best Three on Fat Wreck. (05.03.12)

DEATH BY SNOO SNOO - Tasta Saat {Creative Class War} From the band’s name to the drawn graphics that adorn the sleeve artwork I imagined... Something different. I’m not sure what I expected but it wasn’t these 19 tracks of fantastic Punk Rock. DEATH BY SNOO SNOO is a 4-piece from Oulu, Finland and feature two guys and two gals, with one of the latter being Hanne, the vocalist. She sings in her native Finnish and I think this is the band’s first official release. Musically, it’s a varied listen switching between virulent Hardcore, moody Death Punk and up tempo, sneering Punk Rock. Highlights would be ‘Korttihai’ and ‘Paperi Vaivaa’ that have a SPECTRES feel which are juxtaposed against the raging Hardcore of ‘Kolmas Silma’ and the bile-drenched male/female vocal attack of ‘Pentutehdas’. ‘Sotaveteraanit’ is a swaggering Punk track that pivots around a distorto bass lead evoking SIGNAL LOST and ‘Yhteiset Elimet’ takes the title of being the catchiest yet decidedly rocking track on the album. Lyrically there are no translations, but given the label’s name and the band’s live pedigree, I imagine they are political and informed. Excellent stuff and very fresh sounding. (20.08.12)

DEFCON ZERO - Music For Glue Sniffers, Terrorists And The Mentally Ill {Pumpkin} A total Punk Fucking Rock Holocaust! Remember when GBH slapped ya in the face with ‘City Baby Attacked By Rats’? Well, this debut album from London’s DEFCON ZERO has the same relentless, unbridled and furious attack but brought bang up-to-date with a bit of D-Beat, a slice of Hardcore and a totally throat-lacerating, embittered rage. You get 16 tracks that, lyrically, paint a vivid picture of a decidedly fucked-up world, be it via war (‘We Want Blood’), religion (‘Over The Wire’), a corrupt media (the title track) and plenty about corporate oppression. There’s also a fantastic sense of placement about these songs with many name-checking London. Highlights tend to be the songs that stray a little from the bludgeon, be it ‘Jackboots’, the call-response vocal of ‘We Want Blood’ or the highlight ‘Liberate The Asylum’. That said, the bludgeon is vicious though - the ode to the BNP’s slice of slime ‘Nick Griffin’ simply destroys any sympathiser who dares stand in its way. Have to say, a bit of variation would certainly help - not asking for GREEN DAY chops or anything - just a bit less of the face-melting vocal delivery. The band has all the aural anger and a bit of refinement may channel that anger to yet more stunning effect. (28.04.12)

DESTRUCTORS, THE - S&D&R&R {Rowdy Farrago} Jeez... Umpteenth themed album from these UK Brit rockers and, in case you are wondering, the initials in the title refer to Sex... Drugs... Rock... Roll. Cliche city. There are such delightful odes to sexual equality like ‘Spitroast FC’, ‘Crack Whore’ and ‘Sex In Chains’. The equally dubious CD art includes several photos of scantily clad ladies in a range of restraints. Musically, there is no difference between this and all the other DESTRUCTORS releases reviewed on this site. Covers this time are DWARVES, SUPERSUCKERS and, amazingly, a rather cracking take on ‘H-Eyes’ by THE RUTS. Does this band really use every sub-standard riff that flows through their fingers? Sure sounds that way. And you know what a bunch of sub-standard riffs coupled with failed humour creates? Sub-standard rubbish. (28.09.12)

DESTRUCTORS, THE - Pow! That's Killmusik Volume Two: Rewind {Rowdy Farrago} Release number 3,439 from this (far too) prolific band. This compiles releases from numbers 2,000 through to approximately 2,800 adds on some new tracks (giving a grand total of 22 songs) and includes a very well-designed booklet. You can check out about 20 other reviews elsewhere on the Scanner website (a link below gives you six for starters) and needless to say the direction here varies very little from other releases. (13.03.12)

DICKS - Kill From The Heart {Alternative Tentacles} The first of two reissues from what remained the last, and one of the greatest, pair of releases from the golden age of US Hardcore that had yet to see a bona fide reissue. Formed back in 1980 in Austin, Texas, the band confronted from the outset be it via openly gay vocalist Gary Floyd or some deliciously twisted Punk Rock sounds through to an anti-racist, anti-cop stance. Combine all that and put it anywhere in 1980 and it’s confrontational. In Texas, it must’ve been downright suicidal. This is the band’s classic first album coupled with the equally classic ‘Hate The Police’ EP. Songs? Each one is a classic of the time be it opener ‘Anti-Klan’, ‘Rich Daddy’, the immortal title track and ‘Dicks Hate The Police’ from the EP. Musically, if you never heard the band, they fused DEAD KENNEDYS Punk with something more organic, almost rootsy. Floyd’s vocal was just as rich as Jim Morrison’s and as sneering and snide as Biafra’s all at once. By 1983 the band had split and Floyd relocated to San Francisco where the disc below was recorded. A true classic of Reagan-era Punk Rock that still sounds as stunning today as it did in the 80s. (18.03.13)

DICKS - These People {Alternative Tentacles} So, new city, an entirely new band and, while Punk Rock is still decidedly at the heart of matters, this emphasises the richer, roots sound of the band. I often think I prefer this album - but then I play the debut and change my mind again! Besides the album, the bonus tracks here include the ‘Peace’ EP from 1984. Again, absolutely laden with classics be it the unforgiving ‘Dead In A Motel Room’, the supremely provocative ‘Off Duty Sailor’ or the chiming, iconoclastic drone of ‘No Fuckin’ War’ that remains one of the best anti-war songs in the entire Punk arsenal. Both these discs come in a smart digipack with full lyrics and have been remastered by Jello Biafra. Both are essential additions to any Punk collection too and really, you can’t have one without the other!! The band split in 1986 and, on these two discs, you have the band’s entire studio output. Now, all we need is a reissue of the split live with the BIG BOYS with lots of unreleased live goodies too. Could that be hoping for too much? Sure hope not. (18.03.13)

DIE! DIE! DIE! - S W I M {45rpm} Of all New Zealand’s Punk bands of the last decade, DIE! DIE! DIE! has remained the most innovative, fusing a late-90s Dischord abrasion (think BLUE TIP or SHELLAC) with an accessible strain of melody. This is the band’s fifth album and the boundaries are still being pushed but without any artistic compromise or compliance. You get 12 tracks and, most notably, the use of electronic noise/ sound that frequently brought to mind MISSION OF BURMA. Highlights? ‘Sister’ is destructive in a SCRATCH ACID kinda way, while ‘Get Hit’ contains enough melody to be an Indie hit while retaining a pounding, relentless beat. ‘Out Of Mind’ flows on a distorto bass line and jarring, staccato chords while ‘Crystal’ could be the stand out - starting like JOY DIVISION and morphing into the drama of FUGAZI. I kept hearing a JANE’S ADDICITON vibe too, especially in Andrew Wilson’s vocals - equal parts ethereal and demanding - there’s a vague decadence about both he and Perry Farrell’s voice. Let’s not make any mistake though - DDD has its own sound and its volcanic, dramatic and alluring. What’s more, this could be the band’s most impressive slab yet. (14.11.14)

DIRTY FILTHY MUGS - Up In The Downs {DC-Jam} What a turn up!! Looking at this, I thought I was in for another bunch of Yanks playing faux Scottish/ Irish Folk-Punk. They’ve got the flat-caps, tartan, a squeezebox... Robbie Burns would be turning in his grave. In reality, this LA band is an incendiary, grizzled slice of Street Punk that takes first album SWINGIN’ UTTERS but cranks it via the bile of early NEW BOMB TURKS. Highlights among the 14 tracks include the infectious Garage Punk riffage of ‘Blocked Up And Smashed’, ‘Jokers And Cons’ that had all the attitude of a ‘77 Killed By Death classic, ‘Bodkin Downs’ that’s propelled by a MOTORHEAD-esque riff and the sub-90 second roar of ‘You Want It All’. Throw in an understated but effective use of acoustic guitar and you’re looking at an album TKO could’ve-should've-would've released - only difference being DIRTY FILTHY MUGS would’ve kicked the shit outta most of the average Street Punk oiks TKO used to released. (04.02.12)

D.O.A - We Come In Peace {Sudden Death} Of the 13 D.O.A albums previous to this, there has been some true classics. It’s also fair to say some have been a let down. Thankfully, this 14-tracker is up there with the band’s best - probably the best since the album with Jello Biafra back in 1990. This is also the most politicised album for a while too with many of those tracks providing the highlights: opener ‘He’s Got A Gun’ is classic D.O.A; ‘We’re Bloodied But Unbowed’ includes a Hammond Organ and a swagger THE CLASH would’ve been proud of; ‘We Occupy’ is a duet with Biafra and, most surprisingly, ‘Lost Souls’ comes on like GUN CLUB meeting SOCIAL DISTORTION! Elsewhere the TOXIC REASONS classic ‘War Hero’ becomes an understated, dubbish saunter and THE BEATLES ‘Revolution’ is rocked up and ripped out. The closing pair of the dub-Reggae laced ‘Walk Through This World’ (sounding uncannily like ‘Bank Robber’) and an acoustic reworking of the chestnut ‘General Strike’ round out an album that’s free of filler and, if there’s any justice, will once again see the D.O.A name mentioned with reverence. (24.09.12)

DOGTOWN REBELS/ DESTRUCTORS, THE - Terrorismo {Rowdy Farrago} Latest split EP from the DESTRUCTORS camp, this time kicking off with DOGTOWN REBELS which is a band that has links with my home town of Ipswich. Not sure if the name is a reference to skateboarding Dogtown or not... Anyway, they do three, punchy ‘77 style tracks that reminded me of an upbeat GUITAR GANGSTERS meets 999. Opener ‘Someday’ features a neat stop-start CLASH-esque riff and all the tracks have stellar, sing-a-long choruses. Really confident and clear vocals too. As for THE DESTRUCTORS, it’s another trio of ploddy originals that have my foot tapping but my mind wandering and a pub-rock version of a NOFX song. Again, DESTRUCTORS come off second best. (16.03.14)

DOMESTICS, THE - The G.D.P. E.P. {Kibou} Like your Punk hard and fast? Intelligent and uncompromising? And veering more to growled HC than dainty Pop-Punk or Metal-inspired Crust? Well, you better check out this 6-track yellow vinyl 7". Belching outta my home county of Suffolk - and now with a line-up bolstered by ex-I.C.H man Ed Ache - this EP seems to be one step up from the band’s debut album below. Gone are the slower, AMEBIX-like moments and in their place comes more speed, more precision and more substance. James’ lyrics here are both witty and intelligent with highlights being ‘I’m Tanked’, ‘Culture Marines’ and ‘N-n-n-n Nervous’ which even introduces some bilious melody into proceedings! This is a solid slab of gnarled UK HC with a destructive bass sound and a VIOLENT ARREST intensity; in fact, it’s the kinda stuff Profane Existence should be releasing instead of the label’s Crust-Metal dullness of late. Punk Rock? Fuck yes! Angry? Oh yes! Quality? Three lots of yes in a row!!! (07.04.14)

DOMESTICS, THE - Keep It Lean {Kibou} The first thing ya hear on this UK band’s debut is a sludgy Black Sabbath riff that lulls the listener into FLIPPER territory - and then the real action starts! This four-piece hails from my home town of Ipswich, England and this 14-track slab is torn through in a mere 21 minutes. There’s a definite BLACK FLAG ‘My War’ era vibe but played via some BROKEN BONES riffage. Highlights for me were ‘Machine’ that has a neat stop-start riff a’la early WIRE, ‘Faith And Hope’ that has a menacing AMEBIX vibe and disc winner ‘Nothing Factory’ that’s driven by some stellar guitar work. Vocalist James Domestic pulls no punches here; his vocals are delivered with more throat-shredding capacity than a barbed-wire flogging. Lyrics are socially and politically relevant and the band has, since recording, claimed ex-ICH man Ed Ache among its number. 100% DIY, 100% Punk. A few dynamics would be welcome, but as debuts go, this is pretty pleasing. A gig with these fellas and DEFCON ZERO would be a killer! (06.07.12) 

DOWN AND OUTS - Life Line {Boss Tuneage} I was really impressed with this Liverpudlian band's previous album, 'Forgotten Streets' (review below) and thankfully this follow-up - the band's fourth album in total - while not hitting quite as hard, still packs a punch. The sound seems a bit more understated here; the guitars are often plucked and bring to mind a fusion of TRAVIS CUT exuberance and the perfect pop of BUZZCOCKS. Highlights are plenty - 'Yesterday's Heroes' with its football commentary, 'Dancing To A Different Song', the meandering 'It's Over' and pick of the bunch, 'Ricochet'. What is very noticeable here is the Scouse accent on the vocals. It certainly adds a sense of location to the sound and gives a lot of the songs a rather interesting dynamic that another wannabe-Yank vocalist could not comprehend. Solid stuff and with four albums, this band should get a lot more credit than it appears to. (23.05.14)

DOWN AND OUTS - Forgotten Streets {Boss Tuneage/ WaterSlide} I think this is the second album by this new band (to me at least) outta Liverpool England. Not sure why, but I wasn’t expecting much (probably due to the beards...) but these 12 songs swagger along mixing ‘...Rope’ era CLASH with a more contemporary RVIVR feel and a splash of SWINGIN’ UTTERS barroom Punk Rock bile. Highlights? Well, there’s not a duffer here and the whole album flows well as a single piece but the bass lead of ‘Let It Go’, ‘Wrap Time’ and the singalong opener ‘Tourist In A Tenement’ all stand out. There is a notable number of sing/shout style vocal parts that emphasise the RVIVR/ ERGS influence yet surprisingly, the album finishes on a subtle note with an acoustic meander that recalls the great MEN THEY COULDN’T HANG. A total surprise of an album and a total gem at that which has continued to impress with repeated plays. (02.10.12)

DOWN BY LAW - Revolution Time {Dry Heave} Oh - this came outta the blue... New DBL and Dave Smalley material is always exciting, even after the dismal ‘Windwartidesand- waywardsails’ album. Although the band’s last full album was a bit of a return to form, I was dubious as to whether this stunning maroon-marble vinyl 10" would even shape up to that. Thankfully, the first song ‘New Autonomy’ is probably the best thing DBL has done since the ‘Last Of The Sharpshooters’ album in 1997. Elsewhere you get a cracker from guitarist Sam Williams in ‘The Future Has Been Cancelled’, both ‘New Horizon’ and ‘Midnight Fighers’ harken back to prime DBL too. It ends on three acoustic covers including a very effective take on STIFF LITTLE FINGERS ‘Gotta Getaway’. It’s interesting to note the inclusion of an acoustic guitar on most tracks in fact, with that melancholic JAM vibe being paramount on ‘Paper Cowboys’ and ‘Radio Silence’. It’s not a total return to ‘PunkRockAcademy- FightSong’ quality though as ‘Rebel Conformist’ is a jumble of styles with a terrible bellowed refrain that brought to mind latter day (read piss-poor) Kiss. However, one mistake I can handle and it’s on-par with anything on ‘Windwartidesandwaywardsails’. I’ve been listening to Dave Smalley for over 25 years now and I’m pleased to say this restored a lot of faith - great packaging also from Dry Heave.  (19.07.14)

DOWN BY LAW - Champions At Heart {DC-Jam} Ohhh - it’s been a while! Listening to this is like hearing from a long-lost friend for the first time in years. For those who don’t know, DOWN BY LAW feature former DAG NASTY, ALL and DYS frontman Dave Smalley and during the 90s produced a string of faultless albums on Epitaph. Nine years ago, after the appalling ‘Windwartidesandwaywardsails’, they split. So, when this appeared I feared the worst. Thankfully, this knocks seven-shades-of-shit outta that album and, while not as potent as the band’s best from yesteryear, it’s still a damn convincing disc. Opener ‘Bullets’ is classic DBL - mid-paced and impassioned, ringing guitars and that unmistakable Smalley voice. ‘Nothing’ and ‘Homicide’ prove the band can still nail a cracking HC rocker while the title track and album highlight ‘Knock This Town’ incorporate the acoustic guitar - another DBL trait. At 16 tracks and 50 minutes, there are two tracks that should’ve been left off (the cheesy ‘Popcorn And Coke’ in particular), but generally this is an excellent return to form and one that just gets better with multiple plays. Great to have ya back fellas!! (14.09.12)

DOWNTOWN BROWN - Grabbleton’s Beach {DC-Jam} Got no info on this trio and, on the strength of these 19 tracks, I don’t really have any inclination to find some out. If little-boy-with-little-dick song titles like ‘Vagina Bombz’, ‘Thx4 The Mammaries’ and ‘Meatwave’ wasn’t off putting enough, the opening track is a Jazz-Rock-Metal fusion instrumental. It’s called ‘Dr. Mantis’. Much of the rest is a mix of MINUTEMEN ‘Double Nickles...’ era tunes (no complaints there) but infused with a FISHBONE funky rock deal (not so good) and added eclecticism (less good again). I’m sure this would appeal to the average Pink Floyd fan (especially the endless guitar waffling on ‘Ron’s Town’) and particularly if they’ve a penchant for Funk Rock and songs with the lyrical substance of a pre-pubescent teen wank addict. To me, this is a really odd release from a label that is as usually stellar as DC-Jam. (14.02.12)

DUMBSTRUCK - It’s Still Broke... The First Two Records {Boss Tuneage} DUMBSTRUCK was a band that totally passed me by. I knew of their existence, but never owned or heard any of their records. The band was a bit of UKHC ‘supergroup’ featuring members of RIPCORD, HERESY, NAPALM DEATH, CAN’T DECIDE and FILTHKICK. They released two records: ‘If It Ain’t Broke’ EP from 1999 and the ‘And We All Fall Down’ album the following year. This collects both, throws in some covers and gives them all a remix leaving a brutal, incinerating slice of HC Punk. The EP is noticeably fuzzier than the album with a distinct nuclear-sounding guitar a’la DISCHARGE. The album is equally bruising but a bit more balanced and adventurous. Highlights? ‘Helpless’, ‘Pravda’ that has a bit of a groove to the riff and a take on POISON IDEA’s ‘Pure Hate’ that is actually among the slower songs on here. Full lyrics, liner notes by drummer John and neat packaging. Pretty killer stuff that’s raw, angry and brutal but really well done. Most welcome re-release and fills what was a big hole in the collection. A couple of members are now in VIOLENT ARREST. Wooargghh!!!! (30.06.14)

DUNCAN REID AND THE BIG HEADS - The Difficult Second Album {DIY} After a 35 year wait for the debut album, this follow-up has appeared in a matter of months. I have to say, initially I found it a bit lacklustre. Y’see, if the debut represented ‘Sick On You’, I expected a ‘Brickfield Nights’ for the follow-up What I got sounded not very BOYS-like at all. After six plays, it dawned on me - this is a DIFFERENT BAND!! Suddenly, the record had new depth and I heard some stunning tracks with opener ‘Just As Good As I Used To Be’ being a highlight, with a very Lennon-esque piano/vocal intro. That sound was on a few tracks - ‘Joe’ and ‘Not The Kind Of Guy’ in particular. Other areas I heard a nod to Bowie in ‘Baby Doll’ and ‘Long Long Gone’ while ‘One Night In Rio’ finally pacifies the yearnings for some BOYS-like tunes. Ultimately though, what Reid has created is a band with its own identifiable sound playing some killer New Wave Power Pop. As with the debut, tracks get explanations and aesthetically, it’s a similar looking release. Have to say though, talking of aesthetics, the cut of Duncan’s trousers is simply superb. Who’s your tailor bro? (23.11.14)

DUNCAN REID - Little Big Head {DIY} OK, facts first - this is fucking great!! REID was the bassist in one of the best and most unsung of all the original 70s Punk bands, THE BOYS. He also sang and wrote a lot of the songs. This is his first solo album, which proudly states has taken 35 years of writing! It’s well worth the wait too as this is laden with gems. Want BOYS Punk? Check ‘Thinking’, ‘Montevideo’, Shot In The Back’ and ‘77’ (a highlight, also recorded by CUTE LEPERS). Want BEATLES-esque, piano led, perfectly written charmers? Check ‘Too Late’ and ‘All Fall Down’. Want exhilarating, Power-Pop Rock ‘n’ Roll? Check ‘Gotta Call Simone’, opener ‘The One’ or the already-classic closer ‘Rolling On’. Truly, there’s not a duffer here. It’s all packaged in a neat digipack sleeve with a booklet loaded with photos of Reid, lyrics and details about the songs origin and recording. It’s no secret I loved THE BOYS, but even as biased as I am, I didn’t expect this to be as joyous and stunning as it is. Welcome back Duncan - it’s OUR pleasure!! (04.11.14)

Hit HERE for material reviewed prior to 2012 including: