The Sound

13/08/2024

A SUDDEN BURST OF COLOUR – Galvanize
Album
CD/Vinyl/Digital
40m
https://asuddenburstofcolour.bandcamp.com/album/galvanize-lp
For once, I'll be brief (“a first” cry the Freemans)........
This Scottish instrumental band have been recording for over 10 years and produced some of the finest most heartfelt dual guitar romanticism, this side of the first three Michael Rother albums (with whom they share no obvious musical similarities).
The tracks on the album, which is dedicated to and inspired by their home town of Motherwell, consists of what can only be described as 8 “guitar paintings in the sky”. The band is unashamedly melodic, with the rhythm section flowing underneath, but far from twee melodies or anything like that, what you get are compositions that just fly and soar, from the heart, and totally atmospheric. Sometimes the notes will just hang suspended as the other guitar shimmers all around, the rhythm section appear then the whole things builds to an intensity that then just disappears like a bubble, before then rising up and firing forward, often the guitars taking on an almost horizon-expanding electronic undercurrent.
Throughout the album, the guitars intertwine, weave a series of magical spells and there's this human touch at the heart of it all. It's strong, it's delicate, it's mesmerising, bright, easy to get into but a spell that you won't want to break, once you do. Compositions drive forward as much as they rise up like smoke rings, from density to divinity, this is simply a sublime and, for me, faultless album.

8 track album

17/05/2023

DEADFIRE – Pro (Pain) Single
One of the many things that make this band such a great prospect for fame and fortune in the UK metal arenas, is that, in less than three minutes, they consistently manage to light up your life to such an intense degree, that, by the end of it, you're wondering how you ever lived without them in your life – and this new single, is no exception.
Opening with a roaring slice of fuzz guitar, the band immediately hammers in, with huge guitar riffs, pounding rhythm section, a huge-sounding production, and then all topped with a vocal that's worthy of Metallica at their finest. With this sense of a freight train running out of control, the band tear headlong into the verses and the oft-repeated hook, that sticks in your head for ages after. With a burning sense of metallic density, the wholly scything monster of metal, rocks and roars to perfection, as stunning a track a not only this band, but many a more well known metal band, could have hoped to produce – and this is still just the beginning......

04/03/2023

DROPKICK – The Wireless Revolution Album
Some of you out there may not be aware that there's been a band in Scotland releasing some of the finest quality, brilliantly sung, superbly written, and well played Americana-laced songs, for a good many years across an array of highly consistent albums – if you're one of those people, then stay in the wilderness no longer – for the wonders that are Dropkick are about to make a positive difference to your musical listening life.
This then is the latest album – whatever number, I'm not counting – but what does count, is that this is a total wonder of song-writing cohesion.
Let's start with “Telephone” - opening with jangly guitar, a ringing combination of electric and acoustic, and the sort of chord structure that immediately endears itself to you, as the rhythm section make their presence felt, while the track just bounces along with a wide-eyed smile on its face as the singer enters, his voice a mid-upper register honey-like vocal that just melts itself into your heart, almost self-harmonised, but then you get the added bonus of real harmonies on the chorus, as the verses flow like wine and the playing evokes sunny skies and summer days. Lyrically, we're talking heartfelt and soul-on-display as the yearning nature of a relationship not at its best, unfolds, and a short but sharply sweet guitar break just adds a bit of an edge to the warmth that the track exudes by the megawatt – and this is just one three minute track of utter bliss, with 9 more to go.
The track that opens the album is “Don't Give Yourself Away”, this one with all the aforementioned elements in place, differently positioned with more of a building quality to the song's arrangement, more of a plaintive feel to the largely solo vocalising, a hook-cum-chorus that's exquisite, another heart-on-its sleeve lyric, more twists and turns in the playing, that satisfying combination of strummed acoustic and, this time, more biting, electric guitar, well in place as the song sidles to a sedate end point.
“Unwind” starts with a cascading guitar figure as the rhythm section strengthen things and immediately, the vocals are full of stunning, beautiful harmonies, somewhere around a modern answer to bands such as The Byrds and Crosby, Stills and Nash at their most harmonious. The feel, sound and arrangement is very Byrds-esque only, as with the whole album, clean, bright and superbly produced so that every element of the singing and playing is crystal clear yet stunningly cohesive.
“The Other Side” has more of a 21st century Country feel to both the singing and the song, and it's worth pointing out that anyone who also likes the more quality Country bands of today, will also love this band and album. After that comes “It Could Finally Happen” and it's back to the soothing strength of Andrew Taylor's wondrous vocal, the higher register harmonies like an Americana-laced Beach Boys, another song that bounces merrily along, but there's a fathomless depth to it all, largely thanks to the harmonies, this time surrounded by strummed guitars, quietly punchy rhythm section and subtly echoed keys. “Ahead Of My Time” is a stunner – easily a hit single if such things were possible from a band of this quality, and the sort of song that hangs around your head long after you've heard it, but at the same time, eminently repeat playable, with a twangy guitar lead worthy of Richard Thompson, an meaningful rhythm section, purposeful lead vocals and soaring harmonies – who'd have though that two and a half minutes could sound so amazing!!
After that, there are 4 more songs, all of the same top quality that you've now come to expect from a band who are not only this good at what they do, but they pour that feel-good factor out to the listener like a warm shower on a gorgeously hot, sunny day – that, my friends, is the world of Dropkick – enter as you please.....for you will be pleased......and then some.....

21/11/2022

EBB – Mad And Killing Time Album
Brand new album from Erin Bennett and band, and the reinvention finally pays off big-time, with a wholly new set of original tracks.
Things kick off with a near 3 minute instrumental that covers ethereal flute, rising waves of brass and samples, creating an altogether new variety of “out there” dimension before the first song kicks in, notably “The Animal Said:'I'”, entering on waves of crisp guitar before Erin's vocal kicks in, flowing softly above the solid backing from guitars, rippling piano and crunchy mid-paced rhythm section, the song strengthening and solidifying as it progresses, introducing some gloriously uplifting vocal harmonies along the way, almost bluesy in feel but somehow menacing at the same time. There's a searing guitar break as the bass thunders upfront, the presence of organ gives it all a '70's feel and the whole thing climbs to great heights, before dropping back down to earth and seeing things out with another strong vocal performance as the band rumble underneath.
The near 7 minute “Tension” starts with organ and guitar, again that seventies prog feel prominent, only for the bass to gather up, crash in, the drums drive forward and the guitar storm forth, creating this spiralling maelstrom of an intro, as the voice kicks in, deliberately enunciated, wordless choirs come from nowhere, the guitar riff scorches, the band really solid. It progresses into a song, the vocal soaring out in a kind of classic Heart vein, and it all shines seriously brightly as a slice of scything prog-rock unleashed to perfection.
“Hecate” is like a collision between Renaissance and Classic Prog Rock as the piano forms the lead, while the band come in and out with authority, the vocal positively sizzles, moving from menacing leads to angelic choruses, the interplay between the massive might of the band and the delicacy of the in and out piano work, taking your breath away. “What Under What” gives reign to Erin's wondrous vocal talents, a sort of mix between the sonsgstresses of the past such as Michelle Young and, to a degree, Kate Bush, although obviously lower range, but all set within a gathering prog-rock ocean as the drumming becomes ever more dramatic, the keys set a wide open sea and the crunch of bass and guitars all combine to take the track back into '80's AOR territory with an underlying seventies river of instrumental joy allied to a wholly up to date, twisting and turning arrangement, all of which showcases a band who've put so much into the melting pot and come out with solid gold.
“Violet Is Tits” is a four minute instrumental that shows the band's dimensions off to perfection, the kayboardist in particular proving her worth on piano and organ, as the rest of the band dive in with purpose, the drumming yet again absolutely outstanding, the guitar crunching away and the bass pounding underneath, all before the muscular drama of “Krystal At The Red Light” steams into life with an intro right out of Classic '70's prog, before a brooding vocal kicks in, moving through a glorious range of brooding to high register soaring, as the band power forward and this expansive mass of organ, keys, guitars and rhythm section give the thing a huge sounding feel, conjuring images of bands such as If and Colosseum, albeit in a more modern setting, and yet another exceptional slice of new-look Prog.
“Confess” continues the excitement, initially a proggy ballad, before blasting out with authority into an instrumental section that takes off like a rocket, as the multi-tracked vocal takes it all down a few notches and becomes very ethereal, before vocal and band surge towards a high-flying finale, again, just outstanding.
The album ends with “Mary Jane”, as fantastic a song as any on the album, softly introduced with acoustic guitar and streaming lead vocal, flowing effortlessly through a heartfelt song that, to use a rather obscure comparison, reminds me of some of the vocal work on Electra's “Whatever” album. The vocal then flies like an eagle into the soaring section of the song as the band follow suit, and this hugely emotive track, drops to earth once more, totally captures your heart and ends the album with complete passion and powerful restraint, just one stunning song and a perfect close to what's been a flawless album.

02/11/2022

FORGOTTEN SONS – Forgotten Sons EP
Hailing from the Shetland Isles, here's a trio who've delivered a thing of absolute quality in this new EP. Starting with “Flipside”, they've unleashed a total anthem of a track that bursts into life with wall-to-wall guitars and rhyhtm, as the nasally but strong sounding vocal races in, the guitars and rhythms stutter to massive degree, the verse flows like a river into a gigantic chorus and this incredibly addictive slice of massive sounding indie-punk heaven, just lifts you up and takes you off to the heavens with a track that will be in your head for ages after, yet one you'll want to play, long loud and often.
The, just to prove it wasn't a one-off, they produce “Socials” which starts less intense but still striding out with the best of them, as the vocal possesses more of an emotive quality, the song becomes another anthem, this time the instrumental work more cyclical, building to a crescendo then dropping back only to build once more. The hooks once again are memorable, the pace slightly slower, the power still hammering out and the whole thing stirring the blood to delicious effect.
Just to show that they can, and do, “I'm Fine” is an acoustic track, showcasing not only the songwriting ability of the band, but the vocal qualities, both soaring lead and shining harmonies, as the crisp sounding guitars carry it all forward, on a song that's so good, it doesn't sound at all out of place or a filler.
The EP ends on “Wasteland Mindset” which starts serenely, builds into something huge and then veers from one to the other before finally rising up and flexing all its muscles into a mighty slice of anthemic indie-pop-punk that hits the spot on all counts.
Overall, this is just brilliant in every way, memorable, great songs and playing, a singer that can really carry the load and a ban who can do no wrong.

03/08/2022

SUBVISION – In The Eye Of The Storm Album
If ever there was a quintet from the East Coast of Scotland who deserved to be much better known than they are, it's Subvision.
With two lead guitarists – Dave Clyke and Pete Ray, the rhythm section freight train that are Alastair Beveridge on bass and Craig Kirk on drums, topped off with the almost Lemmy-like vocals of singer Allan Beveridge......and the Lemmy mention doesn't stop there, either......
This is a band who straddles the razor's edge of punk rock and metal in the modern era, the same way that Motorhead did back in the days of the first Chiswick album and beyond, with equally jaw-dropping results.
The 4 minute “Empires” which kicks things off, starts deceptively sedate on a brooding guitar scale, splashes of melodic guitar and an overall sense of melancholy, then all of a sudden, this howling gale of a storm-force sea of fuzzed riffing guitar, thunderous bass and feedback, heralds the fast-paced main body of the track that tears you head off – Allan's thoaty vocals flying over this rip-roaring rollercoaster of guitars and rhythm section, firing on all cylinders and creating this huge molten mass of metal with a decidedly punk attitude as the whole thing rides the rails, threatening to derail at any minute but instead coming to an abrupt halt before the massic bass line from the other Beveridge, begins “Polarisation” and onece more, the band drive in like the devil's on their tail, that room-shaking bass, combining with the twin lead guitars which are furiously riffing, while the drummer's clearly being paid by the beat as he pounds the s**t out of the kit. Above all this, Allan B delivers the song with that Lemmy-like rasp and a sense of authority that makes you dive out the way in case it smacks you between the eyes.
“Glory Days” begins with more thunderous Classic Rock and metal riffs and rhythms as this time, the song prefers to shudder like a demon with the huge expanse of guitars, covering every part of your horizon with all the purpose of a successful assassin, the song roaring away on a wave of Allan's vocals, now roaring out yet brilliantly sung at the same time, the perfect singer for the lightning array that is the fast and furious song. The rhythm section continue to sink through the floorboards while the guitars decide to shatter your windows – turn it up loud and watch the street burn!!
The 4 minute “Alternative Facts” rises and falls like a rollercoaster on speed, with more of what's gone before only here more dynamic, the guitars working up to a crescendo of fuzzed-up firepower, like solar flares blasting off the sun, as Allan's lyrics are there for all to hear on a song that really makes you think, as much as it makes you wanna bang your head from now till kingdom come. “The Murder Of W***y McRae” is a wickedly evil slice of molten metal, decelerated from what's gone before, but instead of rifle-fire, it's now a white hot bubbling cauldron of guitars and rhythm section, the ferocity of the guitar attack, continuing unabated, as the song cycles up and down till you see the whites of the singer's eyes and know you're set in the sights of his vocal gun attack. A scorching electric guitar break, merely adds icing onto an already gargantuan metal cake.
The final three tracks on the album, do not disappoint as the band flatly refuse to take their collective hands off the pedal, the lava flow of riffs, rhythms, scything guitars and hollering vocals, continuing right to the bitter end, the actual finale of “Self Preservation”, taking off like a rocket.
As an example of molten metal magic with a decidedly punk attitude, this is faultless, and whether you're into the S*x Pistols or Motorhead, or any number of modern-day rock and metal bands, this is essential listening by anyone's standards.

16/05/2022

DEADFIRE – Live Or Die Single
The Classic Rockers from Aberdeen have only gone and done it again.......and this time, they've hit their own sizzling brew of burning metal, right out of the park.
From the first second, there's a storm force cyclical guitar riff that's dirty, fuzzy, thick with power and fires off into a searing heat guitar lead as the bass pummels, the drums pound and a vocalist who sounds like he should have fronted Ministry, all let rip on a freight train drive to hell. There's no let up in the monster that drives inexorably forward into Classic Rock nirvana, the ferocious sea of riffs, rhythms, vocals that sound like he's od'd on Jack for more years than is advisable, not to mention that electrifying lead guitar burning holes in tanks at 50 paces, all put the hammer down on one of the most essential rock tracks I've heard so far in 2022 – and this is only the second single – if there's an album of this quality in the pipeline, then I'm bursting with anticipation........

23/03/2022

ALEXANDER'S TIN STAR – Enjoy The Ride Album
Dundee musician and songwriter Alex Mills is best known for his group Millsyeck, a blues-rock band that at one point threatened to break out of the Dundee scene to much bigger things, before the band was “put on ice”.
Now, he's become involved in a new project.......his father's band.......and the results are as surprising as they are excellent.
The project is Alexander Mills writing the songs, with a bittersweet twist being that some were written with Joe Ogilvie, who passed away before the album was released, with the song “Life Of The Rodeo”, being Joe's last lyrics before he faded away. Millsy was responsible for the production, music and recording, and the result is a quite breathtaking example of......country music!!
Yep, this is the sound of ranch-life America, the vastness of the prairies and wry takes on life and all that it offers.
The album opens with “Enjoy The Ride” which is an uptempo number that immediately reveals a vocal that's perfect both for its genre and its subject matter, that dry, laconic, slightly nasally but enthusiastic travel through flowing verses before moving into a multi-tracked, uplifting chorus, all set to a jaunty rhythm in a countryfied vein, but with the added extra on what could almost pass for a Mexican mariarchi band in the backing, the whole thing sounding like a male answer to some great lost track by the late Kirsty Macoll. From there it's into the sprightly “Times Like This”, with lyrics that stress the need to work together and enjoy each other's company set to a more bluesy backing with the bouncing rhythm section, some twangy guitar, bursts of electric soloing and rippling piano, with yet another memorable high-flying chorsu that stays in your head, long after you've heard it.
“Too Many” is pure Johnny Cash, and even sounds a bit like him, as the tale is told of life's lost chances, set to an almost reggae-ish rhythm but oozing the American bar-room angst of the old wild west, as the song sails along in all its regret-filled wistfulness. “Heartbreaker” opens with some fierce guitar work from Millsy as Mills senior swoops down with a driving vocal and the chunky train of a track rides the rails to a heady sea of multi-tracked verses and a musical mix of blues and country that really hits the spot, the breaks from the guitar really adding an edge to the proceedings that will delight many a blues-rock fan along the way.
“Liquid Diamonds” is the epitome of the “old country” styled ballad, not quite Conway Twitty or Jim Reeves, as it's more modern, but it has a flow to it and that electric guitar set at the heart and soul of the unfolding observational lyric on life, with the vocal suitably heartfelt and uplifting, as verses and choruses become each other and, as throughout the album, there's a full sound, with great depth and instrumental horizons. “A Better Man” is an uptempo number revolving around an acoustic guitar riff, while the rhythm section rolls along and the song is sung with an optimism that makes you want to change your life for the better, as Mills senior's vocal has that easy listening quality to it, while being used on comfortable songs with absorbing lyrics, twangy guitar and the occasional tootling whistle, adding to the country-driven travelogue.
Of the further 6 tracks on the album, all in a similar quality vein throughout, “Big Ideas And Dreams” is a wistful but strong gem of a track, with Millsy's slide and twangy electric guitars evoking tumbleweed and ranch houses, while the vocal croons overhead in the clear blue sky, while “My Thunder” is a galloping horseride of a track with the album ending on the aforementioned
“Life Of The Rodeo”, a song about leaving, which, in the context of the participants real life, is both sad and uplifting at the same time, as the cowboy in the subject matter, bids his last farewell.
Overall, if you like your country music on the “Classic” or “Vintage” side, this is just that item, not a less than excellent song among them and exuding the life, feel and lyrical creativity of its composers and players.

16/01/2022

DEADFIRE – Anxiety Society Single
The thing about a great Classic Metal track is the way it starts – if the first thing that you hear is a hulking huge guitar riff and a rhythm section that sounds like they're trying to cave the doors in, then you know you're in for a treat......
…..which is, of course, exactly what happens on this single.....
in addition to which, you get that moment where you hold your breath, waiting for the singer to come in – is he gonna sound strong? Is he gonna be well produced? Is he gonna sound like Mickey Mouse? All these questions run through your head in the merest of seconds......
Good news – the singer here really lets go with a rock solid vocal that's pure metal – none of yer death metal growls, no sweetened harmonies, nothing other than this glorious roar of a perfectly sung, slightly hollered, Classic Rock, whisky-soaked, menacing, almost evil bluesy, storm of a singer, delivering the song with authority.
The verses flow like molten lava as the volcano that is the band, continues to erupt thoroughly and consistently as the freight train of a song, hurtles down the tracks with all guitars blazing. There's the briefest of furnace heat guitar breaks, a chorus that sticks in your head for ages after, and an overall beefiness that would put yer average cattle farmer out of business in a heartbeat.
If this is the single, then get me the album.......like now......meanwhile, you get the single, coz you know you should.....

08/05/2021

AGED CHOIRBOY – Album Preview
New project from former member of seminal Scottish band Paranoid Monkeys and currently one half of the groundbreaking Scottish duo, Pilgrims, and, as you might expect, the results are totally.....well......unexpected......
Of the four tracks on offer, we kick off with “Mr OD” which swings like a wrecking ball and has most of the power, starting with nerve jangling strummed guitar before that big phat chunky drum line enters, a searing guitar burst ebbs and flows, a river of bass shudders underneath and the vocal comes in, a snarled, hushed, menacing mix of male and female contrasts, before the lead vocal appears reminding me of many an eighties inflected crooner such as Marc Almond, but then taking off like a rocket, before dropping back to earth as the thunder becomes a whisper, only for the lightning to strike once more and the verses plus repeated heady chorus tell the sorry tale of the subject under discussion and it all strides mightily to a heady climax.
By contrast, “Time Of My Life” starts more sedate with slower but no less dramatic drum work, more shuddering bass and this time a jangling mix of what sounds like an oboe mixed with a guitar, before this beautifully multi-part harmonized vocal appears in the background and the multi-tracked mix of lead male and hints of female vocals, slide and glide on top, the textural instrumental backdrop building and the rhythms becoming a mix of Oriental and strong Western, the entire thing having a pan-Asian-meets-European swagger, as operatic as it is dramatic, the lyrics falling from the sky in heartfelt passion as the track merges strength and slumber in equal measures.
“Thirty Minutes More” is actually slightly under six minutes long, begins with acoustic guitar and a vocal that could be a higher register Tom Waits before then leaving that comparison and slowly sliding into a delicately throbbing bass, piano chords that hang in the sky, and a story-telling mix of male and female vocal conjures images of the “One From The Heart” soundtrack only more contemporary. With a rush of electronics, that undulating slow bass and the serenity of the piano, the lazy but solid song, progresses into a more galloping rhythms as the now high-register chorus of voice becomes almost choirboy-esque, an organ adds a new flavour as it cycles and swirls and the church-like vastness of the melodies, rhythms and vocal, take your breath away, only for the track to return to that throaty croon of a voice as the whole thing rolls down the valley to an infinite horizon somewhere in the distance.
Finally, “Dearest Friends” starts with a spoken word sample before a rapid-fire sequencer rhythm set against a throbbing New Order-esque drum beat, heralds the vocal that is initially a rising tide of mid-range singing that's really strong yet passionate, as the guitars kick in, the bass bursts briefly, only then for the track to return to a kind of multi-harmony answer to everything from mid-eighties “Torch Songs” to rockin' out, fuzz-guitar dramatics, veering between the flowing and the ferocious with alarming ease and absolute success, parts of it almost akin to some gigantic opening song to a classic “James Bond” movie before firing up and taking off on a motorbike ride to a soaring chorus-filled, sample-laden, bass driven, rhythmic oblivion.
To think that there's a whole album of this to come, well, anticipation is the word – and then some....

26/04/2021

EX- - Solitary Confinement Album
Brand new album from the Fife punk quartet that sees the quartet maturing their sound into a more structured, produced and most wholly professional sounding set of compositions to date, mixing their undoubted instrumental firepower with studied lyrics, great singing and a stunning set of dynamics on display throughout.
The album opens with “Ultimatum”, nearly 5 and a half minutes of spirited riffing, solid drumming, pounding bass and singing that is alternately a warning from afar and a taut nerve jangling launch into the unforgettable hook of the title. In many ways, it's almost restrained which, bizarrely, makes it even more of a powerful song and at 5 and a half minutes, allows the riffs and vocals to circulate to maximum effect. “Dependency” ups the anti as far as pace goes with the rhythm section now a driving force of pumping passion while a new guitar riff sears overhead as the jangly ferocity burns and the vocals are delivered with authority in a classic kind of New York Dolls-esque sneer only Scottish. Two absolute stunners to start the album off.
“Don't Wanna Know” begins with rifle fire rhythms as the vocal here is a lot “drier” sounding, much more in the spirit of DIY late seventies UK punk, the guitar surging in the background and the track much more of a staccato slice of sizzling jackhammer punk, but in no hurry to get to the end, as you take in the glories of the chorus and the meaningful lyrics of the verses, even daring to take a moment to drop the pace and then rise up once again – like I said, not just yer average punk band.
“You're Doing My Head In” features a singer who really sounds like he's had enough, almost a bitter tone to the fact that he's gotta put up with things, as the rhythm section slam it part and the guitar lead rises up as the forest fire of guitar riff and bass sound solid and dramatic, all the while the singer providing a performance of unbridled disdain. “Got The Shakes” is in a similar vein only with a more uplifting vocal and this time the rhythm section galloping along over the almost Ramones-esque riffing, albeit the song being slower than that, with the focus on more pleading and hopeful lyrics as it drives and pounds its way forward.
“Ended Up Somewhere” continues a now thematically lyrical sense of hopelessness with a more urgent slice of vocal desperation, delivered more by someone who you feel's about to end it all if things don't improve. Meanwhile, the band glow like molten lava and push it all along the tracks to nowhere, or should that be somewhere. “Static” is introduced with solid drumming and a stunner of a bass riff before the high register guitar lead shudders in and hangs before disappearing then, over the bass and drums alone, the singer kind of intones the lyrics before the guitar reappears and the vocal goes into orbit, all the while that monumental bass pounding along as the drums become the glue that holds it together, a superb song but – ohhhhhh – that bass is just amazing.
“Miss America” has an element of vintage Johnny Thunders to its chorus-driven sneer, while “Stop The World” is pure late seventies UK punk in all its glory.
“Luv U, Bye” is driven by a glorious fuzz guitar riffs and lead as the singer moves slightly up the scale to provide a vocal that's a restrained howl over the heat of the lead guitar bursts, the pounding bass, more grisly guitar riffing and dramatic drumming Two further tracks in a similar vein bring an end to the album, proper.
But there's more........... three bonus tracks featuring a Johnny Thunders cover, a Stooges cover and a track called “Looking For A Kiss” which I presume is a cover but I don't know it. Either way, all three are given the Ex- treatment and come out with all punk guns blazing, especially the Stooges “I Wanna Be Your Dog” which proves a fittingly raging end to what's been and electrifying album, well worthy of your time and attention.