RUTS DC - ELECTRACOUSTIC
Volume Two

When I first saw Ruts DC (or just plain“Ruts” as they were then) play live in 1979, it was a fractious affair primarily because of the behaviour of a gang of skinheads and the summary justice handed out to them by the band.  But if you had asked me then would I (a) still be seeing them live 44 years later and (b) be reviewing their latest CD,  I no doubt would have advised you to seek urgent psychiatric help.  However, here I am, having seen them twice in August at the Rebellion Festival and now holding in my hands a copy of their new album “ElectraAcoustic Volume Two”.  

As the name would suggest this is the second, largely acoustic release from the band, although unlike its predecessor (which concentrated primarily on re-workings of  more standard tracks from their stellar back catalogue) this is ostensibly an accompaniment to their 2022 release “Counter Culture?”  With Malcolm Owen and Paul Fox now long gone (but never forgotten), original members Segs Jennings and Dave Ruffy have been joined by Leigh Heggarty to make a formidable power trio, although I think it true to say that this album demonstrates their softer side.  

Opener “Born Innocent” reflects on the dogma of religion, a topic very much in the news at present.  There is a lovely break mid song of finger picking guitar by Heggarty which once and for all puts to bed the argument that punk relies only on two or three chords.  “X Ray Joy” continues in the same vain, although at a slightly quicker tempo, again highlighting the bands accomplished musicianship and appears to be reflecting on past friends and acquaintances or “The ghosts of my life”, as they state in the lyrics.  

The next few tracks deviate from a revision of “Counter Culture?” with “Backbiter” originally having been on their debut album of 1979 “The Crack”.  However, it loses nothing of its ferocity by being played acoustically.  “Second Hand Child” has an almost Nirvana unplugged feel having originally appeared on “Music Must Destroy”, whilst “Despondency” first saw the light of day on “Animal Now”.  They show their reggae roots on “Love in Vain” from “Grin and Bear It” which has the same feel as the The Clash in their pomp on “Armagideon Time”. 

The band return to “Counter Culture?” tracks with “Poison Games” and “Faces in the Sky”.  The latter has an intro somewhat reminiscent of U2, but don’t let that put you off as the song seems totally relevant nowadays.  It rails against the advent of AI and fake news and asks “Faces in the Sky, asking you why.  How can we tell a dream from a lie?”

“Different View” was the first single released under the banner of Ruts DC in 1981, six months after Malcolm Owen's sad demise.  “Caught in the Killzone” returns to tracks from their latest release and I can vouch was one of the highlights of their Rebellion acoustic set.  “Cyclone” is a mellow call for unity, something much needed given the Global situation at present, and penultimate track “Mirror Smashed” was originally from 1981’s “Animal Now”. 

The album finishes with a rip roaring take on their classic track “Staring at the Rude Boys”.  It’s a great song and will always be a classic, but also reminded me how many youth cultures were spawned in the long gone days of my youth.  Punks, skins, rude boys, mods, New Romantics etc all came along in a short period of time as the music/fashion industry was constantly refreshing itself.  I somehow wonder if Gen Z aren’t missing out on something.

Anyway, it brings to a close a great album from a band that can still hold their own live.  It may show a different, softer, side, but confirms that even after 46 years they write songs that are as relevant today as ever.

Long may that continue!

Bones

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