Hot on the heels of last year’s smash success ‘Sons Of The Gun’, The Bullets make a welcome return with their brand new long player ‘Go Man Go’. Taking no prisoners with their rumbling, tumbling beat played at a frenetic pace, it’s business as usual once the opening bars of ‘Party Like Me’ makes its entrance with its collar turned skywards that suggests real intent. ‘Real King Bee’ follows suit in equally confident manner as it puffs out its chest and pays reference to the King himself with numerous “Uh-huh, oh yeah(s)”, with man behind the drums Gary Griffin hammering out a beat that more or less steers this song to its conclusion. The lip-curling attitude continues once ‘Kicks Like ’56’ kick-starts (sorry) in hip-swinging fashion and then sees a three-way contest, and eventual tie, between slap bass, guitar and drums all vying for attention, such is their voracious appetite throughout this rebel rouser of a song. As was the case with its predecessor, The Bullets continue to exhibit a real flair for conveying genuine menace in their songs when it comes to ‘Go Man Go’. ‘While You Were Sleeping’ provides one such example as it’s shrouded by an ominous atmosphere, given credence by lead vocalist Brett Waters’ sense of peering over his mic with eyes locked on its target in a foreboding manner, before the revved up guitar and no-holds-barred commentary of ‘Bitch’ provides further evidence to this trio’s creative capabilities. There are several departures in sound as The Bullets tone it down during ‘Can I Take You Home’, which is full of yearning and seen through the eyes of a lonely protagonist wandering the streets at night expertly handled by Brett Waters who extends his vocal range with a bout of crooning which, along with his comrades, delivers this song to the stars as its truly magnificent. The best, however, is saved until last with the other deviation in sound springing from the western flavoured ‘Movin’ On’. By sounding epic in scope with its (almost) perpetual, galloping rhythm that is given a pep up during the final hurdle with the return of James ‘Jaz’ Lambeth on brass duties, ‘Movin’ On’ deserves high praise for its aforementioned vision but, at a guess, for accurately portraying the initial creative ideas as this song runs a close example to a definition of perfection. In addition, extra Brownie points are awarded for the memorable line, “I found a girl with a tattooed chest” due to being only the second time of hearing such a reference outside of The Pixies’ ‘No. 13 Baby’. While serving as a gateway to the past with the album’s title track revealing a penchant for Link Wray, ‘Go Man Go’ is very much concerned with living for the moment and, more precisely, in the present. Therefore, despite any references to rock ‘n’ roll’s past, The Bullets remain thoroughly ensconced in a modern framework which, on the evidence of ‘Go Man Go’, is working to their favour and likely to appeal to a broad base of music lovers. We make that 2 – 0 to The Bullets.