Tag: RidingEasy Records

Single Review by William Ruben Helms

New Audio: JOVM Mainstays R.I.P. Return with an Epic, Mind-Altering Bit of Thrash Metal

Now, over the past year or so, Portland, OR-based doom metal quartet, R.I.P has added themselves to a lengthy and eclectic list of mainstay artists I’ve written about throughout the history of this site. And as you may recall, the quartet’s highly-anticipated sophomore effort is slated for an October 13, 2017 release through RidingEasy Records, and the album is reportedly inspired by Rick Rubin’s legendary and influential 80’s productions — think Beastie Boys, Run DMC and LL Cool J among others — and Murder Dog Magazine, and as a result, the members of the band have crafted material with a streamlined and punishingly,  raw ferocity,  specifically meant to evoke the days when metal and hip-hop were reviled by the mainstream as the work of thugs intent on destroying the very fabric of America and its youth. Unlike their debut, Street Reaper reveals a subtly expanded songwriting approach, rooted in their belief that doom metal shouldn’t be pigeonholed into a particular tuning or time signature but rather, a particular mood that inspires doom — in this case, terror, uncertainty, chaos, war, etc.

Unsurprisingly, the material on Street Reaper is influenced not by doom metal’s typical sci-fi, fantasy or mysticism but within an inescapable, horrible and fearful present, full of what seems to be the impending collapse of democracy as we know it in the US, of economic failure, dwindling resources, increasing inequity and inequality, nuclear war, civil war, and a primal fight for survival. Album single “The Other Side” may arguably be the Portland-based band’s most blistering and impassioned playing — and while it may be a desperate howl into a growing void, there’s a feral urgency within the material that sets them apart from their contemporaries. The album’s follow-up single, “Unmarked Grave,” continues in a similar vein as its predecessor as it features  blistering, impassioned, face-melting power chords, a motorik groove, forceful drumming, an arena friendly hook and howled vocals, and while being equally urgent, the material manages to sound as though it were indebted to Badmotorfinger-era Soundgarden, Queens of the Stone Age and Ozzy Osbourne, complete with a sweaty, whiskey and hallucinogen-fueled frenzy.

“The Casket,” Street Reaper’s latest single (and album opening track) is a blistering bit of thrash metal, reminiscent of Ride the Lightning and Kill ‘Em All-era Metallica and Iron Maiden, thanks in part to layers upon layers of chugging power chords, forceful drumming and howled vocals and it may be among the most explosive songs they’ve released to date, but pay close attention to the expansive and ambitious song structure that features shifting time signature changes and chord progressions, as well as some incredibly dexterous guitar work. Simply put, it’s pretty fucking epic!

Single Review by William Ruben Helms

New Audio: Monolord Returns with a Sludgy Yet Subtle Expansion of Their Sound

The Gothenburg, Sweden-based doom metal trio Monolord has become a JOVM mainstay over the past 15-16 months, and as you’d likely recall the trio, comprised of Thomas Jäger, Esben Willems, and Mika Häkki can trace their origins back to 2013, when its founding members Jäger and Willems, started the band as a side project that gave them the opportunity to play much heavier and darker material away from their primary gig as members of boogie rock outfit Marulk. Jäger and Willems then recruited Häkki, best known for stints in The Don Darlings and Rotten Sound to complete the band’s lineup and to flesh out their sound. And while the trio was writing and recording their critically applauded debut Empress Riding, they discovered they had a special creative chemistry that necessitated making the project a full-time gig; but interestingly enough, the project also marks the first time that Jäger has taken vocal duties.

2015’s sophomore effort Vænir resulted in the band receiving a growing national and international project, and they built upon that buzz with the “Lord of Suffering”/”Die in a Haze” 10 inch single, which they released last year and as you may recall, “Die in a Haze,” featured sludgy, dirge-like power chords paired with thunderous drumming within an enveloping mix, while Lord of Suffering” managed to nod at space rock and psych rock — in fashion that reminded me of  Black Sabbath‘s “Planet Caravan.”
The “Nirvana of doom” as their fans have referred to them will be releasing their third full-length album Rust through RidingEasy Records on September 29, 2017 and as the band’s Esben Willems says in press notes, “A heavy groove that contains both bombastic overkill and a lot of dynamics is what we always aim for in Monolord; in playing, in song writing and arranging, in recording.” The album’s first single and title track “Rust,” which featured guest spots from Mondo Drag‘s John Gamino on keys and Beastmaker’s Trevor Church, who contributes an incredible guitar solo towards the end of the song further cemented the Swedish’s trio reputation for crafting slow-burning, sludgy and forceful metal but upon repeated listens, the song reveals that the band has been subtly expanding upon their overall sound and songwriting as it possesses an expansive vibe with an oceanic heft. “Where Death Meets the Sea,” Rust’s second and latest single continues in a similar vein as its predecessor as its possesses an oceanic heft, which is unsurprising considering the song’s title, complete with sludgy power chords and thundering drumming but it reveals impressive guitar work within an slow-burning yet expansive song structure. And at the end of the day, Rust’s first two singles will remind listeners that the band is one of the world’s best doom metal bands. 

Single Review by William Ruben Helms

New Audio: Portland’s R.I.P. Returns with a Primal and Urgent Single

If you were frequenting this site over the course of last year, you have come across a couple of posts featuring the the Portland, OR-based doom metal quartet, R.I.P. And as you may recall, the Portland-based quartet has long operated off the belief that heavy metal crawled up out of the proverbial gutter, where it writhed to life in the grit and grime of the streets — and unsurprisingly,  the band dubbed their scuzzy and grimy approach to heavy metal and doom metal as “street doom.” But interestingly enough, the first two singles off their RidingEasy Records released debut In The Wind, “Black Leather” and “Tremble,” the Portland-based metal quartet’s sound seemed to be indebted to  Black Sabbath, Led Zeppelin, Hawkwind and Badmotorfinger, Superunknown and Down on the Upside-era Soundgarden. 

Street Reaper, R.I.P.’s sophomore effort is reportedly inspired by Rick Rubin’s legendary and influential 80s productions — think The Beastie Boys, Run DMC and LL Cool J among others — and Murder Dog Magazine, revealing a streamlined and punishingly, raw ferocity meant to evoke the days when metal and hip-hop were reviled by the mainstream the work of thugs intent on destroying the very fabric of America and its youth. Interestingly, unlike the preceding album, the band’s songwriting approach subtly expanded, based on their belief that doom metal shouldn’t be tried into a particular tuning or a time signature but on a particular mood — in this case, terror and dread.  Unsurprisingly, the material on Street Reaper is influenced by and evokes the sensibility of our extremely fucked up times instead of focusing on sci-fi or fantasy or mysticism, and as you’ll hear on Street Reaper’s latest single, “The Other Side,” the doomy vibes are rooted in an inescapable and fearful present, full of the possibility of the impending collapse of democracy here in the US, of economic failure, nuclear war, dwindling resources, and a downright primal fight for survival. 

Naturally, the song finds the band playing at their most blistering and impassioned — it may be a desperate howl into the void, but there’s an uncommon urgency that will set the Portland-based quartet apart from their contemporaries. 

Single Review by William Ruben Helms

New Audio: Monolord Returns with a Doom-Laden New Track that Reveals a Subtle Expansion of Their Sound

If you’ve been frequenting this site over the past 12-15 months or so, you may have come across a couple of posts featuring the Gothenburg, Sweden-based doom metal trio Monolord. Comprised of Thomas Jäger, Esben Willems, and Mika Häkki, the band can trace their origins back to 2013 when its founding members, Jäger and Willems, started the band as a side project that gave them the opportunity to play much heavier and darker material away from their primary gig as members of boogie rock outfit Marulk. Häkki, who may be best known for stints in  The Don Darlings and Rotten Sound was recruited to flesh out the band’s sound and complete their lineup — and as the story goes, while the tiro was writing and recording their critically applauded debut Empress Riding, they discovered that they had a special creative chemistry that necessitated making the project more of a full-time gig. But along with that, the project also marks the first time that  Jäger has taken vocal duties. 

Building upon the buzz of their debut, the Swedish doom metal trio released 2015’s critically applauded sophomore effort, Vænir, which resulted in the band seeing a growing national and international profile. Now you may recall that last year Monolord released the “Lord of Suffering”/”Die in a Haze” 10 inch single — and “Die in a Haze,” was a sludgy and murky song in which sludgy, dirge-like power chords were paired with thunderous drumming, which created a rather enveloping mix. Jäger’s vocals floated over the mix with an ethereal quality, and as a result the song struck me as nodding a bit at shoegazer rock. The 10 inch single’s A side, “Lord of Suffering” managed to nod at space rock and psych rock — in fashion that reminded me of  Black Sabbath‘s “Planet Caravan,” as Jäger’s voice is fed through a bit of vocoder and distortion, while the arrangement possessed a subtle cosmic glow.
The “Nirvana of doom” as their fans have referred to them will be releasing their third full-length album Rust through RidingEasy Records on September 29, 2017 and as the band’s Esben Willems explains in press notes, “A heavy groove that contains both bombastic overkill and a lot of dynamics is what we always aim for in Monolord; in playing, in song writing and arranging, in recording.” Naturally, album title track and first single “Rust,” which features guest spots from Mondo Drag’s John Gamino on keys and Beastmaker’s Trevor Church, who contributes a guitar solo towards the end, will further cement the Swedish trio’s growing reputation for crafting slow-burning, sludgy and forceful metal that manages to atmospheric, while possessing a tight, almost motorik-like groove and some incredible guitar pyrotechnics; but pay close attention, as the song reveals a band subtly expanding upon their songwriting and sound, as the song has an expansive, yet oceanic heft to it. 

Video by William Ruben Helms

New Video: The Lysergic and Apocalyptic Visuals for Blackout’s Doom-Laden “Graves”

Currently comprised of founding members Christian Gordy (vocals, guitar) and Justin Sherrell (bass, vocals) and newest member Adam Taylor (drums), the New York-based doom metal/hard rock/stoner rock trio Blackout released two albums through renowned hard rock/stoner rock label RidingEasy Records — their 2013 debut effort We Are Here and 2015’s self-titled album — before going through a hiatus, which resulted in the departure of the band’s third founding member Taryn Waldman. Waldman’s departure from the band was a devastating blow to Gordy and Sherrell, both of whom saw Waldman as being so instrumental to their sound and songwriting approach that they felt the band’s fate was uncertain; however, last summer Gordy armed with a handful of mushrooms and a bottle of tequila set out to write new material for the band — and while being particularly inspired, Gordy contacted and recruited Adam Taylor, who had just left Ghost Punch to write and record the band’s third and latest album The Horse, which RidingEasy Records released last month. 

“Graves,” The Horse’s first single will further cement the trio’s reputation for a gritty and bruising sound, consisting of sludgy power chords and thundering drumming that reportedly draws influence from Helmet, Cro-Mags, Judge, Prong and others but just underneath the surface is a slow-burning brooding sense of menace.  And it shouldn’t be surprising as the song describes scenery from the apocalypse in such vivid terms that you can smell the sulfur and feel the debris falling around you, and feel everyone around you going absolutely mad from panic. 

The recently released lysergic-tinged video features footage of the band playing in front of a projection screen that features footage of the cosmos, nuclear bombs exploding, psychedelic sludge, exploding lava and other scenery; in some way, it’s like a White Zombie video gone absolutely insane.

Video by William Ruben Helms

New Video: Dream Machine Returns with an Anthemic Heavy Psych and Proto-Metal Barnburner

As the story goes, Matthew Melton, best known as the founder, frontman and primary songwriter of well-regarded Austin, TX-based indie pop/indie rock act Warm Soda had approached Thee Oh Sees’ prolific and dynamic frontman and Castle Face Records co-founder John Dwyer with two full-length albums — Warm Soda’s fourth and final album together I Don’t Want To Grow Up, which was released last month and material from a new project Dream Machine, which prominently features Melton’s wife Doris.

Now, if you’ve frequented this site earlier this year, you may recall that I wrote about “I Walked in The Fire” off Dream Machine’s recently released full-length album The Illusion, a single that revealed a rather decided change of sonic direction for Melton and his new bandmates, as the project’s sound clearly draws from the heavy psych, proto-metal and proto-stoner rock of early Deep Purple, Iron Butterfly and RidingEasy Records‘ and Permanent Records’ collaborative compilations of similar sounds from the 1960s and 1970s, Brown Acid while also nodding at The Doors. The Illusion’s latest single “All For A Chance,” which features Doris Melton taking up vocal duties will further cement the band’s reputation for crafting a lovingly spot on take on 60s heavy psych — and in the same loving fashion that Daptone Records does for soul; so much so that you can feel tricked into thinking that you were listening to some obscure rarity that was just discovered. (It helps that the band recorded the single and the material on a Tascam 388.)

Much like the video for “I Walked in The Fire,” the recently released video for “All For A Chance” employs a relatively simple concept — the band performing the song in an empty studio and shot on what looks like Super 8 film, as the video quality possess a smoky, grainy quality.

Single Review by William Ruben Helms

Now, if you had been frequenting this site over the past couple of years, you’ve likely come across a handful of posts on Permanent Records’ and RidingEasy Records’ collaborative proto-metal, pre-stoner rock compilations Brown Acid: The First Trip, Brown Acid: The Second Trip and Brown Acid: The Third Trip. Each edition of the compilation has been based on RidingEasy Records founder Daniel Hall and Permanent Records co-owner Lance Barresi extensive and painstaking research and curation — with both Hall and Barresi spending a great deal of time tracking down the songs’ creators, most often bands that haven’t written, played or recorded together in 30 or 40 years, and encouraging them to take part in the process.  As Permanent Records’ Barresi explained in press notes, “All of (these songs) could’ve been huge given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.” Naturally, by having the original artists participate as much as possible, it can give the artists and their songs, a real second chance at attention and success — and as a fan and critic, it also helps fill in the larger picture of what actually was going on around the margins during the 60s and 70s.

Following the critical and commercial success of the first three volumes, Riding Easy Records and Permanent Records will be releasing the fourth volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Fourth Trip fittingly on April 20, 2017. Much like the previous three volumes, the fourth edition is based on Barresi’s and Hall’s exhaustive, painstaking research and curation, and as both men discovered, the well of privately released hard rock, heavy psych and proto-metal 45s is incredibly deep; in fact, they’ve barely scratched the surface. Most of the singles they stumbled on for the fourth volume of Brown Acid were either barely released or never properly distributed with two of the album’s 10 tracks being previously unreleased — until now.

Earlier this year, I wrote about Brown Acid: The Fourth Trip‘s first single Kanaan’s “Leave It,” a towering and explosive, barnburner that features some incredible guitar pyrotechnics paired with swaggering vocals fed through a bit of reverb and delay, a sinuous bass line and propulsive drumming. and while the song possesses a free-flowing, booze and psychedelics fueled improvisational feel, the song manages a tight, motorik-like groove that holds the song together. The compilation’s latest single is a swaggering and expansive “Coming Back,” by Zekes. Clocking in at a little over 8 minutes, the song finds the band nodding at Led Zeppelin 1-era Led Zeppelin and Steppenwolf‘s “Magic Carpet Ride” but with a percussive, cowbell-led funkiness and a summer of love refrain “Love is the answer” to close out what may arguably be one of the funkiest tracks on the fourth edition.

 

 

 

 

Single Review by William Ruben Helms

Now, if you’ve been frequenting this site over the past couple of months — say, the past two or three months roughly, you’ve likely come across a couple of posts covering the Los Angeles, CA-based Afrobeat act Here Lies Man. Founded by Marcos Garcia, a former member of renowned Afrobeat act Antibalas as a way to bridge the funky polyrhythms and grooves of Afrobeat and the muscular, power chord, riff-based sound of heavy rock and heavy psych, the act which features Geoff Mann (drums), the son of famed jazz musician Herbie Mann and a former member of Antibalas, along with Rich Panta (percussion), JP Maramba (bass), Kris Casto (organ) and contributions from a list of collaborators and friends, the collective have come up with a global and incredibly novel take on both Afrobeat and heavy psych/heavy rock. And in fact, as Garcia explained in press notes, about the band’s sound, “These repetitive guitar figures that happen in Afrobeat music are pretty close to heavy rock guitar riffs.  It’s based on the clave. It’s the musical algorithm that the rhythms revolve around. That’s what gives it integrity and is part of this musical conversation going on. I knew I wanted it to be psychedelic and heavy, and I wanted to be expanding on a musical tradition than pretending to be creating something new.”

The collective’s self-titled full-length debut is slated for an April 7, 2017 release through RidingEasy Records and the album’s first two singles “You Ain’t Going Nowhere,” and “When I Come To” manage to establish the collective’s sound as simultaneously drawing from Black Sabbath and I.T.T. (International Thief Thief) Parts 1 and 2“-era Fela Kuti — and while the album’s third and latest single “Here Lies Man” continues in a similar vein, the track also may be the most stoner rock/hard pysch rock-leaning song of the album so far, almost sounding as though it could have been included on RidingEasy Records’ and Permanent Records‘ fantastic Brown Acid compilations but funkier and more percussive.

Single Review by William Ruben Helms

Currently comprised of founding members Christian Gordy (vocals, guitar) and Justin Sherrell (bass, vocals) and newest member Adam Taylor (drums), the New York-based doom metal/hard rock/stoner rock trio Blackout released two albums through renowned hard rock/stoner rock label RidingEasy Records — their 2013 debut effort We Are Here and 2015’s self-titled album — before going through a hiatus, which resulted in the departure of the band’s third founding member Taryn Waldman. Waldman was so instrumental to the band’s sound and songwriting approach that the band’s fate was uncertain; however, last summer, Gordy armed with a handful of mushrooms and a bottle of tequila set out to write new material for the band — and while being particularly inspired, Gordy contacted and recruited Adam Taylor, who had just left Ghost Punch to write and record the band’s forthcoming third, full-length effort The Horse, which is slated for a May 26, 2017 release.

 

“Graves,” the first single off the band’s forthcoming album will further cement the trio’s growing reputation for a crafting bruising and gritty sound, full of sludgy power chords and thundering drumming that reportedly draws a bit from Helmet, Cro-Mags, Judge, Prong and others; but while possessing a sinister and menacing air.

 

 

 

 

 

 

Video by William Ruben Helms

New Video: The 60s Psych Rock and Proto-Metal Sounds of Austin TX’s Dream Machine

Perhaps best known as the founder, frontman and primary songwriter of Austin, TX-based indie pop, indie rock act Warm Soda, Matthew Melton had approached John Dwyer and the rest of the folks at renowned indie label Castle Face Records with two new albums — Warm Soda’s fourth and final album together I Don’t Want to Grow Up, which is slated for an April release and The Illusion, the full-length debut slated for a May 2017 release from a new project that Melton and his wife Doris formed, by the name of Dream Machine. And from the album’s latest single “I Walked In The Fire,” the project’s sound reveals a decided change of sonic direction for Melton as the band’s sound draws from the heavy psych, proto-metal and proto-stoner rock of early Deep Purple, Iron Butterfly and RidingEasy Records’ and Permanent Records’ collaborative compilation of similar sounds from the 1960s and 1970s, Brown Acid, complete with some early synthesizer and organ.

Fittingly, the recently released music video manages to be a spot on take on the early music videos and recorded musical segments of the 1960s — a simple yet very trippy concept in which the members of the band play in front of a screen, featuring psychedelic imagery; in fact, paired with the band’s sound, the visuals manage to evoke 1967-1972 so well that you could be tricked into thinking that the video was the promotional video for a band that time has sadly forgotten.

Single Review by William Ruben Helms

Over the past couple of years, you’ve likely come across a handful of posts on Permanent Records‘ and RidingEasy Records‘ collaborative proto-metal, pre-stoner rock compilations Brown Acid: The First Trip, Brown Acid: The Second Trip and Brown Acid: The Third Trip. Each edition of the compilation has been based on RidingEasy Records founder Daniel Hall and Permanent Records co-owner Lance Barresi extensive and painstaking research and curation — with Both Hall and Barresi spending a great deal of time tracking down the songs’ creators, most often bands that haven’t written, played or recorded together in 30 or 40 years, and encouraging them to take part in the process.  And as Barresi explained in press notes, “All of (these songs) could’ve been huge given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.” And by having the artists participate it can give the songs and the artists a real second chance at success, if not some kind of attention for their work.

Following the critical and commercial success of the first three volumes, Riding Easy Records and Permanent Records will be releasing the fourth volume of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Fourth Trip fittingly on April 20, 2017. Much like the previous three volumes, the fourth edition is based on Barresi’s and Hall’s exhaustive, painstaking research and curation, and as both men discovered, the well of privately released hard rock, heavy psych and proto-metal 45s is incredibly deep; in fact, they’ve barely scratched the surface. Most of the singles they stumbled on for the fourth volume of Brown Acid were either barely released or never properly distributed with two of the album’s 10 tracks being previously unreleased — until now.

Brown Acid: The Fourth Trip‘s first single is Kanaan’s “Leave It,” a towering and explosive, barnburner that features some incredible guitar pyrotechnics paired with swaggering vocals fed through a bit of reverb and delay, a sinuous bass line and propulsive drumming. and while the song possesses a free-flowing, booze and psychedelics fueled improvisational feel, the song manages a tight, motorik-like groove that holds the song together.

Single Review by William Ruben Helms

Founded by Marcos Garcia and featuring Chico Mann (guitar, vocals), the son of renowned jazz musician Herbie Mann and a former member of Anitbalas; Geoff Mann (drums); Rich Panta (percussion); JP Maramba (bass); and Kris Casto (organ), the Los Angeles, CA-based act Here Lies Man is a project that sonically bridges the funky rhythms and grooves of Afrobeat with the riff-based foundations of heavy rock, creating a novel and modern take on both heavy rock and Afrobeat. As Garcia explains in press notes “These repetitive guitar figures that happen in Afrobeat music are pretty close to heavy rock guitar riffs,” Garcia explains. “It’s based on the clave. It’s the musical algorithm that the rhythms revolve around. That’s what gives it integrity and is part of this musical conversation going on. I knew I wanted it to be psychedelic and heavy, and I wanted to be expanding on a musical tradition than pretending to be creating something new.”

 

“You Ain’t Going Nowhere” the first single off the band’s forthcoming self-titled album, slated for an April 7, 2017 release through RidingEasy Records manages to sound as though Black Sabbath had covered “I.T.T. (International Thief Thief) Parts 1 and 2“-era Fela Kuti as towering layers of guitars played through buzzing effects pedals, twinkling and distorted synths,  propulsive polyrhythm and a deep, driving groove are paired with soulful yet ethereal vocals floating over a hazy and psychedelic mix that’s alien yet familiar, mosh pit-friendly yet funky — and danceable as hell.

 

Video by William Ruben Helms

New Video: Monolord’s Punishing Yet Shoegazer Take on Doom Metal

If you’ve been frequenting this site over the course of last year, you might remember a post on Gothenburg, Sweden-based doom metal trio Monolord. Comprised of Thomas Jäger, Esben Willems, and Mika Häkki, the Swedish metal trio can […]

Single Review by William Ruben Helms

If you’ve been frequenting this site over the past two years or so, you may be familiar with Chicago, IL and Los Angeles, CA-based distributor Permanent Records and RidingEasy Records collaborative series of 60s and 70s proto-metal, pre-stoner rock compilations Brown Acid: The First Trip and Brown Acid: The Second Trip. 

Interestingly, RidingEasy Records’ Daniel Hall and Permanent records co-owner Lance Barresi spent a great deal of time not only just collecting and complain the singles on each volume of the compilation, they also spent time tracking down the songs’ creators, most frequently bands that haven’t been together in 30 or 40 years and encouraging them to take part in the entire process. As Barresi explained in press notes for the two compilations, “All of (these songs) could’ve been huge given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.” And by having the artists participate it can give the songs and the artists a real second chance at success, if not some kind of attention for their work.

Follow the critical and commercial success of the first two volumes, RidingEasy Records and Permanent Records will be releasing the third volume of 60s and 70s proto-metal and pre-stoner rock, Brown Acid: The Third Trip, which is slated for an October 31, 2016 release.. Now, if you had stopped by this site earlier this year, you might recall that I wrote about the third compilation’s first single Grand Theft’s “Scream (It’s Eating Me Alive)” a song that seemed to nod at Led Zeppelin III and IV, Rush and The MC5 — in particular think of “Immigrant Song” “When the Levee Breaks”  “Working Man” and “Kick Out the Jams” as the song possesses a bristling, swaggering fury. The compilation’s second and latest single Chook’s “Cold Feet” sounds as though it were the love child of Jimi Hendrix‘s “Fire,” Black Sabbath and Mountain‘s “Mississippi Queen” but with a shuffling, bluesy swagger, as the song is full of sexual innuendo and braggadocio and an incredible bass line.