Footprints In The Sand is from Ginger Wildheart & The Sinners’ self-titled debut album. The thoughtful and charming Footprints in the Sand is about “patting yourself on the back occasionally, giving yourself credit for the personal struggles that you continually battle.” explains Ginger Wildheart. Guitarist and singer Neil Ivison says, “Footprints was the first song we ever wrote together…Each of us had the bones of an idea and we put the song together in about 20 minutes. Then we went straight into the live room and recorded it exactly as you hear it now, the whole thing took just a couple of hours from start to finish. That’s when things started to get really exciting for me.” Pre Orders Here
Where do you start, when the latest release comes winging across the inter web from RPM online HQ, and said release comes from one of the best live acts on the planet, every gig a call to arms full of passion, intensity and sheer bloody mindedness.
This from a band that has probably the most culturally diverse make up on the planet. Held together and driven forward by one of the best frontmen (Eugene Hutz) you will have the pleasure to see. If I was to say the Gogol part of the name came from Nikolai Gogol a classical Russian writer of Ukrainian origin, someone who introduced Ukrainian culture into Russian Society, and the fact that the lead singer is Ukrainian then now is the time to release all that pent up anger, intensity through the medium of music.
We are talking about a band that performed for the Ukrainian troops to raise spirits, have released singles/collaborations with all proceeds going to Ukrainian relief agencies. While both the benefit gig they set up and the following Benefit tour have helped a nation under the most extreme pressure imaginable from Russian attempted Oppression.
On to the LP and fuck does it tear out of the speakers, opening track Shot of Solidaritine hits that mix of Funk, punk and gypsy folk what a set opener this would be, you can just see the live insanity, the mosh pits, crowd surfing and general good times vibe. Next up Focus Coin introduces a background skank to the punk again a track that’s going to drive the crowd faster and faster. Three tracks in and I’m bouncing around the room and Blueprint does nothing to slow things down, the gypsy stomp emphasising the lyrics they really are “Not playing with you”. Next up The era of the end of eras featuring HR takes thing in a very different direction driving that typical hardcore riff into the mix and potentially my fave track on the LP!! The LP just doesn’t let up and next into the ring I’m coming out hits that gypsy punk mix that they’ve made their own before we’re into, Knack for life, The Great Hunt of Idiot Savant, and Take only what you can carry each hard hitting, in their own right the first more hard hitting in its message by slowing things down with more focus on the lyrics, the second by lifting things back up bringing that punk guitar back before the third smashes things back open, the dual vocals give it another feel and this again I can just picture the counterpoint Male/female vocals live driving the music, in turn lifting the intensity of the crowd. My imaginary son, andForces of Victory again raise the LP to melting point. After a deep breath (this Lp doesn’t relent at all) you realise how many genres this in fact crosses over and then we’re into Fire on Ice Flow, where the Ska/ Dub influence takes control?????this comes straight out of the left field. As we move on into the acoustic led Gut Guidance, which brings back the punk edge and LP closer Hucklebury Generation I have to finish up with this is possibly the most complete Gogol Bordello LP so far, there are some real stunners here.
What a fuckin LP, buy it!!! You won’t regret it, dare to be different.
THE DELINQUENTS are a new band that comes from Italy, with members of IDOL LIPS and RAZORLIPS. They play punk in the way of DICTATORS, THE DAMNED, RAMONES, THE HEARTBREAKERS or THE SEX PISTOLS but with their own and unique 77 punk style. The album kicks off with the sound of a cowbell being thumped as the raw guitars riff like a motherfucker drawing from their influences before racing off into the distance with a mob vocal snarling ou tthe lyrics like they’re looking for a street fight.
What you have is eleven tunes dripping with the sweat of a band that love their craft and believe 100% in what they do and why they do it. The music pretty much does what it says on the tin here kids from the opener ‘Delinquents’ right through the punchy rampant sleazy ‘Burning’. They settle into that groove on the rockin’ ‘Fall Down’ with all the fills and guitar licks that have been neglected by many with the Thunders string drags and barre chords it’s a top tune. There’s enough genuine nostalgia here to bring a tear to any neckchiefed pirate lover who hankers after the good old days when giants walked the earth like prime-time Thunders and his Heartbreakers or those Dead Boys were offering danger whilst Hanoi were in full flight, this record offers a glimpse into that world and they do it really well like the rapid ‘Can’t You See Me’ which is full-on 77 punk rock with some muscle and ground happening.
‘Fix Me Up’ ushers in the hypnotic riff-a-rama of the Stooges but if they were to head down a Dolls path and were from the LES rather than Ann Arbour. ‘Make No Sense’ is something down in the dirt where Brian James took his riffs from the Rock n Roll gods. It has some of the more recent magic left behind in a trail of dust like The D4.
There are recycled licks and I love that ‘Love O’ and ‘Miss No Fun’ that remind me of Star Spangles and with a dash of The Joneses for good measure, what’s not to like? If any of the bands I’ve referenced pluck your heartstrings then this is an album you should seriously consider jumping around to. It’s a pretty full-on thirty minutes with no time to gob or take a breather not even on the way out its banger after banger of sleazy punk rock n roll. ‘Red Ruby’ and ‘What About You’ just chew out the rhythm and you can shut the door after I’ve left in a blaze of glory. turn it up kids and see you on the other side I’m heading out in a hail of rock n roll bullets with The Delinquents because these cats know what’s going down so turn it up and play on!
Back in 1982, Motorhead were riding a wave of success. After their seminal Ace of Spades album took them to the top of the heavy metal tree in 1980, they then scored a number one with one of the greatest live albums ever released – No Sleep ‘til Hammersmith in 1981.
How do you follow that? The pressure was on the three amigos to come up with another album. The recording of the album that would become Iron Fist began with Ace of Spades producer Vic Maile at the helm. As time went on though, the band decided that guitarist Fast Eddie Clarke should take over as producer (Clarke had recently produced Tank’s debut album).
Clarke took over as producer reluctantly and the band holed themselves up in Morgan studios and Ramport studios in London. The album was released in March 82 and did reasonably well, getting to number six in the UK. Unfortunately, it was to be the last album with the ‘classic’ line up of Lemmy, Philthy Animal Taylor, and Clarke. The stage show of the tour became Spinal Tap esque with a giant fist that was meant to open up but it malfunctioned more than it functioned! Clarke left the band, and he was replaced by Brian Robertson (Thin Lizzy), that’s another story!
Jump forward 40 years and we have an anniversary edition of Iron Fist along with unreleased demo tracks and a full live concert from the Glasgow Apollo in 1982. The Iron Fist album was always a bit patchy, and you can tell that some of the tracks were simply thrown together. There are some great moments though, the title track is still as powerful as ever, Heart of Stone has always been a favourite of mine, and (Don’t Need) Religion grooves like a bastard! I always loved that album cover art too, that metal fist is umm.. metal as fuck! The band did look a bit daft with the whole leather, studs, and swords bit though. It was the eighties after all…
The demo tracks are an interesting listen with some alternative versions of tunes that ended up on the album. The band are as tight as a duck’s backside and it’s fantastic to hear in insight into the recording of the album. Lemmy Goes to the Pub is an early incantation of Heart of Stone and its alternative lyrics are hilarious! ‘You never buy a bastard drink’ ha ha…
It’s not surprising that the best part of this anniversary release is the live concert. It’s raw, rowdy, greasy, sloppy, and of course, fucking loud!! Motorhead always sounded better live, the production of the early albums was always a bit hit and miss, I suppose that’s what we love about them though… they certainly never conformed to any norms. All the classics are here, Bomber, Overkill, Ace of Spades, We Are the Road Crew, Capricorn.
The 40th anniversary release is being presented in new deluxe editions. There will be hardback book-packs in two CD and triple LP formats. The original album is remastered, and we get the story of the album and many previously unseen photos. There’s also a limited edition, blue and black swirl vinyl version of the original standalone album.
You know me!! Play it fucking louder than everything else!
This was a strange week all round, uncertainty if the show would go ahead as a result of events in Scotland and my regular chauffeur pulling out. The gig was given the go ahead and I decided to take my 23 year old son ( thus ensuring I wouldn’t be the youngest in the audience). I have been accused of “child abuse” for making him listen to Angelwitch albums on the school run, now I was going to subject this pop punk loving drummer to prog epics over twenty minutes long.
I could see him enjoying the second half even if he didn’t know this Genesis album the vocals would keep him interested but the first hour of mostly instrumental Hackett highlights would be a tougher sell. My saving grace was as a musician he could marvel at the band and boy what a band. Ace of Wands opened the show then it got dark with the Devil’s Cathedral with Nad Sylvan singing the tale of the rogue understudy, Everyday sounded more Genesis style then A Tower Struck Down with its ominous doom brought us back down to earth. Camino Royal was a highlight then the musical section from Shadow Of The Hierophant brought the first half to a close. A thumbs up from my Green Day boy so things are looking up for the second half.
A half-hour interval for us older gentlemen with dodgy prostates was welcome then the main event begins. Like many mid fifty-year-olds my introduction to Genesis came via Marillion and I know it has been said a million times the clues are there. As an avid listener of Tommy Vance, his end-of-year list regularly featured Suppers Ready in the top three but it took me a few years of Grendel before I was ready to tackle it.
New backdrop lots of dry ice and Nad like an overlooking angel resplendent in a long black coat and red eyes( a simple but effective trick of two penlights with red bulbs ) heralded Watcher Of The Skies, swiftly followed by the I’ve always thought underrated Time Table which was one of the many highlights.
Get Em Out By Friday as always was masterful but Can Utility and the Coastliners I’ve always not taken to and tonight was no exception. Steve was left alone with an acoustic for the sublimely beautiful Horizons then it was time for the behemoth that is Suppers Ready. It was everything it should be overblown, pretentious, and a lot of fun I must admit I had something in my eye at the end of it.
Set list FM is my go-to cheat and the opening night of the tour in my fellow Welsh City of Swansea had Firth of Fifth and The Knife as encores, we got the former which with its sweeping keys and Steve’s magnificent arpeggios (check me out with technical terms ) was my favourite part of the evening but unfortunately instead of the stabbing staccato (and again) of The Knife we got a trio of Myopia/slogans/Los Endos very good but I had Jack Knife envy.
A fantastic night not every day you convert a twenty-three-year-old pop-punk drummer into a prog fiend now he will want Tales From Topographic Oceans but that may be a step to far even for me.
East Midlands-based punks Noose are here with a new record that’s full of life and energy that’s got a whole bunch of appeal from the sprightly opener with sing-along gang vocals on the chorus ‘Taking The Piss’ is direct and punchy. It’s got a great warm production and a fine introduction.
The energy is something that continues through the songs on offer as are the sing a long choruses. There’s a familiarity about the chorus of ‘Julie Andrews’ it’s got a similar structure to Dirtbox Disco with the join-in after only a few plays. Gotta love a handclap and on the ‘Weekend’ they kick things off. Its got some foot stomping glam rock going on in the melody but good glam rock (old school not the 80s kind).
The band signs off with ‘Monstrocity’ and then they’re gone. All round a very impressive introduction to the work of Noose and their catchy, hook heavy hard rockin punk rock n roll. Get some and join the cool kids!
There’s a great feel good vibe happening on this record its certainly got some bounce and energy in the uptempo tunes ‘She Gets Me’ being a great example. These guys would have made for good sparring partners for a Wildhearts tour with their energy and style it’s certainyl got the Rock factor wrapped up with a bit of added edge and there are sing a long choruses everywhere. ‘Bet She’s Thinking’ is bright and rapid with a cool breakdown on the verse before everyone joins in on the chorus. Andrew Cragg does a splendid job on songwriting and being the vocalist and guitar player he has his hands full getting a band together to keep up with him.
I particularly like ‘Gotta Gun’ for the attitude and a punch from the rhythm section that makes for a really good tune. Before the band signs off they have ‘Heartbreaker’ that pretty much carries the flag for the album and one they’ve made the lyric video for its not my favourite track on the album but it certainly gives you an insight as to what to expect.
The vibrant ‘Monstrocity’ rattles along at pace firing off all that is left in the tank and their work here is done. Punchy, hook-laden, punk rock n roll motherfuckers! now go get some and join the cool kids rockin out like their life depends on it.
UK punk band Grade 2 share a rebellious new single and accompanying music video titled “Doing Time.”The straightforward thrasher is complete with an angsty shout-along hook and rhetoric condemning the mundanities of the corporate nine-to-five. Correlated to a life behind bars, the band effectively uses poignant lyrics such as “I’m just a number in the system with a lifetime parole...”
United by a love of old-school punk, ska and oi, childhood friends Sid Ryan (vocals, bass), Jacob Hull (drums) and Jack Chatfield (guitar, vocals) formed the band at 14, honing their craft playing Clash and Jam covers before refining their own sound and songs. A European tour supporting Stomper 98 brought admiration and friendship from Rancid’s Lars Frederiksen, leading to introductions and the eventual signing to Rancid cohort Tim Armstrong’s legendary Hellcat Records in 2018
Grade 2 will be playing a handful of UK shows in March 2023, please find the full list below.
Album number bazillion in about two decades has brought us to this point. John Dwyer’s projects have been numerous and bastardised forms of the name Osses, Thee Osees, the Osees etc. In fact, it’s album number twenty-six and it’s a roller coaster rip-snorting ride of epic proportions. Imagine scummy, crusty hardcore, jazz (steady on folks), krautrock, experimental all thrown in the washing machine that is Dwyer’s mind.
‘funeral Solution’ begins with some cyber static before the charge begins. Razor blade guitars thrashing like the Dead Kennedys never hit a note and Dwyer ranting like he’s been locked away in Fritzels basement oh that’s where he recorded the drums as well by the sounds of it. Halfway through the repetitive hacking of the cyber feedback and rampant breakbeats rumble on.
‘Frock Block’ screams in, barely hanging on by a thread it hammers on a riff and a scream for 90 seconds. Perfect. If you haven’t worked out what’s happening here then look out your mind is about to be fucked. Twenty-two minutes of battery-licking shocks that you know you shouldn’t do but can’t help yourself.
‘Too Late For Suicide’ bucks the trend momentarily and goes for a slower fling around your head. It’s got elements of when the beastie boys went hardcore and must have recorded some demos. It’s hardcore baby but there’s more going on here – Dwyer is fucking with your head for sure there’s Beck and Pavement as well as bad brains and Crass.
The title track is like Charlie Harper fighting to break through in 82 with Discharge at the helm. Some great song titles which I’m sure the songs were built around like the full throttle of ‘Scum Show’ and ‘Fucking Kill Me’ is Keith Morris and OFF! or Circle Jerks fucked up uncle having a go.
‘Perm Act’ is like the Banshees jamming with Jello on an audition for the next batman comic book flick – head fucked and an attack or observation of bad cops. All very hardcore and on point (to use an ‘orrible term)
It’s fucked up and fun and I’ve no doubt the next album won’t be anything of the sort but this bad boy is ace.
There’s even time for a cover to sign off in the shape of the thumping ‘Sacrifice’ by British anarcho-punks Rudimentary Peni. Strange choice but then everything about this record is strange but boy is it good! Check it out it’ll fuck you up and you will enjoy it.
(Atlanta, GA USA) Big corporations are peddling deceiving “disposable plastic.” Recycling programs are being discontinued due to cost effectiveness. And here we are frozen in indecision: what do we do for the ailing planet? Helpless and hopeless, some say f#$@ it, and others get punk rock about it and make a rousing statement. Today, the post-riot grrrl four-piece band, How Tragic, takes a stand with its achingly-beautiful apocalyptic “Goodbye Cruel World” video.
“The world is burning, the ship is sinking, and people are like ‘what’s the point in even trying anymore?’” says the Brooklyn, New York-based songwriter, singer, guitarist, producer, and director Paige Campbell. “It feels like we can’t do anything to help; it feels like there’s no point in trying; it feels like we don’t know who to believe and what is the truth. There’s a special place for people who still have the fight left in them, and this is their song.”
The “Goodbye Cruel World” video boasts breathtaking landscapes; stylishly, high-concept cinematics; and a captivating video performance by Paige. The backstory behind the video is that Paige, and two of her friends, found themselves stranded together when the pandemic took over. They were confused, terrified, and kind of curious if they could spend lockdown doing something creatively constructive. The trio set out on a cross-country adventure that stretched from the vintage elegance of the Silver Sands Motel in Southampton NY; to North Carolina in a ghostly KMart location being liquidated, and the gorgeous sand hills in Jockeys Ridge State Park; to Bisbee, Arizona at a vacant beautiful hotel and artist retreat and in the desert; and, finally, back to New York City months later with How Tragic reuniting for a filmed street performance at Coney Island.
“Goodbye Cruel World” is a mid-tempo punk song with a touch of 1950s balladry overtones, and it’s as seething as it is sensual, smoldering with ill-fated romantic ideals. One choice passage reads: We hemorrhage apathy, As The World Turns/There’s not much else to do but sit and watch it burn/Goodbye, cruel world/Goodbye, cruel world/and this wasteland/Goodbye cruel world. This is a song for the ages, but we will probably be looking down at our phone checking out influencers, and the meticulously-curated lives on display when the earth explodes in a big ball of fire. But we can’t say we weren’t warned.
Previously, How Tragic (unsigned) has been championed by rock legend Rodney Bingenheimer who introduced the band on his radio show where he premiered the single “Deathwish.” The quartet has issued the 4-song EP, Past Lives—co-produced by Paige alongside producer, engineer, and mixer Matt Chiaravalle (Courtney Love, Debbie Harry, Warren Zevon)—and debuted as a headliner at the iconic rock venue the Mercury Lounge.
Seconds out video two comes from the awesome More Kicks whose album was released over the weekend and reviewed on RPM Online. watch the video then buy the record. It’s simple!
The long-awaited Ginger Wildheart & The Sinners debut album is finally here, 3 years after The Wildhearts main man formed the country-tinged project with guitarist Neil Ivison and bassist Nick Lyndon of Stone Mountain Sinners. Picking up drummer Shane Dixon along the way, the band retreated to Mwnci studios in the heart of West Wales with Dave Draper at the helm and recorded an album that finally sees the light of day, 2 years after it was mixed.
With a release on Little Steven’s Wicked Cool Records label, the home of RPM faves such as Jesse Malin, Ryan Hamilton and Prima Donna, we expect very good things from Ginger and his boys.
This self-titled, debut long player is a 10-track affair that takes a trip down a dusty, country road, taking in a choice cover or two along the way. Opening track and first single ‘Wasted Times’ is a perfect introduction to the good time, southern rock n’ roll that The Sinners deliver. There are catchy melodies aplenty, lush harmonies for miles and a killer chorus that refuses to leave your brain. It instantly sounds like an old time classic. You wanted the boys to start big? Well, they delivered!
It seems trading his Les Paul for a Telecaster and sharing lead vocals was exactly the therapy Ginger needed after the headfuck that The Wildhearts has been for him the past few years. There’s a sense of camaraderie here, and the immediate reaction I get from this album is how remarkably upbeat, positive and fun it is. I mean, 3 songs into this album there is a tune called ‘Footprints In The Sand’ that is so uplifting it gave me goosebumps by the first chorus. I presumed it was a cover, but it’s not. With Neil taking lead vocals over dampened chords, it sounds like a classic Springsteen track, or a John Cougar Mellencamp tune, but it’s not. With a rousing, building chorus over ringing chords, you will swear you know it already. It’s the sort of anthemic, Americana I adore, and I think you will too.
‘Work In Progress’ has more southern boogie than a Georgia Satellites album, but with that certain Ginger trademark song structure. And just when you think you have the song sussed, in comes some crazy-ass female vocals that take us into Black Oak Arkansas territory. But who is the mysterious Ruby Starr impersonator? We need to know.
With no press blurb or details I have no idea who writes what regarding the original tunes, but Wildheart and Ivison wear their influences on their sleeves and covers-wise they give us a couple of classic album tracks you may or may not be aware of. The band tackle the aforementioned Georgia Satellites ‘Six Years Gone’. The faithful reworking is perfectly executed and they make it their own. But with Neil taking lead vocals again, Status Quo’s ‘Dirty Water’ is turned into the euphoric, country rock classic you never knew you needed in your life.
Elsewhere, the beautiful, acoustic balladry of ‘Breakout’ is up there with some of the frontman’s finest reflective moments. The likes of ‘If You Find Yourself In London Town’ and ‘Geordie In Wonderland’ come to mind. Full of lush harmonies and a sense of longing and regret that could well bring a tear to your eye by the end.
They finish the album with a tongue-in-cheek comedy tune that nods its head to The Wurzels. There’s a ‘live in the studio’ feel that sees all the albums’ singers take a verse. With a great gang vocal sing-a-long, and a fade out to raucous clapping and cheering, it seems the perfect way for The Sinners to bow out.
With a good deal of country twang, a whole heap of glorious melody and an overall sense of fun, Ginger Wildheart & The Sinners have delivered a debut album that is a much-needed ray of sunshine in these strange and dark times. Guaranteed to leave a smile on your face and a sense of contentment within, this album is proof that music is the greatest mood changer out there.
With the follow-up album already recorded and the band touring in October, it seems the future of the UK Americana/roots music scene is firmly in their hands.
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