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"Men Of Stone" album launch
In the annals of Bristol music history Glaxo Babies could have a book and a zone of greatness all of their own. Singles and EP?s such as ?Christine Keeler? and ?This Is Your Life?, along with the seminal ?Avon Calling? compilation John Peel recorded session version of ?It?s Irrational?, stormed the zeitgeist of late 70?s, early 80?s UK post punk.
Four decades on, in 2025, another great leap forward brings the story to a stunning new destination with the vinyl and digital release on Bristol Archive Records in conjunction with their own imprint Liberated Sound Development of ?Men of Stone?, the band?s first new album in some forty years.
It?s a major chapter telling of reinvention, restructuring and in no way taking stock. For this missive the Glaxo?s use not one, but two new vocalists adding their own voice to a collection of songs mainly written by long-time Glaxonian and original guitarist, Dan Catsis. Dan was also a massive part of nationally recognised Bristol luminaries, The Pop Group and Maximum Joy.
Other Bristol notables come into the new material?s mix with Steve Bush, main-man of former NME faves Essential Bop, contributing lyrics to the darkness descends vibe ofsecond side opener ?I Don?t Want to be Loved?, while Massive Attack producer and collaborator Neil Davidge adds a sonic sound-bed sheen to the track.
Two of the new band members have an important Bristol back story. Bassist Steve Street was a centre-piece of studio recording at his SAM set-up in the city, and drummer Jamie Hill played with early Nellee Hooper/later Roni Size drummer linked percussion powerhouse outfit Mouth and later with ex Pop Group/Cortinas/Clash driven Virgin 80?s act Head.
?Men of Stone? is a record that nestles right in there with Glaxo?s earlier classics. It distils their past and present with plenty of other new goodies and angles to appreciate. You know it?s going to play a blinder from the full on, visceral thrill guitar attack of opening track ?Living the Dream?. This is side-bar alt-rock heaven, a heady blend of classic LA howling blackout in a red room street love and hate meeting grunge in a dark alleyway.
There?s no time to recover. Next up, ?Waiting for Something? throws an edgy set of questions that will have a problem getting answers. This 2025 version of the Glaxo?s throws curveballs in every direction. Something is always happening. Vox Number One, Jim Johnson ex Monk and Canatella, has well and truly introduced himself too.
The more reflective ?Give Me? and ?Anymore? are the chance of Vox 2, Adam Tongue, to speak some truths. The many guitar colourings that Catsis has in his repertoire palette are well on show to hear, on this pairing and the atmospherically powerful side closer Drifting.
The second side of the album ploughs some group brand and ?Bristol Sound? terrain going back in time a little. ?I Don?t Want to be Loved? sets the scene garnished by very on-point swirly trumpet, followed by the harem scarem, watching the detectives, kaleidoscope glory that is ?Stop Me Now?. This is a ride that no-one wants to get off from.
As a title track ?Men of Stone? does what it says on the proverbial tin. The moving finger points at the black hole of shallowness and stubbornness. The chiming roar of Catsis? guitar meshes with a band on fire. Album closer, the dramatic ?Change is Forever?, pursues a film before your eyes and ears vendetta against anyone refusing to sign up to the maxim. This is Glaxo Babies at their most cinematic and it?s nothing short of magnificent. Chaos and Order wrapped up into a complete One.
This album is so relevant that the pleasure of it almost hurts. Let it bleed into you.
Support TBC
Legendary independent music venue, hosting some of the best gigs in the world.
The Louisiana is a 140 capacity, family run venue that takes pride in putting on the best musicians and giving both them and the audience the perfect communion. This is something we’ve been working on for over 25 years.
There was a fire at The Fleece, Bristol in 1996, and two local promoters asked if they could use the room upstairs at The Louisiana instead. We said yes, and in the first week Placebo and Super Furry Animals played here… at the time, we didn’t even have a stage.
Gianni built a stage a week later, which was lucky because within weeks more promoters were involved and we were staging gigs on a regular basis. We’d get up-and-coming DJs in only charging people 50p entry; The Chemical Brothers played one of these and we even started doing club nights in the basement at weekends.
Over the years, The Louisiana has been seen as a barometer for new bands. The first time The Scissor Sisters played here it was as support to a Bristol band, but by the third time we had to escort them to the stage so they wouldn’t get mobbed. It was the same with Florence and the Machine, and The National – who first played here to 20 people and now they’re playing to 20,000. We’ve always been the first port of call for most new bands doing a national tour.
While external promoters book the national bands that perform at The Louisiana, we also make sure the venue is a platform for home grown talent. Lots of local acts approach us, and we try and give them slots as much as possible. If we believe a band has real talent we’ll try and support them as much as we can and recommend them for suitable national support slots and festivals too. We regularly have labels, agents & promoters asking us for tips on the best new music coming through the venue.
We always try to look after the bands that play here, local and national, which means they have a good time and want to come back time and time again. We start by giving an unknown act a chance, and then when they go on to become massive they still want to come back to play, even though we are a small venue.
It’s great being part of bigger, citywide events too. We’re a fringe venue at the Harbourside Festival, and last year the whole road was closed off as we had a jazz band playing outside and people were jiving in the sunshine. We are also one of the eight venues for Bristol’s Dot-to-Dot Festival every May, which sees the best new bands descend on the city and play back-to-back throughout the day. It’s a music marathon, and the atmosphere is incredible.
Despite being a popular venue with artists and audiences alike, keeping The Louisiana going as a live music venue hasn’t been without its challenges.
When we started out it was the strongest time in British music history. There were lots of bands coming through and lots of money in the industry, so bands could afford to tour more. We had Coldplay here three times, and Muse took up a residency for six months.
For a little while, there was less investment in touring and things were tough, but now the scene is recovering. Smaller record labels are springing up, the internet has been good in giving bands the freedom to set up and get themselves out there without even needing a label.
Once again the scene in Bristol is healthy. There are lots of great musicians and songwriters coming through, like George Ezra who developed his style and sound while studying here. It’s also a city that is very supportive of music.
You won’t get a better sound, on stage or off, than at the Louis.
Wapping Road,
Redcliffe,
Bristol,
England,
BS1 4RH.
0117 929 5978
Sorry, This Event is in the past!
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