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“Crank It Up” – Billy Walton Band

“Crank It Up” – Billy Walton Band

4 stars (out of 5)

If you’re a regular visitor to MusicRiot, you may have noticed that we’re keeping a close eye on the Billy Walton Band here at Riot Towers.  There’s a simple reason for that; they’re very good. “Crank It Up!” is the fourth album from the Billy Walton Band, following 2 studio albums and a live set recorded at The Stone Pony in Asbury Park.  Billy Walton and bass player William... [Read more]

“Rapprocher” – Class Actress

“Rapprocher” – Class Actress

3 stars (out of 5)

Class Actress, aka Brooklyn based singer Elizabeth Harper and producer Mark Richardson’s, debut album could have been released at any time during the peak of the brief, but surprisingly influential, Electroclash movement of 2001-2003. It’s self-conscious, ironic and armed with relentless synths and arch female vocals but unlike the majority of the music released during this period it doesn’t... [Read more]

“The Stone Electric”

“The Stone Electric”

3 stars (out of 5)

OK; I’ll admit it, I’m a bit slow out of the blocks with this one even by my standards.  This album was released in 2009, but I happened to see the band a few weeks ago at a London gig and a copy was stuck into my grubby mitt so here we go. The Stone Electric are Noni Crow and Austyn Crow (covering all the guitars and vocals between them) and drummer Rich Matlock.  It’s easy to pick out the... [Read more]

The Opiates – “Hollywood Under the Knife”

The Opiates – “Hollywood Under the Knife”

4 stars (out of 5)

The past 18 months have been busy ones for Billie Ray Martin. She has released records under her own name as well as with Hard Ton, The Crackdown and now, along with Robert Solheim, as The Opiates. Over 3 years in the making, ‘Hollywood Under The Knife’ sees BRM reunited with the cool, spacious electronic sound of her first and most successful late eighties band; Electribe 101. Martin possesses... [Read more]

Billy Walton Band Live

5 stars (out of 5)

It’s a foggy night in London town (Whetstone actually) and I’m sitting backstage at the All Saints Arts Centre, which is a rebranded church hall where The Who (in their High Numbers era) played in 1964.  I’m chatting to the ever-approachable Billy Walton under the eagle eye of Plus One, who’s trying to make sure that I don’t morph into Lynn Barber mid-interview; as if.  This is roughly... [Read more]