1331. Ratcat / Tingles [EP]. 1990. 4.5/5

One of the anomalies of the band Ratcat was that they were formed in 1985 in Sydney, and had two releases prior to the EP we are going to discuss today. The fact that so many people are of the belief that the band began with this EP probably goes to prove how unknown they generally were before its release, and then how big they became in Australia after its release.
Formed by Simon Day on lead guitar and lead vocals and Victor Levi on bass guitar, who had both been members of the popular garage band Danger Mouse in the early 1980’s, they also recruited Andrew Polin on drums to complete their lineup. Ratcat built-up a strong live following initially by focusing on playing the venues of the Sydney skate-punk scene, alongside bigger and well-known Sydney underground bands such as Massappeal, The Hellmenn, The Hard-ons and Happy Hate Me Nots. On the back of this the band signed to Waterfront Records, and released a self-titled EP in December 1987 that contained their best live songs at the time.
This was followed in July 1989 with their debut album titled ”This Nightmare”. Levi had moved on by this point in time, replaced on bass guitar by John McAteer. By that time the line-up was Day, John McAteer on bass guitar and Andrew Polin on drums. Music critics were favourable to the release, suggesting that the witty and effervescent songs were catchy and representative of the era, emboldening it as a solid first album. Amr Zaid replaced McAteer on bass guitar and backing vocals, and in February 1990 Ratcat supported English group Buzzcocks and fellow Australian band Falling Joys, before deciding to leave Waterfront Records and signing with the rooArt label, distributed by PolyGram.
For their first release with their new label, Ratcat again decided on releasing an EP, gathering together new material to showcase their growing stylistic changes as the band reached the start of the new decade. It was to become their true breakthrough, the EP that put them well and truly on the Australian music map and more importantly on the Australian music charts, with the collection of quirky rock songs that they named “Tingles”.

There is every chance that I would never have listened to the band Ratcat, nor to this EP in particular, if not for two non-coinciding events that occurred in my life in January of 1991. One of those events was having been asked to form a band with four of my very good friends of the time back in 1989, a band that (somehow) was still together by the time we reached the beginning of 1991. Two members in particular, along with other mutual friends, had become slightly obsessed over this EP and played it often. So I was aware of it, even more so when we decided to record a demo tape to take around to the local pubs and clubs to try and drum up some gigs, and the first song that the other three members of the band insisted we do was “That Ain’t Bad”. Over the next 12 months we added three of the songs off this EP into our gigs. Pretty sure I got outvoted there. The other event was that I started dated the sister of one of my best mates, and it was at this time that I discovered that she had this EP and played it often and spoke about it often. Perhaps it worked in my favour that I did indeed know this EP at that time. 35 years later and we do still occasionally listen to it together.
It’s catchy. Having listened to it a lot at the time it was released (not by my choice at any time) a lot of it grew on me. Four of the six songs, as you will have heard, are ones I can still run with today. And there is a lot of nostalgia tied up in listening to this EP now, because of those significant goings-on at the time it was released. Our band was beginning to look to play our first gigs, and I began dating the girl I eventually married. They are great memories that these songs bring back to me.
Helen’s vinyl copy of this album was lost in the flood of 2001, but I did eventually get around to replacing it with a CD copy many years later, again for nostalgia’s sake, and it is that copy I have listened to again this week. And it is those same old memories as described here that it brings back to me. The EP eventually made #1 on the Australian singles charts, and finished 1991 as the second biggest single in Australia, behind Bryan Adamas and “Everything I Do, I Do For You”.
So no, Ratcat has never been MY band. They are a band that I somewhat had forced upon me. This EP is still fun enough to listen to, but I really don’t think I ever would have listened to them without those incidents being prevalent on its release. But then, why did I feel the need to buy the EP on CD to replace our lost copy? Maybe I know less about my own feelings here than usual.

1330. Various Artists / New Wave of British Heavy Metal: '70 Revisited. 1990. 5/5

The period of music in the UK that came between the years of 1979 and 1981 that drew the moniker of the New Wave of British Heavy Metal has become an historical curiosity the longer the years drift by. It has always been an interesting term, one that, much like the term ‘heavy metal’ itself, has been bent to suit people’s purposes. Labelling Bon Jovi a heavy metal band appears absolutely ludicrous here in 2025, but in 1986 it was a loosely thrown around term. The same could be said for a number of bands who found themselves referred to as bands that were a part of this movement. Arguments will always ensue about the status of bands crowned under this banner, perhaps even more so as we reach the point – surely not too far away – where none of those bands will be active on the world stage. Despite this, there is no doubt that it was an influential time in the history of music, let alone heavy metal music. Though the bands involved raeched varying degrees of success, the music created and the bands formed on the wave of this period is not only fascinating and enjoyable to listen to, it had become a major influence on the next wave of bands from around the world, who used their love of this music and formed it into their own sound as they began their own journeys.
The creation of this double album to celebrate that period of music history has its formation late in the 1980’s decade, by two men with equal fascination in its material – music journalist Geoff Barton, who had interviewed many of the bands and reviewed most of the albums of those bands that appeared here at the time this was all occurring, and Metallica drummer Lars Ulrich, whose love of the music provided the basis of his bands musical inspiration as they began their own journey.
Geoff Barton tells the story that it all started at the end of 1988 in Camdem Town in England, where he and Lars Ulrich were in the offices of Kerrang! Magazine, deciding what photos and layout would go into the upcoming “And Justice for All” tour programme for the beginning of that tour. At one point of this process, Barton said “Do you realise that next year sees the tenth anniversary of the New Wave Of British Heavy Metal?” According to his account in the liner notes for this album, Barton says: “Lars’ eyes blaze into life like WW2 searchlights scouring the skies for lurking Heinkel’s. Lars’ desperate fascination with the tour programme might have diminished… but another darker obsession had taken root in his fatalistically fertile braincells". "Really?” he says, “That whole musical movement influenced me so much. We gotta do something to commemorate it. We gotta do something like… an album!”
Lars, for his part in the same liner notes, said the idea was to initially do a book, with Barton offering his journalistic skills and views on the artists, while the mug punters point of view would come from himself. Eventually, he says, they both came to the opinion that reading about it might be okay, but it was about the music, and if it is about the music, then one would need to HEAR it!
The result of this was this magnificent double CD collection of 29 artists and 30 tracks from the era of 1979-1981. An album that became required listening for those of us who wanted to know where our current heroes had gained their own love of the music, and more than that, it became a resource from which some of us could mine for new bands to check out and track down, and hopefully discover the same love that these two had found.

It would be a longwinded and perhaps fruitful exercise if I was to give you all a detailed description of each band and their contribution to this album on this podcast episode. And if I thought you would all enjoy listening to me carry on for an extra hour than usual, I would probably do it. Instead, I will offer you the shortest possible representation of what is on offer here.
Lars not only chose all of the bands that appear here along with the song choices, but he also made the track list order, and I have to say that he has done an amazing job. What is even better is that many of the songs here are rare versions, that appeared only on singles or even B-sides of singles, or on performances of the BBC Friday Rock Show. Trying to find these versions of these tracks now is very very difficult, which does help to make this album even more of a collector's item.
The opening salvo is fantastic. Diamond Head’s “It’s Electric” cannons out of the speakers in all of that band’s early glory, and you can hear why Lars chose to lead off the collection with one of his favourites. This is followed by the original single version of “Eye of the Storm” by Sweet Savage, featuring the very young yet brilliant guitar of Vivian Campbell. I love this song, and all of the early Sweet Savage singles and demos. Vivian’s departure to Dio must have been a tough one to swallow. Saxon’s “Motorcycle Man” is also a great version of the song, extolling all of the enthusiasm of the band at the time this came out.
The White Spirit track “Cheetah” is next, which only appeared as a B-side to the band’s first single release “Backs to the Grind”, which is more the pity because it is a great uptempo track with all of the Deep Purple comparisons you would like to use, the vocals are Gillan-esque and the play off between organ and guitars here is great to listen to. It is hard to believe they only produced their debut album before splitting (guitarist Jannick Gers – yes, that Jannick Gers – left to join Ian Gillan’s band the following year), though a 2022 second album using old recordings was produced. “Don’t Need Your Money” by Raven is another beauty, representative of the sound they produced for their debut album. This version is the band’s debut single, and gives a great vision of all of their best traits from the outset. “White Lightning” by Paralex is from the B-side of their EP of the same name, and is a very catchy song with the twin guitars combining nicely with the solid tempo and great vocals. How did this band not get anywhere? All of the ingredients are right here on this song. It seems like a no brainer. Another band that may have missed the trick. Def Leppard’s “Getcha Rocks Off” is perhaps the best song to have chosen of the band from this era, despite their vehement disapproval of bieng classed as anything to do with heavy metal. Weapon’s “Set the Stage Alight” does exactly that, flying along with the same speed that Sweet Savage had shown, has great riffs and solos and the bass and drums rhythm is superb. This is drawn from their 1981 demo, which unfortunately did not bring about a record contract.
This album was the first time I heard Samson with Bruce Dickinson on vocals, and “Vice Versa” is the track, something completely and utterly different from what I had heard of him in Iron Maiden. It’s still a mystery today in a way that this was the song Lars chose, but who am I to judge over the NWOBHM expert? Lars plunders an album that splits three bands and their work for Hollow Ground’s “Fight with the Devil”, another excellent example of the era and the music it produces, and another example of a band that never released an album of their own during that period. Girlschool’s “Demolition Boys” mirrors their best work and is a great representation to bring onto this album. Witchfynde’s “Leaving Nadir” is very much a different kettle of fish, starting off with the almost folk and gothic opening acoustic before moving into the main riff progression and channelling that 70’s prog rock road.
A-II-Z's “Treason” is another great example of the style of the era, the structure so similar here to other band’s even on this compilation, but one that could easily have been replicated into further success. One band who definitely went in their own direction is Witchfinder General and their self titled track here is a great example of that. There is a doom element to what they produced in their short career, and this song exemplifies that. The first disc then concludes with Black Axe and their song “Red Lights”

Iron Maiden was always going to get a gig here, and Lars has dug up a previously unreleased version (at the time) of “Sanctuary”, once again from the Friday Rock Show on the BBC, and it sounds great. Maiden has since released the entire performance, but at the time this was a nugget of gold. Jaguar’s “Black Street Woman” was the band’s first single, and again brings together everything you would expect of a band in this era, fast pace, guitars prominent, drum heavy and vocals slightly better than average.
Tygers of Pan Tang’s “Killers” is an interesting choice again from Lars, ensuring that the John Sykes era of the band is highlighted, which to be fair is the best era. It is a monster track though at over six minutes with a rhythm that barley changes throughout. Still, a fine representation of the band's best qualities.
Gaskin is a band I’m still unaware of, and their song here “I’m No Fool” doesn’t offer the kinds of things the best songs do here to suggest they were going to be huge. I’m guessing that’s what I don’t know about them. The song is fine but only average. They did however have two albums released in 1981 and 1982 so perhaps I’m missing something. The self-titled track by Sledgehammer immediately comes across as impressive and fits in well with the album's direction. The band had initially released this as their first single in 1979 which is the version used here. The version of Venom’s “Angel Dust” here comes from their demo, and is even slightly rawer than the version that appears on their debut album “Welcome to Hell”. That muddy sound and wall of guitar is fabulous on this version. So too with Angel Witch and “Extermination Day”, which comes from their appearance on the Friday Rock Show on the BBC. How did this not make their debut album? I still love it. This is followed by Trespass and “One of These Days”, and this is a change up from the norm. This is very much of the progressive nature, indeed, it has a sound that if you didn’t know better, was ‘utilised’ by Savatage for their song “Strange Ways about a decade later. This is a terrific track in the main because it sets itself apart from most of the other songs on the album with its style and approach.
Holocaust’s “Death or Glory” is a track that those who listen to this podcast on a regular basis would no doubt recognise, and now where it was that I first heard this song and band. It is still a classic, probably the best thing they ever produced. “If I Were King” by Vardis feels as though it has been sandwiched between two absolute belters, in order to raise its profile. It is another of the tracks here that uses all of the characteristics that were being searched for at the time, it just isn’t on the same level as many of the other songs here, as is proven by the next track. The best version of Blitzkrieg’s self titled track “Blitzkrieg” comes from the B-Side of their Buried Alive single, and that is the version Lars uses here, and is no doubt the version he knew when his band covered it on the B-side of THEIR single “Creeping Death”. And then, just because he loves Diamond Head so much, we have the second track of theirs chosen for this release, “Helpless”. Again, outstanding. Praying Mantis was seen as a band from this era that would be the one to "make it" and were heavily promoted by Neil Kay in this direction. "Captured City" is the song they have here, which is okay, but the vocals are just a bit weedy. However, you can sense greater things in the music than the vocals allow to improve it. Slotting back into the vibe of the era is Dragster with “Ambitions”, the kind of song that could have come from dozens of these types of bands, but is still catchy enough to enjoy. And Fist’s “S.S. Giro” concludes proceedings on the double album, and is a fine, better than average track to do so.
This is not an album that presents itself on any streaming service, and that is unfortunate. You can find most of the track by searching on YouTube but that is all. It has also been out of print for many years, which makes it incredibly hard to track down. But for those with an interest in this period of history, I can assure you it is worth it.

This album had been heavily promoted before its release, through both Kerrang! Magazine and also Hot Metal magazine in Australia. And it piqued my interest from the outset. Firstly, Lars Ulrich was a part of it. Indeed, he seemed to have made all the decisions on which songs and bands needed to be added. At the time Lars was at the peak of his popularity, the biggest drummer in the world, and his thoughts were beginning to be broadcast everywhere. And his enthusiasm for this project was infectious, and having heard Metallica live playing songs from other eras as their favourite cover versions, it was only natural to be a little excited about what it might hold.
And – I loved it. Yes, I can concede that early on the vaguely similar sound of the track and the bands, the structures and guitar sound and production all felt a bit much to take in, and I would have trouble retaining my concentration though both CDs. But over several listens I got beyond that, and began to pick up favourites and love the whole experience. And you will already have ascertained which bands and songs they are from earlier in this episode. And over the years since, this album and these songs have only become more enhanced in the joy I receive from them. Perhaps that is a touch of nostalgia coming through, that the music that enjoy the most is perhaps slipping further into the past, and by listening to this album I am drawn back to those days that, even though I did not listen to the artists or participate in the scene as it was occurring, I still feel very much anchored in.
It has been a while since I last sat down and properly listened to this album, so I can’t tell you how much I have enjoyed doing so again over the last week. So many old friends gathered together. And it hadn’t occurred to me how many of these bands that I now own albums of, most of which would have come from buying this particular compilation in the first place. Diamond Head, Sweet Savage, White Spirit, Raven, Witchfinder General, Tygers of Pan Tang, Venom, Angel Witch, Blitzkrieg, Praying Mantis. It’s quite the collection, and have all been a huge part in growing my collective musical experience and education. The Creation of Me in fact. This was and is for me one of the most important albums I have purchased because of the joy of the bands I discovered through it. Those kinds of albums don’t come along every day.

1329. Alice in Chains / Live. 2000. 4/5

The performance of the band on MTV Unplugged in April 1996, that was then released as a live album on July 30 1996, is pretty much where the line is drawn in the Layne Staley era of Alice in Chains. Certainly there were some releases after this, including the “Music Box” compilations that included a couple of new tracks. But as to the band actively being what could be described AS a band, that album completed the cycle. The band’s final live gigs with Layne Staley took place in that month as well, which places another pin in that board – and yes, I did avoid using the term ‘nail in the coffin’ for obvious reasons – although now that I’ve used it anyway, that seems a tad superfluous. And while the period between 1996 and 2002 is a seemingly drawn out affair, I won’t be covering that story here. Suffice to say, if you are interested, may I direct you to the podcast titled ‘And Volume For All’, where Season 2 covers the story of Alice in Chains in great detail, including this rather sad and unfortunate period of their existence. ‘And Volume For All’ continues to be the very best heavy metal podcast on the planet, and along with Quinn’s ridiculously amazing Alice in Chains series he has much more to offer, and I truly suggest you should check it out if you have not already done so.
No doubt in order to keep the name of the band alive (and also to continue to produce income streams for the record company itself, trying to cash in on several high selling albums), said record company pulled together a selection of live recordings the band had made over the years, and decided to put out a live album by the band that was indeed ‘plugged’ rather than ‘unplugged’. The three eras of the band are explored here, with two tracks coming from two different gigs in 1990, seven songs from 1993 of which six are from the same gig in Glasgow, and the five concluding tracks coming from consecutive days on July 2 and 3 of 1996, the final two shows the band ever played with the late great Layne Staley. Released as it was, four years following those final shows, the release felt like one that was in limbo, that it was celebrating a past life rather than being an album released to showcase the greatness of the band before they pushed on to the next studio album. It was of course an album released with a band in a holding pattern, a holding pattern that was one that flowed on into the mists of time.

As a compilation live album, one that has been taken from several sources, and is not just a full live concert recording from the one tour, it sometimes is troublesome in trying to adjust to the different eras of the band that are compiled onto the one album. In the past on this podcast I have extolled my preference for live albums to be from one show, to retain the integrity of the recording. This of course very rarely occurs. Even the greatest of live albums – Slayer's “Decade of Aggression”, Iron Maiden’s “Live After Death” and UFO’s “Strangers in the Night”, all had pieces taken from different nights of the tour. So I guess I have mostly rescinded that argument when it comes to me judging live albums. What it can be said about this particular live album is that it contains a cracking song list, and does give you the opportunity to judge for yourself if the band changed in their live scenario over the years.
The live version offered here of the opening track “Bleed the Freak” is absolutely awesome. The bassline, played here by Mike Starr is just beautiful, with that solid backing drums from Sean Kinney, but it is the vocals that steal the show, they are incredible. Layne and Jerry combine superbly here to create the version of the song you would have been hoping to hear had you ventured to see the band in 1990. However, “Queen of the Rodeo” is probably completely different for me. I have just never really enjoyed it much. Despite it being on the band’s demo “The Treehouse Tapes”, I think it missed out on being on “Facelift” for a reason. I understand the nice thought in including it on this album, but the song for me is underwhelming.
From here the album moves to 1993 and Glasgow, and some of the bands greatest songs. “Angry Chair” probably loses some of its angsty anger from the studio version on this live version, but it is such a great song it still holds its own. In particular, Jerry’s guitar solo is still stunning. “Man in the Box” follows, and is another song that is so magnificent on the studio album, and yet on this live version perhaps loses a little of its magic. I have seen it played live a number of times, and must admit I felt the same way about it when I saw Layne sing it, perhaps because each time he seemed to be a little...fluey. At least, that was the explanation that he gave. And yet, when I saw the band perform it with William DuVall it pumped, firstly because the band upped the tempo but also because William sang it like a fan would, and that made all the difference.
The next three songs though are just superb. “Love Hate Love”. Oh man, this drags in every awesome take from the studio version and magnifies it. The sombre mood, and the almost stop dead tempo of the live version is incredible. It lets Mike Inez’s bass guitar to come through so powerfully on top of Sean Kinney drums. And then Layne sings the fucking hell out of this live version. My word, everything that makes this song so magnificent in the studio version doubles down here. It is unbelievably awesome. From here the band heads into “Rooster”. Again, the slowed tempo, emphasising the bass and guitar along with the vocals of both Layne and Jerry is amazing, and the powerful drum beat pounding down as well. It is insanely good. Layne is on fire once again on this song. The marching drumming beat from Sean in the final verse as well is hypnotic. Magnificent. And then on top of this comes “Would?”, which is just outstanding. What a song, and everything sounds incredible here. The bassline, the drums, the guitar, and those combined vocals. What a song and it just carries it perfectly here. The rhythm of bass and drums on this song is the star turn on the live version, with Mike and Sean pummelling.
Into the second half of the album and we get a different mixture of tracks and performance. “Junkhead” sounds great in the main through the vocals, as Layne wails wonderfully on this live version, and that is what is the star turn. We then have a version of “Dirt” that is subtitled “Drunk and Disorderly version” and comes from a gig in Japan of 1993. Perhaps because of the reasons behind the subtitle I don’t find this as impactful as the studio version, but again the rhythm of Sean’s rolling drumbeat and Mike’s lolling bass line is the star attraction.
The final five tracks on the album come from what ultimately became the final live appearances of Layne Staley with Alice in Chains from St. Louis and Kansas City, though of course no one knew that at the time. “Them Bones” is a good live version. “God Am” for me has only ever been average as a song, and for me it is only average as a live version here. However, on the next track “Again”, the live version here brings this song to life far more than the studio version, and the studio version is one of the brightest tracks on that album! The rolling rhythm is fantastic from Sean and Mike and Jerry’s guitar riffs rock hard. A great version of the song. “A Little Bitter”, which comes from the soundtrack of “Last Action Hero”, is a beauty. Kinney and Inez again are just fabulous throughout this song, and when Jerry’s guitar riff cracks in at the one minute mark the song really ramps up. Another live version that kills its studio version. The album then concludes with “Dam That River”, a powerful rendition of that great track. You can almost see the crowd jumping around in excitement while listening to it. I certainly imagine myself at age 22 doing the exact same thing at the Hordern Pavilion as I listened along. It concludes what is overall a terrific live album experience.

I often say when reviewing live albums that they should almost always be a 5/5 album, because you are getting the bands best songs in their best environment. And I don’t OFTEN say it; I say it EVERY single time. So now I’ve said it again. And even though I don’t often listen to live albus in preference to listening to studio albums, they certainly do serve a purpose.
I bought this not long after its release. I had just spent most of 2000 saving for a deposit for a house, which we purchased in October of that year, and I felt as though I had a little spare money to buy an album or two. That wasn’t to be the case, given said house was then flooded in January 2001, but I still managed to get this not too long after that. And it was an interesting moment. I had, as had most of us, purchased the MTV Unplugged album soon after its release four years earlier and just adored it. Played it over and over, bought the VHS and watched it over and over. As a live performance, it is practically untouchable. So when this album came out, the band’s first fully electrified live album, showcasing the band in all its glory, I was excited. Tremendously excited. Perhaps... over excited? I mean, it had a bit to live up to. Anyway, I bought it, I listened to it, it was good, and back on the shelves it went, as my manic phase of European power meta and progressive metal began to take over my music listening world. And, there it remained. Not forever, but mostly, yes. And some of that came down to the fact that when I think about listening to Alice in Chains I think about listening to “Facelift” or “Dirt”, but ALSO that when I think about listening to Alice in Chains live, I think about listening to “MTV Unplugged”. Which proves on the one hand how ingrained that album is on my psyche, but how under the radar this live album actually is. Because I can tell you that listening to it again last night as I was preparing for this podcast episode, I loved almost every second of ti, and probably not for the first time wondered why I haven’t listened to this more, or even THINK about listening to it more! And the question that came to me was this – is everyone in the world who are Alice in Chains enjoyers have the same thoughts? Does ANYONE know that this album exists?!
This album showcases a large range of the great tracks from Alice in Chains in the live environment. Not all of them of course. And while all the versions here are good, there are others that it would have been nice to have heard as well. Layne’s passing in 2002 seemed to have put a full stop on the band ever playing again (though that became premature) and the fact that we have this album to rejoice in the quartet at their best is gratifying. If you haven’t heard this before, it would be well worth your time tracking it down.