With enough singles to keep any jukebox fully stocked with the latest and greatest RPM brings you a mixed bunch of Rock n Roll, Punk, Garage, and God knows what for your dereliction this month.  As we move into November and the Christmas shopping there are more than a few stocking fillers on display here for the discernable hipster to shave off the beard put some socks on and get into some real rock and roll before it’s too late and your old and wondering what you’ve done with your life.  So read – watch and listen the 45 RPM roundup is in session…

Scumbag Millionaire -Under The Spell (Suburban Records) 

Gothenburg scumbags release the third single of the most excellent album ‘Speed’ (Reviewed Here) As it thunders along this is as good as fucked up rock and fucking roll gets.  It sounds huge!  and the seven inch also has non-album track ‘Get Out’ on the flip side of this slab of orange wax. Get involved folks these boys are blowing up and offering a thrilling mix of garage rock n roll and punk attitude and making some of the best music this year.



The Hijackers – The Hijackers (Beluga Records) 

So Beluga in Sweden knows a thing or two about putting out fine Garage Rock n Roll singles and The Hijackers just joined the family with a high energy slab of sleazy garage rock and roll. Having been a part of the scene back in the 80’s its only taken the band some thirty-two years between releases that’s either some writers block or Axl Rose style recording process, either way, it’s here and Beluga has it and by the sounds of it, it’s well worth the wait. The lead track ‘I Don’t Like You’ is like the Hives sludging it out with the Mc5’s and the guitar solo is howling feedback that Brian James would be proud of. Cramming four tracks on to this seven inch makes it a record worth owning and real value for money. ‘Day and Night’ is a real toe-tapper with its feet firmly planted in the late 60’s as they really have this down to a fine art.  Side two is off like a rocket as ‘My Little Girl’ is barely in tune but that doesn’t matter because this is flying by the seat of its pants hi-energy rock and roll and we totally endorse that. Let’s hope its not another thirty years for the next release




The Briefs – Kids Laugh At You (Taken By Surprise Records) 

It’s the Briefs and after their show-stopping performance at this year’s Rebellion festival, This was always going to get a rave review from RPM because we love the likes of The Briefs. The lead track is off like a hurricane as it devastates with its pace and melody.  sure you know what to expect and you aren’t about to be disappointed either because Nix and the gang deliver again and again and its a most welcome entrant into the singles club love the Damned-esk breakdown and then the chanting gang vocals that take this home.  the Briefs are back kids and their laughing as well.  the B Side of ‘She’s The Rat’ is another top-notch belter go on fill yer boots and click the link Buy Here



Demons – Was Here…(Ghost Highway Records) 

Demons have sure been busy these past few months what with their new mini album with punk rock legend Jeff Dahl (RPM review shortly) and this here single on Ghost Highway Records.  This chunk of good old Rock and Roll is just about hitting the bullseye of our heart as ‘Street Corner Of No Return’ is the lead track that just oozes class, it’s no frills yob rock with a bruising tempo and sing along chorus that you and your gang can join in on as the organ lends the harmony a helping hand.  The B Side is a more laid back rocker in the shape of ‘Satellite Town’ by the end you’ll be singing along and dropping the needle back at the start to go back for some more and the solo just burns!  Great single.

Ghost Highway Shop


Fezz – Number Two (Beluga Records) 

He’s got a Fezzbox and he’s not afraid to use it.  Like the bastard sibling of Jon Spenser, These four tracks deliver a sonic fuzzed out slab of Garage rock and roll.  You know what you’re going to get the second the music kicks in its a needle in the red and plenty of swing on those drum licks. The heat gets turned up as the EP plays out.  I love ‘Ladyland Batswingers’ whatever that means or wherever it is I want in. It’s getting hot in here and as the solo wails on ‘You Do Not Belong’ its like a trip on the tongue of someone else as the melody and sha-la-las shouldn’t fit but they bloody well do.  after you’ve shaken off the tinnitus the police sirens howl as the tempo raises through the roof ‘Rhesus Christ’ kicks over the speakers and sets fire to the console as they leave the room.  quality!


The Parkinsons – Dog Collar (Rastilho Records)

Can they ever make a bad song?  Nah didn’t think so either.  After releasing a brand new album they left these two songs off the LP to release as a single quite why they’d leave these two off God only knows. With ‘Dog Collar’ coming on like the bastard child of a Clash song its a slab of coll as fuck punk rock and what every office party should have on at the Christmas do whilst you’re spiking the punch. But they saved the best til last as the B side ‘Talk To Us’ is a stone cold could only be The Parkinsons classic.  From the laid-back gang vocals on the chorus and the funky rhythm that jars your head while the organ tickles your fancy if you don’t like this then as Alfonso says “You ain’t got no soul” and the best bongo playing since T Rex! Buy it Now!


Brad Marino – Four Track Attack (Beluga Records)

FOUR TRACK ATTACK is the debut solo release from veteran rocker Brad Marino, best known as the singer/songwriter/guitarist for The CONNECTION. Brad has to be credited for been named as “Coolest Song in the World” on Sirius XM’s Little Steven’s Underground Garage on more than the once. On its own, that merits a huge amount of Kudos in my book Well taking time away from The Connection Brad had decided to really show off by playing everything on his new EP and singing. the first couple are solid power pop then Brad turns up the tempo and starts cooking some cool licks on the six string.  ‘On The Brink’ rips and just oozes rock n roll.  the final track ‘Special Friend’ was written especially for this project by New Trocaderos’ songwriter, Michael Chaney. Check out Brad and then check out his band you won’t be dissapointed.



St.Jimi Sebastian Cricket Club – I Still Get The Calls (Beluga Records)

The first single out of three from St. Jimi Sebastian Cricket Club and Beluga Records. I Still Get the Calls and the b-side A Smile Within is recorded and mixed at Vibe Studios Manchester (the Stone Roses, Happy Mondays, Badly Drawn boy etc) and mastered by Pete Maher, London (U2, Jack White, The Rolling Stones etc ).

A bit of a slow burner especially the B Side but ‘I Still Get The Calls’ has something of a nod to 80’s Britpop With a good old sing-a-long on the chorus this is good stuff. Good old storytelling rock n roll.


Tommy And The Rockets / Bikini Wipeouts (Kotj Records & Rocktopus Tea Party Records) 

“Split The Waves” sees Tommy And The Rockets and Bikini Wipeouts knock out Two songs each, one original and one cover. Tommy And The Rockets did a cover of “Summer Means Fun” by The Fantastic Baggies, and Bikini Wipeouts did a cover of “Hawaii” by Brian Wilson and as winter comes rushing in why not pour one last cocktail and get the grass skirts out for one last party hey why not hold a party and play some tunes and why not play this slice of pop n roll .

How these Northern Europeans aren’t really from more tropical shores God only knows and Los Bikini Wipeouts aren’t too shabby either. Give it blast if you want to know what summer sounds like.



Watts – Queens (Rum Bar Records)

Quite simply Watts kick ass that should be all I really need to say on this one.  I tip the hat once again to Rum Bar for flying the flag of good honest rock and roll music and its bands like Watts that are like moths to a flame as they converge on the label and then they feed off each other ‘Queens’ is a no-nonsense rocker with a solid beat and great full production to drive the song on.  this single is backed by the balsy ‘The Night The Lights Went Down’ which is from the same gene pool as Bon era DC and that’s always going to be a good thing Right? Right! The good news doesn’t end there because there’s a long player coming early next year again on Rum Bar records these guys just keep giving.

Rum Bar Bandcamp


V8 Wankers – the Last Rock ‘N’ Rollah (Ghost Highway Records)

It got one big biker boot firmly stuck in the Four Horsemen camp and the other on the monitor wedge.  This bad boy has some bottleneck and is fairly generic in style and the flip side sees the band turn in a fairly honest take on the classic ‘Travellin’ Band’ they speed it up (of course they do) and thus loses some of the spark and lacking in some muscle which would have made this more of a bruising cover.


Ghost Highway Shop



Puppy & The Handjob – I Eat Abortions (Slovenly Records)

of course, they do.  They also play catchy punk rock that’s recorded in the blink of an eye and on a budget.  It’s fair to say these cats aren’t from the Bob Rock school of big sound and they’ve never taken a leaf out of Def Leppard’s book (thankfully).  So they do have a melody and a guitar solo but you should look away now if you don’t appreciate a wicked solo played from the heart (yeah right) good tune though to be fair.  Spread out over five songs it gets a bit tired after a while must be that Arizona heat.



The Dirtiest – Cento Shot (Slovenly Records) 

I love The Ramones and so does The Dirtiest and why wouldn’t they – why wouldn’t anybody.  The Dirtiest play buzzsaw punk rock and roll just like Johnny and Joey used to and I love it. The first tune is like the second and funnily enough the third is much like the second and the first but the fourth is like the first second and third.  1-2-3-4 hey ho, let’s go.






Jake Starr & The Delicious Fullness (Ghost Highway Records) 

Former Adam West frontman releases this spooky three-track single through Ghost Highway in Spain with its wicked cover artwork and blood red wax how could we not cover this bad boy.  With three stomping rock and roll tracks ‘A Ghoul Like You’ is outstanding with that spoooooky keyboard rattling round behind the curtains and some great scooby doo effects we give this a howling thumbs up. The horns on ‘Torso Song’ are fantastic and playing these would go down a storm with the likes of the Urban Voodoo Machine and their blues bop n stroll – honkingly good single.

Ghost Highway Shop






Eight Days – Stray (Self Release)

Following on from their last EP, More To Life, which got attention from the likes of Kerrang! Radio, Pure Grain Audio, and Alt Corner. after eighteen months in the long grass, EIGHT DAYS are back with new members. The newly invigorated quartet have released their new single, Stray, in October; they plan to tour as well so keep an eye on their pages to find out when and where.



Rising stars  Trampolene are forever on tour it would seem after finishing one support tour they head off in the old tradition of doing the rounds themselves and with a live show that is a fantastic showcase for their talent and always a sweaty heaving mess, there is something special in the air.  Not content with being on the road the band also managed to record a debut album ‘Swansea To Hornsey’ to much critical acclaim only to quickly follow it up with a double album of singles and other cuts in a bold move the band is certainly doing things on their own terms.  If that’s not enough to put most bands to shame frontman Jack Jones also found time to record his debut solo single which he released recently via the pledge platform.  RPM thought it was about time we let you lot in our this exciting band from South Wales so we caught up with Jack for a few quick words before he was out the door for another round of live shows.

How pleased are you with the reception ‘Pick a Pocket or Two’ has had?
Very pleased to be honest – I suppose it is quite amazing to be able to look back at all the songs you’ve put out and realise they weren’t half bad.

What about the reception the solo single has had?
Couldn’t have asked for more…I was so glad that people took it to their hearts for what it is…just moving forward and expressing myself for the good of Trampolene and not the end of the band!

How do you decide what you put on a solo release rather than using it for the band? Seeing as your material is quite eclectic anyway with Poetry, the loud guitar songs, and the gentler ballads? Are they songs the other two didn’t fancy?
I usually write all the solo stuff in a different way…in a bedroom studio with my friend Mike Moore…so it’s easy to know what fits where…

Joking aside, are we to expect a full solo album? How do you approach the recordings? Do you write the songs complete then present them to the boys or is it a more collaborative approach?
I think there will be a solo album…I’ll just keep on writing…

Trampolene works in all sorts of different ways…sometimes I’ll have a song completely done and sometimes I’ll just have a riff…or sometimes Wayne will have a tune he wants to work…but it usually ends up with the three of us bashing our heads together in a rehearsal room to agree on the final structure….

Coming from the same town what is it about moving away in your teens that we all have done but the city shapes us in so many ways it is an ugly lovely town and there is always a pride when writing about the place. What is it that since the begging of time people seem to not be immensely proud of our own like Manchester, Liverpool or Sheffield seems to champion their own.

I don’t know really, we had to leave and challenge ourselves, If I had stayed in Swansea I would be a very different person maybe for the worse maybe for the better.  I heard someone say that the older you get the more you mellow and I enjoy being in Swansea more now than I did 5 years ago…but it’s still not good for my health

Considering Trampolene is one album in do you see it as a brave step putting out a double album with a big varied track list?
I just see us a great band – and all great bands do a double album at some stage…don’t they? We just had the songs to do it now, so we did it now…no messing. This was also a way of showing that we are already past the difficult second album and also ending the first chapter of the band.

Your heading out on a support tour then straight out the door headlining that’s a fantastic old-school work ethic that many bands won’t take the chance on these days is playing live what its all about for you?
I think so, playing live is your bread and butter these days (although we tend to live off the crusts) but playing live is everything we are about a band…

You’ve done the toilet circuit and played the big arenas and taken to it like ducks to water is the plan to keep playing headline tours as well as support shows and grow it certainly makes the band sound tight yet natural and the smaller shows more intimate shows are something else. I was at the Clwb Ifor Show and it was a hot sweaty experience and the performance was memorable for all the right reasons. It was exciting and the setlist had an audience leaving knowing they’d seen something special happen not something I can say leaving many shows. What have other memorable shows there been for you do you feel it from the stage?
That Clwb show was SPECIAL…god we’ve had so many now…Scala…supporting Liam at Finsbury was class…playing with Peter Doherty at the reopening of the Bataclan…I love them all…and give everything no matter where we are – if it’s in a toilet or if it’s in a big field it makes no difference to me…

What plans for 2019?
Stay alive. New album. New dreams. Have a haircut.

There are a few covers on the new album what is it about The Cure and The Smiths you are drawn to? Any other bands or writers you admire? What about listening at home what bands started this journey off for you?
I just love those songs the guitar and pop of “Friday I’m In Love” and the lyrics for “Please Please…”…I was listening to Elliott Smith and John Grant when I started the band…

Finally, you fancy yourself as a bit of a baller what position do you play and have you got any Trundle like skills?
I used to have the skills to pay the bills…but now I can’t run without needing an oxygen mask!

But yeah I still love a kick about any day.

Pictures courtesy of Daniel Quesada.


Buy Here


Gerald Stansbury


Reverend Backflash entered my world earlier this year after someone said they might appeal to Hanoi Rocks fans. I dove into their back catalog and discovered that their latest album ‘Too Little Too Late’ was on its way. It’s an amazing album packed with hooks, riffs, joy, attitude, and has that intangible quality that makes some albums all that more special. This album could appeal to everyone who enjoys the Wildhearts to the Hellacopters to the Backyard Babies to the Ramones to Cheap Trick. The melodies are huge but packed with plenty of RAWK. Jack Nasty (vocals/ guitar) was kind enough to answer some questions for us here at RPM Online.


It seems you guys are hitting the world stage a little more than you have previously but have been playing together for a long time now. Tell our readers who you guys are and what brought you together.

Hey man, thanks for asking 😉
We’re 4 guys from Vienna, Austria. We grew up in the outskirts of the City. Being into rock music, having nothing to do and receiving no attention from girls, founding a band was the only reasonable way to go. I think this is probably the most heard answer to this question, isn’t it? Yeah, it’s also the most accurate…Since then 15 years have passed and we have grown older but not an inch smarter. Stevo and me are still in the band. At the same time, we had some changes on bass and drums, but that’s normal when you’re going hard. On Bass,  Luke has been part of the Band for 5 years and Max is playing the Drums for 3 years now… So we have been playing in this lineup for quite a while…


What bands influenced you guys?

In our teenage years we listened, on one hand, a lot to those classic big Rock’n’Roll bands like AC/DC, Motörhead, Kiss, Guns ‘n’ Roses etc. and on the other hand to 77 Punk rock like the Dictators, the Ramones, the Dead Boys, MC5 and so on. And bands from Scandinavia like the Hellacopters, Backyard Babies, Turbonegro, etc. taught us how to listen to these bands, how to interpret them, and how to keep going what these guys started. If you wanna be a Rock ‘n’ Roller that’s your duty …

Growing up we found more bands to consider when it comes to our Rock ‘n’ Roll, Powerpop bands when it comes to songwriting, and some Country singers when it comes to lyrics.


This third full length “Too Little Too Late” is a monster of an album. How did these songs come together?

Thanks man! Glad you liked it! This time I wrote most of the material at home with the acoustic guitar, and then we give it a try together in the rehearsal room. When we are writing songs, we spend a lot of time rehearsing, trying out different beats and shifting parts etc. sometimes, in the end, the song sounds totally different than it did at home. But its also really important to find the moment when it’s enough! Don’t do too much songwriting! Keep it spontaneous! If you played it that way when you played it the first time, it might be the right way. Changing doesn’t always make it better … don’t over think …

Who came up with the idea for the intro to the guitar solo on ‘Never Turn Over?’

We played the song a couple of times live before we recorded it. We used to do a break down right before the solo. I would say something to the audience, ask a question, tell a story, just to have some dynamics in the show. I liked the feeling of it and suggested to do it the same way on the record …. you know just to fuck with their minds hahaha


I have enjoyed the first two videos (‘I Do Not Get You’ and ‘Never Turn Over’) as they clearly present some different sides to the band. Jack, you seem to enjoy making videos and are incredibly expressive in them. Tell us a bit about how they came together.

I listen to the song! If you wanna do a Cover for a record: listen to the record! If you wanna do a video for a song: listen to the song! If you have a great idea and it doesn’t fit the song, it isn’t a great idea.
You have to be aware of the feeling of the song. The video should have the same feeling and by so putting this certain feeling, mood, even more in focus. It could be about: feeling alone, winning, feeling, being disappointed by someone, having hope for the future, feeling hurt or hoping to die. You don’t have to say something smart, but you have to say something … and you have to say it with your fucking heart!


‘Spinning Records’ has become one of my favorites. Well, one of my 12 favorites would be more accurate. Any thoughts of making a video for that one?

Hehe maybe, I have to think about it. Maybe I come up with something. But I have kind of an idea for a video to ‘Fuckaround.’ That will be the next one.


Is the title a reverse nod to the New York Dolls?

No, we didn’t have that in mind when we came up with it. Actually, we had it as a song title first. And later on we decided to use it as the album title as well. I think it fits the record well…


What is the musical climate like in Vienna?

Oh it’s okay. We have some nice venues. Smaller ones that can be booked pretty easily and also bigger ones that make the city a regular tour stop for bigger bands on  European tours. There are quite a lot of people interested in Rock/ Punk Music-  a very dedicated, still growing Rock scene…

What would your dream tour be for supporting this album?

We are going to tour Austria, Germany, Czech, Hungary, Switzerland and Italy with the new album.
Spain, UK and of course the States are on the top of the Bucket list for us. Those are probably the places where people would get our sound the most. And if we’re talking dreaming: being on the road for 6 months in a row with a big headliner 😉


What are some of you guys’ favorite albums?

Puh! Tricky Question! Cause there are so many that have meant a lot over the years.
But some records I will never forget, not necessarily cause they are the “best” but because they really had an impact on me might be:
Total 13 – Backyard Babies
Appetite for Destruction – Guns ‘n’ Roses
Exile on Main Street – Rolling Stones
Rocket To Russia – Ramones
Full Moon Fever – Tom Petty
Scream, Dracula, Scream! – Rocket From the Crypt
Demolition 23 – Demolition 23

What have been the highlights of your career so far?

Sounds like I’m just trying to promote, but I have to say the new album. I think it’s by far the best we have ever done. The recording, the release, the videos for the singles,  a really great Release-Show in Vienna, best project so far! Being out there on Tour with great friends playing a record live, I love it.


Are there any embarrassing onstage moments you would like to share?

Well, if you play live things can happen. Things will happen. Broken strings, forgotten lyrics, blackouts on stage… Stevo even got electroshocked once; he went down and passed out but luckily enough he was okay!

When things go wrong on stage, you should be happy because it’s a great opportunity to show the audience your showmanship by handling the situation spontaneously with calmness and maybe some humor. If you do it well, it will lift your performance, and people will remember it. In the circus, they always screw up some trick on purpose, so the audience understands how hard and dangerous the trick is…  hehehe

What comes next for Reverend Backflash, outside of hopefully world domination?

Touring with the album will be our main occupation for the next 12 months. And that’s good, cause playing in a band should always be about playing your music live.

Buy Reverend Backflash Here




Dom Daley.

This came out a number of weeks ago yeah we know but don’t hold it against us we were a twinkle in out arents eye then and not up and running but we couldn’t let it get past you without covering it for RPM.

So who the fuck is Lucy and why is she hanging around with the rats? Firstly Lucy is a singer-songwriter in London town and the rats are allegedly the happening in a lab experiment and judging by that experiment something went right because straight from the off ‘Pills’ gets inside your head and those melodies and hooks take hold.  sure the dreamy vocals interspersed with those jagged guitar stabs is the perfect power pop combination but it doesn’t end there. By the time you’re into this time doesn’t matter. Songs like ‘Lose My Mind’ are so fuckin’ infectious its mental. there is even time to lean towards the pop as on ‘So Simple’  it takes me back to the new wave power pop that Blondie perfected in the 80’s like on ‘Melody’ but don’t be mistaken because Lucy is her own boss and on the strength of ‘Night’ she should be round to Duncan Reids and get scoring a duet with him and his Big Heads that would be a perfect match up as they sing from the same hymn sheet.

It’s not retro it’s timeless It’s power pop audio bombs. I love the bass on ‘Hold On Me’ and the throwaway trash talk lyrics it could have come from a Tracy Ulman lyric sheet and as we reach the end and the tub-thumping finale its got sand between its toes as Lucy laments about losing her dosh at the seaside.  I live near the sea and if Lucy needs to reach out I’ll get her an ice cream cone and a bag of chips as payback for knocking out an album as heartening and bright as this one.

Its power pop Jim exactly how you know it and exactly how it should sound and as far as experiments go on animals I guess this one is ok! Powerpop Goodness is available to buy here


Columbia Records will release the ‘Springsteen On Broadway’ soundtrack album on 14th December, featuring the songs and stories from Tony Award winner Bruce Springsteen‘s historic 236-show run at Jujamcyn’s Walter Kerr Theatre. Consisting of the complete audio from the upcoming ‘Springsteen On Broadway’ Netflix release, the soundtrack album will be available on 4 LPs or 2 CDs as well as a digital download and on streaming services.
Listen to ‘Land of Hope and Dreams’ from the ‘Springsteen On Broadway’ soundtrack album HERE
Based on his worldwide best-selling autobiography ‘Born to Run,’ ‘Springsteen on Broadway’ is a unique evening with Bruce, his guitar, a piano, and his very personal stories. On the ‘Springsteen On Broadway’ soundtrack album, each of these stories appears as its own track, labeled as an “introduction” to the song it precedes. The audio for ‘Springsteen on Broadway’ was mixed by the legendary Bob Clearmountain and mastered by the acclaimed Bob Ludwig.

Springsteen on Broadway’ began previews on 3rd October 2017 and the completely sold-out series of performances officially opened 12th October. The show was extended three times after its initial eight-week run, and will close on Broadway on 15th December. ‘Springsteen on Broadway’ will launch on Netflix globally on 16th December 8:01 AM GMT.

Springsteen on Broadway’ is available for pre-order

Springsteen on Broadway’ Track List:

Growin’ Up (introduction & song)
My Hometown (introduction & song)
My Father’s House (introduction & song)
The Wish (introduction & song)
Thunder Road (introduction & song)
The Promised Land (introduction & song)
Born In The U.S.A. (introduction & song)
Tenth Avenue Freeze-Out (introduction & song)
Tougher Than The Rest (introduction & song) with Patti Scialfa
Brilliant Disguise (introduction & song) with Patti Scialfa
Long Time Comin’ (introduction & song)
The Ghost Of Tom Joad (introduction & song)
The Rising (song)
Dancing In The Dark (introduction & song)
Land Of Hope And Dreams (song)
Born To Run (introduction & song)

Ladies And Gentlemen How Do?…On this very date in 1979 one of the finest punk rock records hit the shops.  Sure there was no Brian James genius to steer the band and it was now down to Sensible, Scabies, Vanian and the new bloke Ward to move to the next level and take the band on a more adventurous journey that’s for sure.

They still had the genius and mainstay tunes on the album that have been in the bands set ever since and it would seem strange not to see the band play and hear that killer Algy Ward grunt on ‘Love Song’ or the set closer and conductor of pandemonium over the years ‘Smash It Up’.

Its had the Anniversary treatment more times than the queen and had its fair share of reissues but one thing they’ve never done is fuck about with its exceptional sonic boom.  It might have been the Damned mark two dipping their collective toes into the songwriting pool and doing it exceptionally well and paving the way for the far more diverse ‘Black Album’ but it has never had the respect it should on a wide musical scale.  For me, you can keep your Pistols and your Clash (as much as I love both bands)  because my go to punk band from the class of the 70’s has always and will always be the Damned.  Never mentioned in the same breath as the other two but they were the first to this and first to that and first to the other and the only band that possibly could have come up with this record.  It might not have the might of the debut album but it’s not far behind that’s for sure.


What other groups could have called on the services of Lemmy, Strummer, Headon and Simonon to do backing vocals? Finally what better excuse to show how splended the band were than showing this TOTP footage of them performing ‘Love Song’  – Happy Birthday MGE the finest 39 in all the land.

Buy Here




Dom Daley.

Originally recorded for radio broadcast this show has had the speed corrected and has been officially licensed from Iggy for release both on Vinyl and CD.  Now those of you familiar with the releases of Easy Action will be well aware of their catalogue and the fact they seem to have a Tony Robinson like leave no stone unturned pursuit of certain artists and amazing and interesting recordings and Iggy Pop is certainly one of those artists.  With an incredible history, The Ig has left scorch marks wherever he’s been and with whoever was playing in his band at that time.  Sure he had some forgetful shows but man did he have more than a fair share of memorable ones.

A week-long residency in one of Detroit rock city’s most famous venues saw Iggy and his band knock it right out of the park with a hypnotic, chaotic and utterly compelling set of classics that absolutely personified everything that is exciting and captivating in music.  From the opening howls of ‘Raw Power’ this performance sounds unhinged as Iggy tells his mom he’s on the radio before crashing into some of the most vital songs ever written by anyone, anywhere.

There is no let up in proceedings as the players who made the touring band also included Ivan Kral who played on the studio album (‘Soldier’) that preceded these tour dates. Iggy always demands every last drop of sweat from his bands and this lot really had the bit between their teeth as they hurtled along( as this show really testifies).  It’s not the classic Iggy that I love about this set (Even though I do) its the lesser known songs the ones like ‘Dog Food’, ‘Puppet World’ the brilliant ‘Knockin’ em Down (In The City)’ this actually sounds like the template used by the likes of Andy McCoy which makes sense as to why he later ended up in Iggy’s band. These are the songs that make this a must hear recording.

After the incredible thunderstorm of the first eight songs, it’s the ten-minute jam of ‘One For My Baby’ where Iggy pleads and begs the audience to shut up so he can croon but c’mon man what do you expect? these kids were hypnotized by the music and then, the audience is asked to move back and chill out. As the audience can be heard calling out during his “Soft Song” brilliant! He does make it to the end – eventually.

As he heads into the home straight all sense is thrown out the window as ‘Search And Destroy’ signals pandamonium no doubt.  ‘Funtime’ has a filthy bass line and then Iggy does his best Bono and gets a girl up to dance as ‘Nightclubbing’ plays out. The album is then closed off with the funky ‘I’m Alright’.  Again Easy Action delivers another compelling Iggy Pop live concert.

Easy Action

First 100 copies will include A4 Poster, Postcard and sticker set

Gatefold sleeve with printed inner bags

Unseen photos from the actual concert by Sue Rynski and audience members

Here at RPM we’ve been bouncing ideas around about getting our audience/writers all involved when the reissue of a classic LP comes through, then in the immortal words of Mr Benn “As if by magic” this baby was bought by just about everybody on pre-sale.


Nev – Now I’ve followed Primal Scream religiously since Sonic Flower Groove, own the whole back catalogue and as a fan boy was aware that George Drakoulis (producer of the Black Crowes) had been drafted in to re-do Give Out but Don’t Give Up, with the record company reportedly at the time not happy with the original version. That’s the Tom Dowd, responsible for producing amongst many others Otis Redding and Aretha Franklin as well as engineering on work by Ray Charles, Charlie Parker and John Coltrane version.

Now throw in The Memphis Horns and the Muscle Shoals rhythm section of Roger Hood and David Hawkins and you wonder what could have possibly gone wrong? Remember this a Primal Scream that had just had their biggest breakthrough with Screamadelica and that Creation had just signed a huge deal with Sony with the follow up hugely anticipated.

Now to get one up on the new versions arrival I reacquainted myself with the original?  I still at this point really got the Southern rock strut/glamtastic “Rocks “and “Jailbird” and still thoroughly enjoyed what else it had to offer. So my thoughts began to drift to so why release these Muscle Shoals versions? It couldn’t possibly better what Drakoulis had done, could it?

Now I’m a bit of a vinyl fan and wanted to put it against my vinyl version of the Drakoulis LP, so stayed away from the double cd, even tho’ there was a bonus disc of unreleased stuff. (I later found I had received a download code for the bonus material)

Dropping the needle the first thing that hits you is a sense of wonder, the tracks ooze, quality and style, rather than shouting at you from a rock standpoint, the soul and gospel lifts itself up and forward, everything’s understated, but it all commands attention, and you realize how powerful that rhythm section is but breathing, moving with the music, feeling what the rest of the band are doing, picking up on the organ, guitar, vocal embellishments and caressing it. Fuck this is/was a grown-up LP, truth be told too grown up for a Primal Scream holding on to their Rock/Punk leanings at the time.

You really get what musicianship is all about, a group bouncing off each other ebbing and flowing taking the spotlight in turn. Being brutally honest after one play I put the Drakoulis version back on and didn’t last a playthrough, it doesn’t even come close to the version that had been shelved.

So back to the original premise, do re-release/re-mastered LP’s have a place, this baby to me blows what came after out of the water, but it does make you wonder where primal scream would be if this had come out? Would they have gone down the same path, would they have given us Exterminator? Maybe it’s with hindsight we truly appreciate what we did before? Over to you Ben.


Primal Scream – Memphis Recordings


Ben – I wasn’t even a fan of Primal Scream back in ’94. That changed the day I heard ‘Rocks’ for the very first time blasting from my friend’s car stereo through the suburbs of Cardiff. Who the fuck was this glam stomper by? Primal Scream… but they’re an indie band, right? At the time I was surviving on a diet of The Wildhearts, The Manics, Redd Kross and Jellyfish.  The likes of ‘Screamadelica’ I would not discover until a few years later.

Yet, I remember being disappointed with ‘Give Out But Don’t Give Up’ when I first heard it. Even though it had a contemporary sound for the times, I was expecting a full album of ‘Jailbird’ and ‘Rocks’ style tunes and for me, it felt overlong and fleshed out with funky dub elements and jams which just weren’t my thing at the time. Yet, it grew on me in the months to come and became a constant on my stereo through the 90’s and beyond.

I went for the CD version of ‘The Original Memphis Recordings’ simply as it had a second disc of outtakes. For me, these are as essential as the album itself, as it shows the development of certain songs, especially in the case of ‘Free’. While the stunning Denise Johnson version on this album is surely the definitive recording, the bonus disc contains 2 full band rehearsal versions with Bobby Gillespie on lead vocals. Amongst early rehearsals and jams, there are also covers of ‘To Love Somebody’ and a live acoustic ‘All I Have To Do Is Dream’ as well as the original recording of ‘Funky Jam’. The monitor mix of ‘Call On Me’ sends shivers down the spine and a barebones ‘Cry Myself Blind’, stripped of all the backing harmonies is heartfelt, it segues into a jam of ‘Big Jet Plane’ with Gillespie seemingly trying out harmony ideas over the main chord progression. These outtakes are a great fly on the wall insight and essential listening for fans of this album.

This release sheds a whole new light on ‘Give Out But Don’t Give Up’. And while I will always like the Drakoulis version, the Memphis recordings are definitive.

It sounds more organic, more soulful. The prominence of the Memphis Horns and the soulful backing vocals of Denise Johnson, Jackie Johnson and Susan Marshall are just sublime. The live in the studio feel perfectly captured by Tom Dowd.

I have heard people say this album sounds like a long-lost Stones album and I would have to agree that ‘The Original Memphis Recordings’ is Primal Scream’s ‘Exile On Main Street’.  A timeless classic!

Hindsight is a wonderful thing, and now listening to this stunning album I may find it hard to imagine why the band and their management felt underwhelmed by these recordings back in 1993, but it was a different time and the band were in a different mindset. As Andrew Innes states in the informative booklet “we were trying to fix a record that didn’t need fixing”.  So for a final view on the Memphis Sessions, the last word over to you Dom



Primal Scream-The Memphis Recordings


Dom -Maybe its time playing tricks and it didn’t really matter back in the 90’s because the Scream were better than most of what else was on offer anyway, but the original album to me sounded bang on the money.  I also was a big fan of the band and loved What Gillespie had grown into having been a big fan of The Jesus And Mary Chain back in school how could I not dip into Primal Scream (great name as well).  I did like the early stuff but ‘Screamadelica’ went viral and everybody wanted a piece of the band and then in the explosion that was Britpop and the phoney wars of Blur V’s Oasis, all the while the Scream were over there, outside it all doing their own thing and seemingly oblivious (looking back and reading about their excesses such as the tour with Depeche Mode maybe they were oblivious as to what was going on anywhere else) Going to America and recording with Tom Dowd seemed strange circa 94 and where the Scream were musically.


Sure resulting recordings from those classic sessions showcase the band cutting loose and exploring their Faces side and really going for it. It’s Primal Scream as you’ve never heard them before. What you have on this new recording is the Tom Dowd mix as well as a whole heap of outtakes and jams that show what was going on – it wasn’t all hard drugs and booze (well it might have been but they did actually do some work too) and the resulting newly found in a basement (yeah right) tapes sound so good I’m delighted they’ve seen the light of day.


There will be a BBC 4 documentary behind the ‘Give Out But Don’t Give Up’ story broadcasting later this year which should be a must see for all music fans because there is certainly some magic captured in these newly released recordings none more evident that the album’s highlight ‘Cry Myself Blind’. Sure it’s not as “produced” but the emotion captured in this take is stunning and Gillespie’s raspy vocals are beautiful.  Surely the point of heading to Memphis to record was all about overdoing the choir and the loose rhythm and just as the likes of the Stones and Faces before them isn’t Rock n Roll about excess?  Isn’t it about getting out of the humdrum and living it large?  Jailbird and Rocks were and still are bombastic cock rock and whilst many want to shy away from that I love the fact that they sang about booze, Cadillacs and drugs they did it so we didn’t have to, we should be thanking them. I love the horns honkin’ on ‘the album opener and wish I’d been able to hear that from 94 but like one of the main inspirations on this once said ‘You can’t always get what you want’ but now it seems we can and if Bobby wants to go rummaging through any lofts or wardrobes then feel free I’d love to hear what else they can uncover.


Sure it wasn’t ‘Screamadelica’ version 2 –  they’d already been there and done that this was a band moving forwards (always were and always will be) and despite what some might suggest I loved the likes of ‘Cry Myself Blind’ and still do and with the added swing and laid-back versions I can have a choice of what to play and so what if the lyrics are a bit cheesy on times I couldn’t care any less. There are some albums and moments in time where cheesy cliché driven lyrics and riffs are bang on the money and this boys and girls is one of them.  You can keep your Britpop because Primal Scream were global and continent sweeping not insular and inward-looking and to this day they’re innovative and risk-taking rock n rollers unlike the other headline grabbers of their day who sit on their piles of dosh self-plagiarising and growing fat and old.  ‘Give out but don’t give up’ still holds true. and the accompaniment of these Memphis sessions are most welcome I for one can’t wait for this BBC 4 documentary on these sessions to be aired later this year,  Awesome.


Now if Bobby (Gillespie) or Alan (McGee) read this maybe you can go rummage through a cellar or attic and see what else you might have that we can immerse ourselves in and keep a note to self don’t lose tapes like these again 😉 Lost tapes my arse. haha!


But what do you think?

Buy Here


Ben Hughes.

It’s nearly 30 years since Sweden’s finest funk n rollers the Electric Boys first hit our TV screens (if like me you caught the low budget promo for ‘Get Nasty’ on The Power Hour back in the day, that is). Anyway, I always had a soft spot for Conny Bloom and the boys, their debut album ‘Funk-O-Metal Carpet Ride’ received heavy rotation on my boom box, courtesy of a second generation tape recorded off a mate’s vinyl copy..I still have it too.

Although they had a bit of a cult following in the UK and heavy MTV rotation, the rise of Grunge was too much and ‘Groovus Maximus’ and the following ‘Freewheelin’ failed to set the world on fire, they lost their deal and the band sadly…disbanded. It’s a familiar story, right?

After a 4 year stint in the rejuvenated Hanoi Rocks, Conny and Bassist Andy Christell reformed the Electric Boys and released ‘And Them Boys Done Swang’ in 2011. Now with the original line up intact, they return with the follow up to their critically acclaimed 2014 album ‘Starflight United’.

Although they were given the funk tag, the Electric Boys were never really that funky were they? If anything there may have been a touch of Sly & The Family Stone to their sound but their hearts and souls were firmly planted in 60’s pop and groove-heavy 70’s rock rather than anything else. And that is the direction this album follows, although they do touch on their funk in places, this is a straight-edged rock album.

Recorded and produced in Stockholm at Ghost Ward studios by David Castillo, better known for his work with metal bands such as Katatonia and Opeth, ‘The Ghost Ward Diaries’ is a continuation of where the band left off 4 years ago.

The first thing I take from ‘Ghost Ward Diaries’ is how instant it is and how good it sounds, sonically. While it’s a traditional sounding rock album, the crisp, punchy production gives it an edgy modern feel. There’s a cocksure confidence to it. It’s full of swagger, and more importantly, full of stadium-sized choruses. If you are familiar with the recent Michael Monroe solo albums, then you may understand what I’m getting at.

Opener ‘Hangover In Hannover’ is a classic Bloom rocker with a simplistic riff and hook. I had to do a double take on that verse, as it could’ve easily been lifted from one of those post-Millennium Hanoi or Monroe solo albums, yet the bridge is pure Electric Boys. A perfect album opener. “Cold, outta money, heartbroken and pissed” sings Conny, as the music stops momentarily. A down on luck, rock ‘n’ roll road tale.

‘There She Goes Again’ has a classic, rousing verse that catches the attention from the off, before a sing-a-long-a-chorus comes on full of sentiment. A Chuck Berry-styled solo over glorious riffarama makes this an early highlight.

The ballads are full of sentiment; they’re catchy and melodic in all the right places. ‘You Spark My Heart’ takes the classic 80’s power ballad formula and gives it a modern twist, the guitars sound massive. ‘Gone, Gone, Gone’ is the big ballad, acoustic guitars, sweet choral backing vocals, a face shredder of a solo and a big chorus. What’s not to like here? Yep, they nailed it.

There is plenty to keep longtime fans happy as well. The funked up, bluesy groover ‘Love Is A Funny Feeling’ nods its head to the debut album, as does the slide-infused ‘Rich Man, Poor Man’. The band continue to get their funk out on the groovy ‘Knocked Out By Tyson’, with its killer riff and soulful backing vocals that remind me of The Black Crowes classic single ‘Remedy’, it’s an absolute belter.

While the instrumental ‘Swampmotofrog’ is a more experimental jam that I can take or leave, the likes of album closer ‘One Of The Fallen Angels’ with its euphoric chorus is essential listening. Yep, you could say the fine art of a catchy chorus has not been lost on these boys.

While Scandinavia has consistently blessed us with new and exciting underground bands for the past 20 years, you could call Electric Boys the old guard. They have been at this game, albeit inconsistently, for over 30 years, and while they may not have the legendary status or even the back catalogue of the likes of Hanoi Rocks, they hold their own, have adapted to the times and are making music as fresh and as vibrant as their debut sounded in 1989. Lyrically, Conny Bloom is in a darker place with these stories inspired by tales on the road but ‘The Ghost Ward Diaries’ is a euphoric testament to a band of survivors who refuse to lie down. Three albums into their comeback, it’ll be interesting to see where the band go next.




Nev Brooks.

Speaking to Pity my Brain Head Honcho Jamie Richards when he first announced this gig, we talked about the problems running a smaller promotions company. How difficult it is to promote live music within the current Tribute/cover band fixation, and how great local artists and groups are getting missed and just not surviving, never fulfilling their potential.

I’m all for supporting the underground, I’ve vowed never to watch a tribute band and will always champion the underdog, something we here at RPM espouse passionately, fuck the mainstream or musicians that make their living from other peoples music, write your own fucking material, then tour, then learn what being a musician really means.

Enough, rant over tonight was all about new music and we had three acts on, First up Matt Richards put together a cracking little acoustic set, leaning towards the indie rock vein, it would be nice to see him with a band, maybe up front with a second guitar player? But a great start to the evening and do you know what we bemoan the size of crowds for support bands/acts but the Priory was rammed from the off, with a very different audience than I’m used to.

Next up Jules Gardner I’d seen prior to tonight supporting Ginger Wildheart on his last acoustic Americana round of gigs, tonight an appreciative crowd took the music to heart and the applause was great to hear from a more than happy crowd.

So on to the main act Zervas and Pepper who I have to hold my hands up to not having heard anything by before tonight’s performance. While doing some digging around I discovered they had actually formed back in 2007 hailed from Cardiff, and that they have actually released four LP’s (Somewhere in the city, Lifebringer, Abstract Heart and 2017’s Wilderland which you can pick up at the link at the tail end of the review.

They’ve picked up critical acclaim, played Green man, Glastonbury and any number of big UK festivals, and drawn serious interest across the globe, Wilderbeast was produced by James Raymond (Crosby, Stills, Nash).

Opening with I believe “Buffalo Crow” the band really nailed that late 60’s early 70’s Laurel Canyon feel, grounded in counter-culture history. Tracks like “Living in a small town” really hit home and the dual male/female vocals and harmonies really shone throughout the set.

As the band grew into the set the music really began to flow and you could gauge the band’s visible enjoyment coming right back at them from the crowd. How would I describe them having gone in blind, definitely psychedelic, leaning towards 70’s rock, hints of both folk and country.  but ultimately having a sound purely their own. I think the choice of “Ohio” to end the set from Crosby, Stills Nash and Young really nailed the band’s allegiances to the mast.

At a time when local or underground bands struggle to make ends meet tonight’s sell-out crowd shows that with The Priory Sessions Pity my Brain might well have found a new home venue!! Good luck guys.