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A Look Back at ‘Endless Nameless’ by The Wildhearts

A Look Back at ‘Endless Nameless’ by The Wildhearts

I can already hear people on both sides taking up arms to talk about how this is an awful record drenched in noise while others shout what a brilliant album this is. The year was 1997. While the internet was alive, it wasn’t anything like it is today. A person couldn’t run to the computer to immediately head a song drop. The Wildhearts had seemed to be in danger of imploding according to the magazines at the time. They had to pull out of a tour in the U.S. with AC/DC. There was talk they had recorded demos for a new album but were unhappy with the direction they were going. These would later be released in 1998 against the band’s wishes. In 1997 though, the band released the infamous ‘Endless Nameless’ produced by the late Ralph Jezzard (R.I.P.) who just recently left this world way too soon. The band had signed with a new label (Mushroom Records) which gave me optimism as a fan that despite the stories the band’s trajectory was still moving higher.

I cannot recall what I received first. Kerrang usually ran at least a week late in the States, and Tower Records usually could get CD singles within about a week of their release. I also had a record store back in Albuquerque where I had previously lived (I miss you Merlin’s Record Workshop) that would order me everything Wildhearts related and mail the items to me. Good old mail order when I had to check the mail each day to see if I could finally hear music from across the pond… The first thing most of us heard was ‘Anthem.’ There was the initial thought of ‘Why is the music damaged like this?’ I think that was quickly followed by realizing Ginger wasn’t singing; Danny was. ‘Anthem’ is extremely catchy even through all of the racket that collides with the music. I mean it kind of had to be when you borrow a line from a chorus by the Clash to use as your hook. What I realized quickly was that there was still melody in there amongst the explosions and speaker rattling white noise and feedback. The other change that was immediately noticed was the b-sides were largely cover songs and not all originals. I can safely say that ‘He’s a Whore’ was the last one I heard because it took longer to get the 45. The production on the b-sides was the same as ‘Anthem’ with the things I loved about the band going through a noise blender. I was partial to the CD single version that contained ‘White Lies’ and ‘The Song Formerly Known as?’ ‘White Lies’ stormed out of the speakers or maybe I should say it Scorched out of the speakers. The memory is fuzzy now, but I think it was the cover of this song that helped make sense of this new sonic assault. The lyrics in the other song asked all kinds of interesting questions, and I still don’t know why we men have nipples…

I believe the ‘Urge’ single then snuck out right before ‘Endless Nameless.’ A song that continues to get louder and more destructive as it goes through its running time. This time we also received four new Wildhearts songs and only one cover song. I love all four of these originals and will talk in more detail about two of them later. What was clear upon hearing the second single was that the album was going to have a sound consistent with the noisy and abrasive sound of the singles.  I was feeling optimistic about the album overall even though I was missing the approach that had created the likes of ‘Sky Babies’ and ’29 x the Pain.’ The blend of crunch and melody had always been present in the band as I remember at one point the band was described as Metallica crossed with the Beatles which I don’t think would have been my description in those early days. Ginger has a gift for writing songs that can touch across a lot of genres, but the even greater gift is that they sound cohesive and recognizable as the Wildhearts or other dedicated projects. They don’t sound like a hodgepodge of ideas that are forced together. It never seemed odd that the band could include the old-time rock n’ roll feel of ‘Loveshit’ on the same album as the aggressive flurry of ‘Suckerpunch’ or the epic ‘Sky Babies’ from ‘Fishing for Luckies’ where Ginger incorporates what feels like several songs into a seamless epic.    

Released at the tail end of October 1997, I would not hear the album until early November when the CD appeared in my mailbox. Looking at the cover, the band had finally released an album with a picture of the band on the front cover. I don’t think I immediately noticed that they all seemed to be in their own little world and had no intention of being together as friends or bandmates. Looking back later, it became obvious that the cracks (Crack? Other drugs?) had broken the band and sent them towards an implosion. When I played the album the first time, I had initially wondered why ‘Junkenstein’ was mastered so much lower than other albums and had turned it up to a more desirable volume… For those who know, the song becomes a little bit louder as it goes. The song isn’t one with an immediate chorus that captures your attention like ‘Greetings from Shitsville’ or ‘I Wanna Go Where the People Go’ did. It felt more like my buddy’s car where you had to tap the screwdriver on the starter to get the thing to turnover. I cannot imagine another song starting the album though. This song which initially sounded like a twisted mess of noise rising to the surface gives way to a song that does feature a large hook. ‘Nurse Maximum’ roars to life in what feels like the middle of the first verse. The melody and the noise fight each other for control throughout the song in a glorious way that rewards the listener. There is nothing subtle here.

After the two singles, the band launch into ‘Pissjoy’ one of my favourite songs by the Wildhearts. It closes out the first half of the album with another anthem (no pun intended) where an opening riff without much distortion gives way to a swirl of feedback in the verses. I am not sure if my brain hears all the feedback and white noise in the mix here or somehow isolates the melodies and old crunch in the music. The kids screaming the title give it another nice element that jumps out of the mix. At the halfway mark, it is a chaotic and noisy mess of an album that really hits the spot for me on most days. There are those random moments where it may not connect as much.

The second half of the album is where I wish there were a couple of changes. ‘Soundog Babylon’ would not be one of those changes. It builds into a looped rhythm with a crushing guitar. A catchy pre-chorus sets up an even bigger chorus. In some other world, this was probably the lead track to the album, but I think it works better here. I remember a review slighting this song and have never understood it. The way it all dissolves into the breakdown with no feedback in the mix before the maelstrom at the end could not be done better. Next up, ‘Now is the Colour’ became a grower over the years. When the album was first released, I would have said the song was okay. The hook has become more ingrained in me over the years and that industrial-sounding (like a machine in a factory) rhythm section. I also hear a Lee Harvey Oswald Band influence in the way the vocals are placed in the mix. For those who cannot get past the approach the band took here, I understand feeling that way with this song filled with extra noise and sounds in the mix. There should be a warning that pops up in your car when any song includes sirens…

This is where I wish the album could have two changes. I am a huge Dogs D’amour fan with ‘In the Dynamite Jet Saloon’ being my number one album of all time. The Wildhearts cover of ‘Heroine’ just doesn’t work for me. The Dogs recorded a number of versions of it, and Tyla has released multiple solo versions of it as well. It has never connected with me as much as their other material. I don’t mind it, but it is not a song I ever really seek out to play. This is where I would have preferred seeing ‘Zomboid’ from the ‘Urge’ b-sides on the album as it is one of my favourite songs from the band at this time. It is abrasive, extremely catchy, and extremely heavy. If you want to play at home with a playlist, pull ‘Heroine’ off the album and insert ‘Zomboid’ here. The guitars seem to roar above the white noise and provide a major dose of adrenaline. Next, I make another change which could be correlated to hearing the songs back to back so often back in the day. I would include the Ritch sang ‘Genius Penis’ next. If you want to make the flipside of the album even more aggressive, you can switch that for the cover of ‘White Lies.’ I think ‘Genius Penis’ gives the album a brief break in the heaviness with a catchy chorus, spoken vocals, and gives Ritch a chance to lead a song like Danny did in ‘Anthem.’

I am not going to remove ‘Why You Lie’ from the album as I have always loved the song. I think it needs that separation of a song from ‘Zomboid’ so the additional song to the album gives more music and creates that separation. ‘Why You Lie’ initially sounds bit like a buzz saw in a machine shop with concrete walls amplifying every sound, and that is before the chorus where they see how loud they can make everything. For a record that is drenched in noise, there is a lot of dynamics used across the record. ‘Thunderfuck’ closes the proper album utilizing them to great effect. There are no ballads across the album, but I have always enjoyed that something with that title takes a very different approach musically than one might expect after the first nine songs. The slower beats and music at a lower volume to start the song to set up an awesome finale. The verses build slowly and don’t sound too far away from ‘In Lilly’s Garden’ with some different effects being used. There is a monster that is hiding in the mix though that begins to roar to life. More and more elements rise in the mix, and the beat increases until that moment when the record returns to more melodic and more traditional sounding chorus for a few moments that is still filled with all kinds of effects and just continues to get louder and louder. I have always viewed the album as whole as being a very dark journey whether it is through a metaphorical hell or our own darkness in our soul. The transition in the middle where that melody first comes out being our attempted separation from the darkness. The voices and continued chaos in the music being the back and forth as we try to find or stay in the light. That moment could not be placed in a better moment on the album. Just as ‘Junkenstein’ started the descent into this world, that melodic moment is our chance to move out of that world.

The Japanese version of the album added a loud white noise version of ‘Pump It Up’ that I have always enjoyed. Among the covers of this time period, it would only trail ‘White Lies’ for my tastes. I wish they would have moved it up in the playlist though so it didn’t come after ‘Thunderfuck.’ The band would implode not long after the album was released, and it felt like a very strange note for the band to have as its last release. When it was submitted to Mushroom Records, I can imagine their staff listening to the album and thinking something happened to the tapes before they were delivered, followed by wondering how to market these songs that will make people think they are not fully tuned into the radio station (anyone else remember turning the dial?). The following year would see the release of ‘Landmines and Pantomimes’ with the demo tracks the band had done before they started work on ‘Endless Nameless’ and some b-sides that could be found elsewhere. I would have loved to have heard a few of the six songs demoed done properly. The release was never sanctioned by the band.

The band was gone at this point, but the remnants from the Wildhearts would unleash some amazing material in the next couple of years. Ginger would decide he wanted to really see how diverse he could go musically. In 1999, we would receive the wacky and wild Clam Abuse album that I honestly don’t play much anymore. I am not sure if he ever did get that ‘Message to Geri.’ He would also release a great EP as part of SuperShit666 with Dregen, Nicke Andersson, and Tomas Skogsberg. It would be his next full album studio release though that became one of my favorite albums. Where ‘Endless Nameless’ pulled us through those dark depths that I detailed, Silver Ginger 5 captured the melodic choruses and brightness, even with some songs that remained darker lyrically such as ‘Inside Out’ and the long ago written ‘Church of the Broken Hearted.’ Danny released ‘Uppers and Downers’ the debut album by the Yo Yo’s which also still sounds incredible today. Ritch would return with the wonderful Grand Theft Audio who released the excellent ‘Blame Everyone’ album and would end up on a couple of movie soundtracks. Jef would return with Plan A. As a fan, there was solace in all of the music we were receiving, and I have not even mentioned that CJ had released music with Honeycrack.

Some things don’t stay dead though… A new ‘old’ version of the Wildhearts would rise back from the dead. Ironically, it is probably the band at their most commercial sounding with the shiny sheen of ‘Riff After Riff’ and ‘The Wildhearts Must Be Destroyed.’ When the Wildhearts imploded after ‘21st Century Love Songs,’ it seemed the band was going to remain gone again. Once again, we received multiple solo albums of new material. Ginger has created a new version of the Wildhearts. I have heard the three early release songs when I write this and am excited to hear the full album. The Wildhearts thankfully don’t ever remain dead… Satanic Rites indeed….

‘Satanic Rites of the Wildhearts’ is available now.

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Author: Gerald Stansbury          

The DeRellas – ‘Trust Me This Is Gonna Hurt’ (Rockaway Records)

The DeRellas – ‘Trust Me This Is Gonna Hurt’ (Rockaway Records)

Do you ever have one of those days where you look for something to play on the stereo or in your headphones and nothing in your collection hits the spot even if you have a vast collection from all flavours of Rock n Roll and then as if by magic the brand spanking new DeRellas album lands on your leopard print inbox and when you press play it just about hits the spot with the exact attitude you want as the world turns to shit it only punk rock n roll that can save us from going insane.

As the needle drops on the first track and first single the snarling beast that is ‘ Just Because I Smile Doesn’t Mean I Like You’ – charming I hear you whimper. The excellently balanced mix has the newest lineup of the band firing on all cylinders with a wonderfully sleazy crunch on the guitars whilst Timmy’s vocals snarl with the right amount of rasp and attitude you want from your sleazy punk n roll in 2025. With a middle finger in your face and a heart full of napalm, the band sets the tone with a wonderful opener that’s a fine earworm and perfect for setting you up for the day, lacing up your creepers, turn up the collar on your leather jacket and let’s go!

The album was Funded by a very successful Kickstarter campaign, and the world might be abalze with despots in the white house and meglomaniacs to the east the perfect escape is and always has been Rock and Roll. There isn’t much in the way of sunshine and lollipops here just a whole heap of attitude and loud guitars its an altogether darker bunch of songs than the previous ‘Something’s Got to Give’. This isn’t your Hollywood poser rock n roll this is grittier punk rock n roll cut from the same cloth as the original 77 punks like the Heartbreakers, its late-night dive bars and a morning full ashtrays and kicked over Special Vat cans, its got the DNA of The Dolls and Hanoi with the Soho Roses thrown in for good measure There might have been classic ere Alice on the VHS in the lounge but you might not have remembered the night out but the soundtrack is banging.

Its got the spirit of adventure and the gang mentality on the title track with some inspired guitar licks wrapped around the dirty chug. Thunders would approve. I’m reminded of their blood brothers from Canada, The Black Halos as the foot-stomping ‘Loveless Landslide Of Love’ is barked out. ‘Nightime’ is indeed the right time and the sleazy bass run with Iggy lyrics hitting home is a ghoulish encounter with bite. The playing of Jez and Luca is on point and in perfect harmony as the laid-back vibe is a slice of magic.

With the middle third of the album kicking off with a grubby ‘Fake It Til YOu Make It’ screaming for attention with a rollicking riff n lick as the rhythm holds tight on this punchy number comes out swinging.

‘A Shot Of Feeling’ gets revved up as it hacks and slashes in the best possible way. The Chorus is something of an anti-chorus with Timmy asking for “Healing” but I think he really wants another shot of whatever the band are drinking. The band are channelling their prime UK Subs on ‘If Your World Falls Apart’ with more of that attitude it’s the deep cuts that are holding this mighty fine album up and laying the ear bombs for later like landmines the tune will go off most unexpectedly and you’ll crave it when you least expect it. Whilst we head to Hell in a handcart it’s the beauty of ‘Empire Vultures’ that will give us a cheeky smile and close the curtains it’ll be all alright, honest just turn this up.

I’ve had the pleasure of reviewing all the band’s previous recordings and it’s fair to say they’ve been getting better with age I wouldn’t say maturing because there’s no sign of that here but they’ve honed their craft and with Jez and Steve on board I think they’ve finally got the puzzle worked out and The DeRellas are exactly where they are supposed to be – this is, without doubt, their finest set of tunes thus far and everything seems to be in the right place at the right time and maybe this is The DeRellas time to shine.

If you are looking for a fix of sleazy Glam Punk then here it is baby, bold as fuck and doing it on their own terms ‘Touch Me’ is a modern Rocky Horror theme tune before the snotty ‘Stop Living In My Brain’ closes things off and brings this excellent album to a full stop, Christ even I can remember all the lyrics to this one as it staggers to its conclusion. I strongly advise you to get an earful of this and PSST I’ll let you into a secret, It isn’t really gonna hurt but it will make the world a better place to live in. Buy It!

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Author: Dom Daley

Episode 62 – Goodbye Brian – Its A Revolution Podcast

Episode 62 – Goodbye Brian – Its A Revolution Podcast

Join us for Episode 62 as we say bye to the legend, Brian James. This Episode begins with a tribute to the master of the telecaster the king of volume Brian James we begin with his version of ‘Neat Neat Neat’ from ‘Damned if I Do’ which best shows his genius style just listen to that solo it could cause earthquakes. ‘Born To Kill’, ‘Bad Timing’, ‘Method To My Madness’, ‘Portabello’, ‘Such a Lot Of Stars’, ‘Alone’ and finally we bow out with ‘Becoming A Neusance’ from all corners of Brians journey The Damned, Lords Of The New Church with Pigbag, Solo, Grande Cru with Mark Taylor it’s all here. Thank you for the tunes Brian it was one hell of a ride.

On with the show folks and we offer up Neverland Ranch Davidians with ‘The Gripper’ off their latest Heavy Medication Records Album ‘Shout It On The Mountain. Hot on the heels is David Delinquent And The ious with their track ‘Nobody Else’. Dundee’s premier punk rock n roll outfit delivers the goods that’s for sure.

Wanda Records released Flatheads album from Marseille/France, est. 2020, with their 9-song debut self-titled long player. a bright punchy song it is too.

Street Sweeper are up next with ‘Just Don’t Work’ from their new EP. This Melbourne band have certainly been a ray of sunshine at HQ over this past dark weekend and this single is on heavy rotation. Why are all the bands from down under so damn good? Add Street Sweeper to this long list.

The Gain released an album back in the early 2000s called ‘As BsCsDsand Es’ and it came up on our radar this past week so we offer up the opening track ‘Been Away Now’.

A-sides, B-sides, Comp tracks, Demos, and Extras! a most underrated 90’s power pop
band. This release is not only a retrospective but actually contains a LOST ALBUM – 9 remastered tracks, 5 of which were previously unavailable to you unless you happened to be in THE GAIN.

Autogramme are about to hit Spain for a slew of live shows and to coincide with the trip they’ve released a 7″ single ‘Randy’. LIVE IN SPAIN MARCH  2025 Sat March 22  COX – TNT BLUES  Sun March 23 GRANADA – PLANTA BAJA Mon March 24 SPAIN – TBA 

Tue March 25 SEVILLA – EVEN -Wed March 26 CÓRDOBA  – HANGAR 

Thu March 27 VALLADOLID – CIENTOCERO -Fri March 28 ALCALÁ DE HENARES – SALA EGO – Sat March 29 MADRID – FUN HOUSE

We’ve been featuring some of the albums we’ve got our eyes on this April RSD and one that we have on our must-have list is the Dwarves and their live in the studio ‘Sunshine, Lollipops & Rainbows’ album so it seems only right that we air ‘Detention Girl’ from the album right here right now!

Sarf London punks The Phobics release their second album on Time to be Proud Records outta Belfast City the follow up to ‘Burnt Rubber’ This is from a cracking album of original new wave punk rock n roll. Don’t take my word for it wait fo the review this week and jump on it and get a copy.

A blast from the past in the shape of the magnificent Soho Roses is up next with the single from back in the late 80s on Trash Can Records ‘So Alone’ was magnificent it was punk rock from the originals with a long-haired glammed up dolls style image that wasn’t to be fucked with. They were what happened in the void left by Hanoi Rocks and The BAbysitters and Lords in the mid 80s and along with Gunfire Dance they were the finest in the scene. If only we knew what they were up to now.

As regular listeners know we do like a cover version round at the pumphouse so what better time to air TSOL covering a Brian James riff that they took ownership of and do a very nice job of ‘Politics’ I’m sure you’ll agree.

Somebody call a medic Slumlord Radio have been ‘Snakebit’ Sef confessed Dirty Rock N Roll band knocking out excellent Action Rock for want of a label. Get on it kids.

With time for another cover, this one is The Mary TylerWhores and their rather tasty take on ‘Whip It’ from the mighty Devo.

Thee Headshrinkers are back on the Podcast this time with their brand new single from The ‘Head Cheese’ album. ‘Dallas Texas’ is the penultimate offering this week and a worthy garage rock stomper it is too.

Leaving just enough time for Smalltown Tigers from their ‘Crush On You’ album this is the latest video single from the ladies before they head to England for a few dates.

Thats all for this week folks thank you if you listened to the show and saved us for updates and extra big hugs and kisses if you share the link.

Frank Turner UK Tour This April

Frank Turner UK Tour This April

LATEST ALBUM ‘UNDEFEATED’ OUT NOW ORDER/STREAM HERE

Frank Turner & The Sleeping Souls are set to continue their relentless tour schedule this April with a number of headline shows in the UK.

After kick-starting the year with a series of dates in Mexico and a special, intimate gig for BRITs Week and War Child, Frank Turner returns to the road in the UK this spring as part of his ‘Undefeated’ tour. The tour kicks off at NX Newcastle on the 1st April, before making stops at Academy-size venues in Liverpool, Manchester, Leeds and more. 

The tour follows the release of Turner’s tenth studio album, ‘Undefeated’, last May. Described as “a jovial blast of defiance” by Kerrang and “a declaration of resilience” by Silent Radio, the record boasts some of Turner’s most honest songwriting yet. Now, audiences in the UK have the chance to hear the record live at a number of beloved venues across the country. 

Dark folk songwriter Amigo The Devil will join Turner on the road this spring, after previously supporting the band as part of their ambitious ‘50 States in 50 Days’ tour in 2022. “Danny and his gang are the best,” shared Turner upon the announcement of their support slot, “we’ve shared the road before, and we’re stoked to do it again.”

The dates will conclude at Leas Cliff Hall in Folkestone, just a couple of weeks before Turner embarks upon a tour of the United States in May. Tickets for the UK dates are already running low, with six dates completely sold out. Find the full list of dates below.

*****

“Now I’m surprised to report that as I enter my forties, I’ve returned to being an angry man,” Turner sings on “No Thank You For The Music”. And that’s a concise statement as to what to expect from ‘Undefeated’, Frank’s follow-up to his first UK #1 album, 2022’s ‘FTHC’. Finding the sweet spot between youthful outspokenness and surviving midlife’s challenges, it’s a record that explores both emotionally compelling topics and lighter reflections on those troubles that eventually come to most of us. Who you are versus who you wanted to be in your youth; life-altering love; fading friendships; wistful nostalgia; the mental fallout and political consequences that still linger from the pandemic era; and the more prosaic issue of persistent backache.

Frank says,“There are no clichés about the difficult 10th album, so in some ways, that’s a liberating statement. But at the same time, I have a duty to justify writing and releasing a 10th album. That’s a lot of records for anybody. Also, I’m 42. Which is not a sexy, rock’n’roll age. But all through my career, I’ve been interested in writers like Loudon Wainwright III or The Hold Steady, people who write about adulthood, essentially.”

While thematically ‘Undefeated’ is informed by this time in life, sonically it’s full of echoes to influences that Frankhas touched upon at various moments in his kaleidoscopic career. It switches from Black Flag to Counting Crows, from Descendents to The Pogues, via Elvis Costello and Billy Bragg. Its freewheeling nature is reflective not only of his new-found independence, but also of the creative environment he found himself in. As usual, it was entirely written by himself, but this is the first album that he produced himself, recorded in the home studio that he and his wife, Jessica Guise, share on Mersea Island, Essex. It features his live band: Ben Lloyd(guitar), Tarrant Anderson (bass), Callum Green (drums) and Matt Nasir (piano).

The release of ‘Undefeated’ of course saw this punk-rock road-warrior tour with the tenacity and intense schedules that he’s renowned for (such as the sprawling 50 States in 50 Days North American tour). Now, he returns to the road alongside Amigo The Devil for a headline tour of the UK this spring.

‘Undefeated’ is now available to order or stream HERE

*****

UK tour dates (with support from Amigo The Devil):

Tuesday 1st April – Newcastle NX

Wednesday 2nd April – Leeds O2 Academy

Friday 4th April – Liverpool O2 Academy

Saturday 5th April – Manchester Academy

Sunday 6th April – Nottingham Rock City

Tuesday 8th April – Birmingham O2 Academy

Thursday 10th April – Cambridge Corn Exchange

Friday 11th April – Oxford O2 Academy

Saturday 12th April – Norwich UEA

Monday 14th April – Ipswich Corn Exchange

Tuesday 15th April – Swansea Sin City

Wednesday 16th April – Bristol O2 Academy

Friday 18th April – Southampton O2 Guildhall

Saturday 19th April – Folkestone Leas Cliff Hall

Full tour dates and ticket info HERE

*****

For more information:

Website | Spotify | Apple Music | YouTube | Facebook | Instagram | Twitter

Ricky Warwick – ‘Blood Ties’ (Earache Records)

Ricky Warwick – ‘Blood Ties’ (Earache Records)

Not content with resurrecting his old band The Almighty and continuing to fly the Thin Lizzy flag with Black Star Riders in recent years, singer/songwriter Ricky Warwick returns with a brand-new solo album entitled ‘Blood Ties’, the follow up to 2021’s ‘When Life Was Hard and Fast’

Produced by friend, collaborator and former Buckcherry guitar slinger Keith Nelson, ‘Blood Ties’ is a personal and life affirming album that sees the Northern Irish troubadour amp up the guitars and deliver the goods, with the help of a few famous friends along the way.

‘Angels Of Desolation’ is a strong album opener for sure and sets the scene for this 10 track affair of the rock n’ roll heart (11 including the CD only bonus cut ‘Not My Circus’). Upbeat and euphoric in equal measures, it’s up there commercially with his best work. A punchy rocker of a tune with a killer chorus. The crisp production job highlight’s the crunching guitars and the powerhouse drums to the max. It’s a life affirming ride down a path of self-destruction and out the other side intact. “So, you think I’ve had enough?” Ricky begs the question as the instruments fade.

Next up, ‘Rise & Grind’ is a more poignant look at the homeless situation in L.A. and features the ripping, wah-wah infused guitar work of Blackberry Smoke main man Charlie Starr, sounding like he’s having the time of his life here, free from the constraints of his Southern Rock day job.

Enlisting Lita Ford to duet on ‘Don’t Leave Me In The Dark’ is a bit of a dream come true for Runaways fan boy Ricky. The jangly, 60’s guitar intro leads into a smouldering vocal before Lita’s unmistakable velvety tones take over. The male/female juxtaposition works like a dream on the killer hook, and with its instant commercial feel and poppy vibe, it’s no surprise it was chosen as the lead single.

The Thin Lizzy influence raises their head on ‘The Crickets Stayed In Clover’. Bittersweet, yet as catchy as the common cold, it’s a trademark Ricky Warwick style single and an instantly satisfying song that remains an album highlight after multiple plays.

Side one ends strong with ‘Don’t Sell Your Soul To Fall In Love’, a slow burner that builds to a chorus with the angst, the blood, fire and love of a classic Almighty tune.

So, turning the virtual needle and we are met with a more, dare I say, ‘contemporary modern rock’ feel with the likes of ‘Dead & Gone’ and ‘The Town That Didn’t Stare’. And while it doesn’t really hit the euphoric heights of side one, it certainly has its moments. The Cult legend Billy Duffy leads the way with his unmistakable guitar licks on ‘The Hell Of Me And You’. Here, Ricky delivers an effortlessly cool vocal while Mr. Duffy solos like its 1989! Top stuff indeed. Elsewhere, ‘Crocodile Tears’ has a killer chorus, with some sublime backing vocals that seal the deal. The kingpin of side two for sure, is it me or is there Bryan Adams vibes going on here? And bonus closing track ‘Not My Circus’ continues to embrace the ghost of Thin Lizzy to the max, a worthy addition to the album.

‘Blood Ties’ is a surprisingly upbeat and strong album from one of the UK’s original rock survivors. Whether you know him from Black Star Riders, The Almighty or from touring with his heroes Stiff Little Fingers, there is plenty to enjoy here. With not an acoustic guitar in sight, ‘Blood Ties’ is a full-blown rock album that sees the songwriter dig deep and bare his soul more than he ever has before. An outstanding record that is up there with the best of ‘em so far this year, get it while it’s hot.  

Buy Here

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Author: Ben Hughes

SMALLTOWN TIGERS UNVEIL VIDEO AND DATES!

SMALLTOWN TIGERS UNVEIL VIDEO AND DATES!

Italian punks SMALLTOWN TIGERS have unveiled a new video ahead of three UK shows at the end of March.

‘Meet Me In The City’ is the second single to be taken from last year’s full-length debut Crush On You.

The trio from the beachside resort of Rimini first came to the attention of UK audiences when they were chosen to open for The Damned on their 2022 original line-up reunion tour, and subsequent Euro dates, Captain Sensible declaring them “Absolutely lovely… genuinely full of the spirit of rock’n’roll.”

Reacting to the passing of longtime fan Brian James, who first brought the girls to his bandmates’ attention, the Tigers say “We want to dedicate this one to Brian James, a great guitarist and a true supporter of our journey. His passion and energy meant the world to us, and his music will live on.

This one’s for you, Brian.”

Smalltown Tigers play…

Fri 28 Mar – Hope & Anchor, London (w/ King Salami & The Cumberland Three) tickets

Sat 29 Mar – Saks Underground, Southend-on-Sea

Sun 30 Mar – Prince Albert, Brighton (matinee) tickets

Crush On You is available now through Area Pirata

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Jesse Malin – Limited tickets for second show

Jesse Malin – Limited tickets for second show

JESSE MALIN
LIVE IN LONDON
ISLINGTON ASSEMBLY HALL
1st & 2nd MAY 2025

first night sold out
limited number of tickets for second show available
HERE  

BENEFIT CONCERTS
featuring special guests
BILLY BRAGG, PETER PERRETT
(both appearing on the second night)
more to be announced

The New York City-based rock singer-songwriter Jesse Malin suffered a rare spinal stroke in May 2023 that left him paralysed from the waist down. The release of a star-studded tribute album entitled ‘Silver Patron Saints : The Songs Of Jesse Malin’ in September 2024 was accompanied by tickets going on sale for a special benefit concert in London at Islington Assembly Hall on 1st May. It sold out immediately, so an additional date was announced for the following evening at The Garage venue close by. With that also sold out, it has been moved back to Islington Assembly Hall, with a further 300 tickets made available HERE from 12pm today (28th February). Tickets already purchased for The Garage event remain valid for the new date.

Malin made a return to the stage at the Beacon Theatre in New York City last December for two benefit concerts to help pay for his ongoing rehabilitation. They were the biggest hometown shows of his career and he was joined by a host of guest musicians. The same formula is to be replicated in London where the likes of Billy Bragg and Peter Perrett have already been confirmed to appear with him.



“I have a really special connection to London, as it was the first place that truly embraced me when my debut album came out and it is always very meaningful to play there,” Malin has previously stated. “I am blown away by the response to these shows and am so excited to play them. Thank you once again for all the love and support. You guys are the best.”

Iggy Pop played Bruce Springsteen’s cover of Malin’s ‘She Don’t Love Me Now’ on his weekly BBC 6 Music show on 23rd February, commenting that “Jesse’s a really talented songwriter, whose approach to writing reflects the people of New York maybe more than Johnny Thunders, New York Dolls and even The Ramones.”

Official Site  |  Instagram  |  Facebook

LOUD WOMEN Sunday returns to Rebellion Festival’s Introducing Stage on August 10th

LOUD WOMEN Sunday returns to Rebellion Festival’s Introducing Stage on August 10th

REBELLION FESTIVAL SET TO RETURN 7th – 10th OF AUGUST

AT THE WINTER GARDENS IN BLACKPOOL

MORE INFO AND TICKETS AT REBELLIONFESTIVALS.COM

Feminist DIY collective LOUD WOMEN is back for LOUD WOMEN Sunday at Rebellion Festival 2025, taking over the Introducing Stage for a full day of feminist punk, riot grrrl, grunge, and genre-busting brilliance from the most vital female and non-binary-powered bands around.

This year’s lineup smashes together ferocious punk-rockers, indie rule-breakers, political agitators, and future icons — all championed by LOUD WOMEN, the global movement dedicated to getting more women and non-binary musicians on more stages and turning the volume all the way up.

LOUD WOMEN founder Cassie Fox said:
“LOUD WOMEN Sunday at Rebellion is one of my absolute highlights of the year — bringing our scene’s most exciting new artists to the UK’s biggest punk festival. This year’s lineup is bursting with rage, energy and creativity, with bands from across the UK and as far afield as Mexico joining us to make sure the future of punk is LOUD, proud, and unapologetically feminist.”

On the lineup selection, Fox added:
“Every band on this bill has that spark — the sound, the attitude, the DIY spirit — that makes them feel like part of the LOUD WOMEN family. From BEX’s hard-hitting feminist punk anthems, to Las Fokin Biches’ radical Mexican riot, to teenagers WENCH!, who I saw at a LOUD WOMEN gig at the Hope & Anchor and instantly knew they needed to be on this stage. This is what the future of punk looks like — and it’s absolutely glorious.”

Rebellion booker Jonny “Wah Wah” Taylor said:
“Having LOUD WOMEN back for a full day on the Introducing Stage is an absolute no-brainer. It’s always one of the most exciting, talked-about days of the festival — this is where people discover their new favourite band. LOUD WOMEN bring something fresh, vital and rebellious to Rebellion, and we can’t wait to see what this year’s lineup delivers.”

LOUD WOMEN takes over the Rebellion Introducing Stage on Sunday 10th August 2025, at Blackpool Winter Gardens. Weekend and day tickets available at:
https://www.rebellionfestivals.com

Full lineup for LOUD WOMEN Sunday at RIS 2025:

BEX
A punk-rocker who wants the music to speak again — BEX specialises in hard-hitting riffs, feminist lyrics and cutting-edge videos.

Goo
With fuzzy bright sounds and fast-paced guitars, this indie-punk band from Keighley, West Yorkshire brings early UK punk energy into a fresh, modern sound.

Anarchistwood
A punk band like no other — theatrical, political, and unafraid to throw costumes, face paint and anti-arms-trade rage into the mix.

Quick Romance
What happens when The Rezillos’ bassline crashes into X-Ray Spex’s vocals, with The Shangri-Las throwing confetti? That’s Quick Romance — real mean teens with killer tunes.

The Twistettes
Sisters Jo and Nicky Darc make up The Twistettes, bringing a dirty, twisted bass sound, a hit of swinging flare, and thumping driving drums. Punk, art-rock, riot grrrl, real-deal indie with a touch of psychobilly.

50 Foot Woman
Limerick’s finest punks, blending anarcho and skate punk with a message of PMA and self-expression.

Bridget.
The 22-year-old grunge powerhouse shaking up BBC Radio 1, Glastonbury and Bloodstock with her raw vocals and blistering punk tracks.

COWZ
Brighton-based queer alt-pop duo making “girl’s girl music with violent, political undertones”, blending punk, pop and electronics into something entirely their own.

Blagged
Melodic punk rock from Manchester, led by passionate female vocals and dripping with unapologetic energy. Come get Blagged!

WENCH!
Hull’s riot grrrl power trio, fusing punk, alt-rock and pop into a high-energy blast of female rage.

Las Fokin Biches
Feminist punk rock from Mexico, raising a global voice against gender violence and femicide. Fierce, provocative and absolutely essential.

About LOUD WOMEN:
 Founded in 2015 by Cassie Fox, the not-for-profit organisation is based in London with chapters in the US, Canada, Ireland, Spain and Australia. LOUD WOMEN’s mission: to put more women on more stages, and turn up the volume. LOUD WOMEN’s activities include the annual LOUD WOMEN Fest in London, regular gigs across the UK, a daily music blog run by 100+ contributors, a weekly radio show, and record releases through LOUD WOMEN Records.

Cassie Fox is a musician (bass Doris in London band I, Doris) and a lecturer at BIMM London.

Assets:
Artist photos available on request. Links:
 Rebellion Festival website/tickets
 LOUD WOMEN website
 Facebook
 Instagram
 Twitter

Episode 61 – the Podcast Goodbye David Johansen

Episode 61 – the Podcast Goodbye David Johansen

Theres only one place this week’s episode could start and that’s paying tribute to the legend that was David Johansen. In tribute, we indulge ourselves with ‘Some Hearts’ he recorded for the Johnny Thunders tribute album followed by ‘Showdown’ from the Dolls second album then ‘Funky But Chic’ from Davids Solo outing that the Dolls recorded a version of on their final album. But before we bow out we play ‘Coz I Said So’ from the second incarnation of the Dolls and the album of the same name. Rest In Peace David.

On a brighter note this week’s episode we have a tonne of new songs starting with some garage rock with plenty of bubblegum power pop courtesy of The Peawees and their new single ‘Don’t Look Back’. The band travel to the US for some dates in April to knock out plenty of tracks off their Spaghetty Town Records Album.

If one Spaghetty town artist isn’t enough then get ready because the Ravagers have a new LP on the way as well as a mega European Tour so it seems only right that we bring you their new single ‘Right To Kill’ before the New Record “On the Loose” is out on April 5th.

Hold onto your blowse ladies and Gentlemen because we follow that up with the new song from Crymwav ‘Scene Of The Crime’. The Band heads across the pond to play a show in ole London Town.

More new songs next – firstly it’s The Vapors with the opening track from their brand new album ‘Wasp In A Jar’ the track is entitled ‘Hit The Ground Running’ after a 35-year hiatus, the band are back and sounding fantastic I’m sure you’ll agree. Hot on the heels is ‘No Homo’ courtesy of Lambrini Girls from their debut album ‘Who Let The Dogs Out’.

Warrior Soul and ‘Pigs’ gets an airing due to the current political climate and the fact the Orange Potus is never out of the news at the moment and Korey isn’t afraid of speaking his mind so ‘Pigs’ from ‘Destroy The War Machine’ seems apt. Watching video footage of Jesse Malin going through his rehab was heartwarming and great to see. It made me crack open the D Generation vault so a demo version of ‘Sweet Talker’ seems like a good idea at this point. What a band they were/are.

Dead Boys guitar slinger Cheetah Chrome once did a solo album called ‘Solo’ and on it he recorded a track called ‘East Side Story’ with special guest was Sylvain Sylvain so this was a great time to play it.

Real Sickies have new music available ‘Should Have Seen It Coming’ from their new LP ‘Under A Plastic Bag’ – a RPM Online debut for these Canadian punks and a welcome track to play. The album is coming out on Stomp Records. More new music next in the shape of Human Toys outta Paris France. If you’re quick you can grab the track and the album it comes from off of their Bandcamp page Here.

One of the show’s favourite bands has to be the awesome shrinking violets the Dwarves who bring ‘Astroboy’ to the party and a review is incoming as they release a classic live-in-the-studio LP for RSD next month ‘Blood Guts And Pussy’ was the era in question. Awesome – short but oh so sweet.

A quick turnaround of The Strains with the A side of their new single ‘Running The Lines’ I do believe they are currently on tour with Handsome Dick Manitoba. Another RPM debut is this classic from US Bombs ‘We Are The Problem’ followed by the last banger The Clash recorded ‘Know Your Rights’ which seems like a timeless track to air in 2025.

The DeRellas are back and their new LP is almost upon us. WE aired the new single a few weeks ago and have since heard the finished album so now seems like a great time to play the title track ‘Trust Me This Is Gonna Hurt’. out Friday 28 March 2025! have you ordered your copy? hit that link.

The penultimate track this week is from a live download courtesy of Catbite and Laura Jane Grace covering the awesome Operation Ivy and the classic ‘Sound System’ a secret Riot Fest Afterparty at The Empty Bottle in Chicago, IL. Available via the hyperlink from Bandcamp it’s now available for pay-what-you-can with 100% of the proceeds going to help those affected by the 2025 Los Angeles Wildfires. The money will be split 50/50 between the following two organizations:

www.sweetrelief.org/naturaldisasterfund.html and bestfriends.org/emergency-response/los-angeles-wildfires#:~:text=Make%20a%20gift%20to%20Best,in%20the%20Los%20Angeles%20area

The final track this week is another cover and pretty much putting a full stop on this week’s opening artist David Johansen and the interesting cover from Sonic Youth of the New York Dolls Classic ‘Personality Crisis’ one of the most covered songs ever after we played the version from Teenage Fanclub recently this seems fitting this week who knows maybe next week we’ll crack open the Joan Jett version of the song. Rest In Peace David and thanks for the music. Be kind to each other and play nice catch you next week fo more rock and roll. Keep it RPM Online.

Flaco Rodriguez – ‘Ultimamente Solo Hablo de Ti’ (Self-Released)

Flaco Rodriguez – ‘Ultimamente Solo Hablo de Ti’ (Self-Released)

YouTube rabbit holes pay dividends again. One night I received a notification that Camila Fernandez had released a new song and decided to see what else I might find. One of the discoveries was the song ‘Hey Marina’ (more on it later) by Flaco Rodriguez and Querida Margot (another highly recommended band) which I listened to probably ten times that night. I then wanted to see what else each of these bands had out there on YouTube. This self-released album by Flaco Rodriguez would appear after maybe a month with a collection of previously released and new songs. While it is not our usual music here (if we have a usual type of music here), I think there are lots of elements here that can appeal to fans of Jesse Malin’s solo work, Johnny Thunder’s acoustic albums, and just high-quality music in general. I don’t have a lot of details about the band I can share other than they are from Spain, but let’s dig into this recommended album.

The lead track ‘Todos Nos Rodea’ is an acoustic soft rocker that includes both sung and spoken word vocals. The song provides a nice opening to an album filled with some diverse sounds. The bluesy groove of ‘Soy un Rodriguez’ increases the tempo a little bit and features some tasteful guitar work, female backing vocals, and a nice catchy hook. Up next is one of my favourites from the album, ‘Ciudades, Garitos, Altares’ is a dynamite acoustic number with co-lead vocals by the delightful Monica Morado. The harmony and melody in the vocals work perfectly together. Again, I think the song could have snuck onto a Thunders album as an all-acoustic number. It provides a great build in the album as it probably ranks in my top three songs on the album.

Coming back to ‘Hey Marina’ now, the song takes on more of a rock ‘n’ roll feel that brings to mind the likes of the Rolling Stones, a catchy midtempo Tyla song, or again a Thunders song. It has a build in the music and turns into a glass in the air, put your arm around a person beside you, and all sing along quality. Querida Margot brings their rock influences to the forefront. The horns add an even more festive feel to the song. Wrapping up the first half of the album, ‘El Parque’ returns the album to an acoustic feel that features some nice subtle percussion. It’s easy to see someone sitting on a porch or out by a campfire singing this one.

The second half of the album begins with ‘Perdon por Anticipado’ where the band spends the first half of its under three-minute length as another acoustic number before it gets a shot of rock and swagger and then mellows back out for the close. ‘Que No Hay Que Trabajar’ could slip into a spaghetti western where we see the horses racing across a tumbleweed filled mesa with the slowed down spoken word parts being flashback scenes. ‘Mientra Tu Estes Aqui’ is a slow acoustic Spanish ballad that fits nicely within the album. The trumpet works perfectly in the mix.

‘Donde Esta el Teatro?’ gets us close to the finale with a great shuffle and catchy chorus. Diego Rodriguez’ vocals across the album work great with the different songs across the album with this one’s genuineness and sincerity being no exception. Closing the album is my 2nd favourite on the album. ‘Adios, Tomas’ would not be out of place on a Roger Clyne and the Peacemakers or Refreshments album. The harmonica adds a great element to a song packed with a chorus crafted from catchy goodness. As in a few of the other songs, there are some spoken words in the song as well. These are really utilized in a similar manner to what Hanoi Rocks did on the ‘Two Steps from the Move’ album where the songs would feel incomplete without them. At well over five minutes, it also provides an epic finish to an album that only reaches just over 35 minutes.

For those looking to break up their normal listening, I recommend giving this one a chance. My Spanish is not great, so I continue to dig deeper into the lyrics and try to remember all of the Spanish I have learned over the years. ‘Hey Marina’ served as the perfect first song for me to hear because of its rock feel and singalong chorus. I hope there is eventually a video for ‘Adios, Tomas’ as it deserves a chance in the spotlight. This album keeps staying in my listening rotation. While you are checking this one out, I recommend giving the new single and debut album by Querida Margot a spin as well.

Ultimamente Solo Hablo de Ti’ is available now.

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Author: Gerald Stansbury