Ah, the blues. There are generally two kinds; the slick, middle-aged, carpet slippers variety, and the real deal. If you have a passing acquaintance with Damaged Goods records, you will know that Billy Childish, in all his various guises, is one of Britain’s most prolific musicians. You will also know that he is the real deal. As far as it is possible for an artist to be the real deal; he is all too aware of the dichotomy.


While I am a fan, I am nowhere near owning his back catalogue. It is simply immense. Any given year, blink, and you’ll miss several of his albums. This, the third album by The Chatham Singers, is “less country, no poetry” and full of primal, dirty blues riffs. Simple, to the point of cave-dwelling, as is the production. Perfect.


The trio of Billy, Julie and Wolf are joined here by Jim Riley; a harmonica player of no small talent. The twelve songs, originals and covers, are like hearing the nascent, blues hungry Stones first practices in a scout hall, minus the glossy sheen. Yes, this is skeletal blues from the deeply odd Medway delta.


‘The Good Times Are Killing Me’, and Slim Harpo’s ‘Got Love If You Want It’ put the harmonica to good use, the guitar taking a back seat. ‘Ranscombe Farm Boogie’ evokes a rhythm of ‘Shake Your Hips’. There is a stark version of his classic ‘All My Feelings Denied’, and ‘Wiley Coyote’ is at ‘Little Red Rooster’ tempo.


‘Why Did I Destroy Our Love?’ ups the pace, before the album’s dark jewel that is ‘My Love For You’. Sinister and brooding, it stands apart from the other songs, for me. A great case of “I really wish I’d written that”.


‘What’s Wrong With Me’ and ‘You Wonder Why I’m Hurting’ bring it all to a swampy ending. It’s safe to say I listened to far too much blues at a young age, so I’m fussy now about what I’ll risk listening to. Where can you go after Slim Harpo and Little Walter? But, if you’re in the mood, this is the stuff.


Buy ‘King Of The Medway Delta’ Here





If you like Giuda (really! What a dumb question), then look no further for your next fix of 70s flavoured pop goodness. At this point, I’m assuming you are aware of the talents of their lynchpin and guitarist/vocalist, Lorenzo Moretti. Not content with running the well-oiled Giuda tune machine, he’s teamed up with multi-instrumentalist Tiziano Tarli, who’s son contributes drums on this debut collaboration. Sterbus completes the line up on bass duties.

While ‘ZAC’ isn’t a million miles away from Lorenzo’s main job, it’s different enough to keep it fresh, and there is an air of optimism in their sound. ‘Count On Me’ is a breezy, Hammond infused opener, the kind of ear-worm we’ve come to expect from Lorenzo. Here, he’s committed to full technicolour pop, the album is often piano-led. ‘Not Anymore’ is a case in point, like prime-era Slade. ‘What If You Don’t’ could almost be ‘Here Comes The Sun’ at first, before mutating into a Glitter Band middle eight.

‘Superhero’ has a hint of the ‘Roobarb’ theme tune, while ‘There She Goes Again’ and ‘I Got Something In My Mind’ both remind me of The Rubettes. No complaints here! ‘Stay Up All Night’ even references 1974, ‘Wild Love’ is anything but; a classic, bouncing bass line. We veer towards the ballad on ‘Girl On The Train’, and ‘When You Go To Bed’ has an infectious bassline melody, while the power chords recall ‘Hello, Hooray’.

As ever, Lorenzo chooses his influences carefully. It’s never heavy-handed or overt unless it’s meant that way. This is a fun, yet classy album, which indicates the breadth of his talent. If I get to see ZAC supporting Giuda, I’ll be very happy.

Author: Martin Chamorette

Buy Zac Here

Ah man. A new King Salami album is always something to be celebrated. Do you dig trashy, primal rock ‘n’ roll as much as we do at RPM? Do you like your rhythm & blues to seriously kick some arse? And do you by chance like sausages? Well, you’re in the right place then, as this 8 legged groove machine straight outta Wurstville (that’s somewhere in London town to us normal folks!) pack clubs all over Europe and Asia with their energetic live shows.

‘Kiss My Ring’ is their fourth long player and the follow up to 2017’s ‘Going Back To Wurstville’, and with their ever-cool retro themed artwork and sonically seductive sound, it would make a mighty fine addition to your record collection.


The title track opens the album and sees the band blast back in fine form. “Get on your knees and kiss my ring!” is the vocal refrain the whole band shout over a primal burst of 50’s rock ‘n’ roll. Full of mad percussion and sax appeal, it comes on like a 50’s dancehall twist. Snappy beats, furious bass runs, choppy riffs and howlin’ vocalizin’, what’s not to like here?

It’s a veritable smorgasbord of influences, which is hardly surprising when the crazy cats that make up this four piece come from France, Spain, the Caribbean and Japan, yet reside in London town. Years of treading the boards of clubs and toilet venues throughout Europe, the world and even Peckham! Yes, this band has put in the hours and it shows in their music.

The choppy, Wilko Johnson inspired riffage of T Bone Sanchez cuts through the mustard and makes their mash up of The Sonics, The Rezillos and James Brown an exciting proposition indeed. Don’t let overly silly song titles such as ‘Oofti Goofti (Wild Man Of Borneo)’ and ‘ The Jellybutt Of Timbuktoo’ fool you, this band play harder and faster than most so called punk bands you see on the circuit these days and they are tighter than a duck’s arse!

Shake and twist to the likes of ‘Don’t Make Me Mad’ and try your best not to move to the groove as the King urges you to do ‘The Pulpo Dance’ in his unmistakable tones.

The band have never been afraid to bash out a few instrumentals and the likes of ‘Stormy’ and ‘Space Spy’ have enough going on musically to capture the imagination and get them old hips a moving! Dick Dale and Link Wray eat yer heart out!


With not a meat related lyric in sight (unless you take the title track the wrong way!) ‘Kiss My Ring’ is a vegan’s delight, lyrically more about… well, I don’t really know what they are on about most of the time, but I know they have the power to incite a riot in your pants and an itching feeling in yer old size nines.

Down and dirty garage rock, inspired by the best sounds from the 50’s and 60’s, King Salami And The Cumberland Three are the perfect party band and ‘Kiss My Ring’ captures their essence to perfection.

Buy ‘Kiss My Ring’ Here 


Author: Ben Hughes




It’s been nine long years since Fabienne Delsol’s third solo album, ‘On My Mind’, and I had become resigned to the idea that she had left music behind her. Which, considering she had seemed carved from my francophone dreams, was hard to accept. She has graced us with three albums of 60s inspired beat and psyche pop, as if visiting us briefly to improve our dull world.


Mais, non! Monsieur Daley m’a dit qu’elle va sortir un nouveau album. And ‘Four’ is all I could have dreamed of. While maintaining the influence of a young Françoise Hardy, Fabienne’s sound is maturing to slightly darker places. Back again at Toerag Studios, but now co-producing with Luke Oldfield, this is the sound of Fabienne in control of her muse.


‘See How They Run’, with fuzz-guitar melody, brings us back to where she left off. Like a lost, ephemeral classic. ‘Ladder’s acoustic intro gives way to an organ-fuelled groove, which also gives ‘Door Knob’ a more sinister tone, though it still swings. I think Rudi Protrudi would approve.


Another catchy original ‘So Many Could Not’ is followed by the first choice of cover version, ‘When I Awake’. Yes, the Quo tune is pared back but retains its quirky charm. ‘The Face’ by the Human Beinz is an inspired choice, but the standout cover is Françoise Hardy’s ‘J’ai Fait De Lui Un Rêve’. If I still had hairs on the back of my neck, they’d be standing up.


‘I’ll Never Be Lonely Again’ takes a Beatley, meandering path, while ‘Hurtin’ Kind’ ends the album on a groovy note. If, like me, you feel like you were born in the wrong time, and beat-pop-psyche nuggets are your thing, I can’t recommend this album enough. The world is a better place with Fabienne Delsol in it. Merci, Fabienne, mille fois.

Author: Martin Chamarette


Graham Day and his compadres Wolf Howard and Allan Crockford have been part of the fabric of British garage rock for decades now. Yet, unless you’re a fan of the Medway sound via Billy Childish, you probably haven’t heard of them. You’ve been missing out, but fear not! This reissue with three extra tracks is an ideal starting point.


From The Prisoners to The Senior Service, Day has quietly been carving a career in quality tunes, be they of a garage, mod or psychedelic flavour. You can rely on him to come up with the goods. Put simply, he’s as good as Weller thinks he is.


From the opening title track, it doesn’t disappoint. ‘Mary’ has the immediacy of Steve Marriott fronting The Who, especially with the fluid bass line. ‘Can’t Get You Out Of My Mind’ brings out the wah-wah and flailing drums, while ‘I Am The Fisherman’ has a melody and harmonies worthy of The Flamin’ Groovies.


‘Sitar Spangled Banner’ is one of Day’s favoured instrumentals, complete with Hammond. Of the extras, ‘Love Me Lies’ sees Graham flex his fingers, some far out solos, as does Hendrix cover ‘Freedom’, an equally groovy hip-shaker, and ’30-60-90’ is another instrumental which The Fuzztones and The Morlocks should be fighting over.


Most tracks are live, with vocals recorded in one take, and all the better for it. If you love your garage rock, this is the perfect introduction to Graham Day’s back catalogue. While gigs are rare, on 26th May, The Forefathers play Margate Mod and 60s Festival.

Buy ‘Good Things’ Here


Author: Martin Chamarette