With a fevered local following, a slew of memorable shows with cult bands including Last of the Teenage Idols, Gunfire Dance, and Red Dogs, in much-missed U.K. venues like Cardiff Bogiez, Doncaster Jug, and Birmingham’s Edwards No. 8, and a deal agreed with South Bank Studio (who released the debut Manic Street Preachers single, ‘Suicide Alley’) for a four-track 12-inch single, South Wales lowslung rock ‘n’ rollers, SISTER MORPHINE, appeared to be about to climb onto the next rung on the ladder to success. As a song once told us, however, it’s a long way to the top (if you wanna rock ‘n’ roll) and, after operating from 1989 to 1991, the planets failed to align and the band members went their separate ways… until now!

Things got weird for everyone during the pandemic, so much so that the rediscovery of a bunch of three-decade-old audio cassettes didn’t seem that much of a big deal; but for the former members of Sister Morphine this find provided the catalyst for a most unlikely of reunions. The tapes contained long-lost songs – some only existing in rough rehearsal form – that the band members (guitarists, Jamesy and Jonesy – later of experimental collective, The Friday Night Sound System; drummer, Denley Slade – who has shared stages with everyone from Blondie’s Clem Burke to Cherie Currie of The Runaways, via Jetboy, The Quireboys, and Dan Baird, as a member of Sal and Last Great Dreamers; vocalist, Gaz Tidey – a founder of the Uber Rock website and co-author of ‘Til the Death of Rock and Roll’, the tie-in novel for The Loyalties album of the same name; and bassist, Mike DeSouza – now working in the film industry with credits including The Mummy, The Texas Chainsaw Massacre, and Men In Black: International on his IMDB profile) barely remembered.

An agreement was quickly put into place that the band would reunite to record the best ever versions of these songs, and that the recording would take place at RedRock Studios and be produced by Lyndon Price, a former member of Welsh metal legends, Wild Pussy; the first band that Sister Morphine ever supported! The planning, however, had to be done over a messaging app as the country was awash with regional lockdowns. The frustration felt at having to rein in the excitement resulted in not one, but three brand new songs being written over the same messaging app, ready to be fleshed out once the band members could hit the rehearsal room. Then, those three new songs quickly became four and a fifteen-track album tracklisting was fashioned, consisting of those four new songs alongside five never-before-heard songs from the tape archive, and six “classics” from the band’s vintage live setlist.

Those new songs (the high octane garage rock of album opener, ‘Holy City Zoo’, and ‘Nothing Dirty in the Truth’; the melodious melancholy of ‘90s hit that never was, ‘8-Tracks & Zodiacs’; the ‘70s glam stomp of title track, ‘Ghosts of Heartbreak City’) blend perfectly with the vintage tunes (including the punk ‘n’ roll banger that is ‘Red-Eye Juice’ and the horns-heavy ‘Seven Long Years’) with those previously unheard songs (including the irony-smeared ‘Do You Wanna Get Wasted?’ and the outlaw country tearjerker with a twist, ‘Get Back Home’) no doubt having you ask yourself why they were hidden away for so long.

Those fifteen gutter-dirty, lowslung rock ‘n’ roll songs now exist as the band’s long-threatened debut album, ‘Ghosts of Heartbreak City’; set to be released on digital platforms and digipak CD on 14th February, 2023 via Big Egg Records. Yes, there is going to be another St. Valentine’s Day Massacre!

‘Ghosts of Heartbreak City’ tracklisting:

1.) ‘Holy City Zoo’

2.) ‘Do You Wanna Get Wasted?’

3.) ‘Ghosts of Heartbreak City’

4.) ‘Cry the Rain’

5.) ‘Nothing Dirty in the Truth’

6.) ‘Waiting on Salvation’

7.) ‘8-Tracks & Zodiacs’

8.) ‘Red-Eye Juice’

9.) ‘Ain’t No Love Song’

10.) ‘Living With Snakes’

11.) ‘Sea of Love’

12.) ‘Black Hearts & Bruised Egos’

13.) ‘Days of Wine & Roses’

14.) ‘Get Back Home’

15.) ‘Seven Long Years’

For Fans Of: Dead Boys; New York Dolls; D Generation; Heartbreakers; Faces; The Dogs D’Amour; Radio Birdman; Hanoi Rocks; The Clash; The Damned; Gluecifer; Alice Cooper Group

‘Questionably a hardcore band’ is how Daddy’s Boy describe themselves, and one listen to their discombobulatingly brilliant debut LP should answer all your questions as to what that could possibly mean. Recorded with Steve Albini at Electrical Audio, GREAT NEWS! is the sound of punk folding in on itself and racing through sounds you might have previously identified with dumb genre tags like post-punk and possibly even no-wave – except this isn’t either of those things. When I first heard ‘Work Wont Love You Back’ I remembered hearing bands like NoMeansNo for the first time with the jarring guitars and the lecturing vocals that are an address rather than a melody. It’s Dischord and jarring across a hypnotic rhythm and frantic riffe-a-rama, eventually settling on something that’s… well, kinda uniquely Daddy’s Boy.

Crass meets NomeansNo America and UK noise makers clashing in the middle. The chaos rains down on you song after song it’s like a form of hypnosis raining down on you and you are powerless to stop it. poking you on the forehead with riff after riff but not in a uniform way either. ‘The Poster’ is experimental with the main rhythm filtering into the red and it sounds great louder and louder!

‘Superspreaders’ would have been born from out of the pandemic with clever rhythms ebbing and flowing nicely. ‘Eddie Says’ is just delightful hardcore- punishing the listener with frantic chords washing over you. There is no respite throughout the eleven tracks with some starting with the same splat of the snare before raging off into the distance with your soul.

Finishing off with a brutal mixture of throbbing bass on ‘Do You Like Music’ with its drilling snare explosions and ear-bursting noise before handing over the baton for a sub one-minute blast beat exercise in shock and awe entitled ‘New York City Jort Authority’ chaos is your friend and music that pushes the boundaries is always worth investing in like a palate cleanser Daddys Boy goes for the jugular and takes no prisoners – not for the faint hearted but well worth checking out.

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Author: Dom Daley

As far as sleazy punk n roll goes none do it finer than Sweden’s Panzer Princess. Having been in the game since the mid naughties I had the pleasure of reviewing their early releases and then nothing – world domination was put on hold and these sleazy bad boys sort of vanished. Then, all of a sudden out of nowhere I caught sight of a big shiny record being released, and hey presto I got in touch with Johnny (lead vocals) and the new record was winging its way to RPM HQ to annoy the neighbours and reason to throw a party was introduced.

‘A Requiem Singalong’ does have a downside – sadly it only has four tracks on this EP and not a full album with a whole bunch more Rock n Roll to appreciate, that’s the downside. The upside is the band sounds better than ever and has honed their craft and become a lean punk n roll machine inspired by the finest from Hanoi Rocks, Soho Roses, Lords Of The New Church and the Dolls – they rock and roll with the best of them. on the opener ‘Made Me Do’ it’s like a steam train plowing down the track realising the breaks have failed as sparks fly from Gurra Hookers fingers with licks and fills handed down from Berry and McCoy the rhythm section holds it steady as it speeds on by. with some nice additional piano to accompany the backbeats and harmonica honkin’ its a real trip and I love it.

As you can hear ‘Dead Beat’ brings the good times with its rapid twelve-bar riff and chuck berry licks over some traditional lyrics about girls and booze, breakup and good times – it’s not rocket science, it’s Rock and Roll and with some great melodies and gang vocals, it’s a whole lotta fun walking down this well-trodden path. The added piano is a great addition again – top tune!

The record is over way too early but before they go they deliver the exceptional ‘End Of The Lie’ with a great walking bass line. Sure it’s tipping the hat to Hanoi and those who paved the way but it’s about time there was a revival of what happened in and around London in the 80s when it was cool to look like a pirate. On every corner, there was a band with a hollow body guitar and a bottle of thunderbird. Bring it on I say and make sure Panzer Princess are at the front of the queue. If you love a bit of sleazy Rock and Roll then these are the band for you. Fan-fuckin-tastic record.

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Author: Dom Daley

Think Hellacopters, think Märvel, think hard rockin’ scandi style with loads of dueling guitars set for maximum lean back and diddle. one-finger piano tonking and shout-it-out-loud vocals. Hell, it’s on The Sign Records what were you expecting? oh and turn those Orange amps up to 11.

‘”Break Free’ is the sophomore studio album by Finland’s Rokets. Following the release of their 2020 debut full-length ‘Fast Time’, the Helsinki-based 5 piece returns with 9 new tunes of high octane rockin’ and rollin. Distorted twelve bar with wailing vocals from the off its got melody and that Street hard rock that’s well worn from this neck of the woods. ‘Burn Down The Wall’ is the Rokets showing their hand right from the off and a decent stab it is too. The solo is mighty fine and I am a sucker for that over-the-top piano bashing but it doesn’t get enough limelight here – it does threaten but I think it’s too restrained and should be unleashed, but that’s only a personal impression.

‘Break Free’ is melodic, catchy rock, and the cliches and hallmarks are authentic and the closeness to the Hellacopters on the second track ‘Destroyer’ is like two rizlas in a pack of papers. It’s rapid and thumping and boundlessly energetic and the solo is on point and exactly what the song needed but it could have gone on longer and more in your face but maybe H&S wouldn’t legally permit it.

These cats have been at this for over five years so aren’t newcomers and I’m sure live this would be a cool night out and your ears would be ringing for days which is probably exactly what they want to achieve. If they rule the Finnish underground then now is the time to spread their wings and get out there post-pandemic and rise above that underground – they’ve got the attitude and the chops to pull it off, I’m sure of it.

With nine songs on offer, they don’t stray from their MO and the album Rocks hard from the title track to the bass-thumping ‘Best Kept Secret’ through the old-school riff-a-rama of ‘Straight From The Source’ right to the blast off of ‘Cherry Kiss’. The record might lack some variety and they only really pause for the semi-ballad to close the record, ‘Roots’ is a good un to sign off on and the louder you play this the bigger the rewards. Good effort gentlemen and if you make it to the UK I will be down the front windmilling. Until then Break Free brother break free.


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Author: Dom Daley

Bringing a mix of songs from their back catalogue as well as a few unheard gems from their forthcoming album, Therapy? will be hitting the road this November with stops in PlymouthFalmouthDoverBournemouthGuildfordSwansea and Swindon

Tickets Here

Of the newly announced live run, Therapy? say:
“This tour will be very different to our last few tours, we are playing places and venues that we have not played for a very, very long time or indeed before at all. As well as going back to places ‘from our past’ we will also be going back to songs from our past. We will have a totally different setlist to that we had on the ‘Greatest Hits’ tour. We will be picking songs from our old catalogues as well as a few from our forthcoming new album. It will be loud and noisy, and may well be the last time that we play some of these songs. So come along to hear the old, the new and the noisy… and be aware that these shows will be much more up close and personal!”

Since 1990 and the self-release of their debut single “Meat Abstract”, Therapy? Have lived through the troubles, a peace process, seven record labels, three drummers and a cellist. They’ve witness the widespread use of the mobile phone, a personal computer in every home, the internet, the introduction of WiFi, a single European currency, the rise and fall of baggy, grunge, britpop, nu metal and emo, released fifteen albums and sold in excess of three million records, had hit singles, collaborated with a myriad of artists including Ozzy Osbourne and David Holmes, toured the world many times and played countless live shows.

Amongst all this cacophony they have continued to plough their singular vision with determination and wit, all while making friends in the process. Celebrating their 30th anniversary with the release of ‘Greatest Hits (2020 Versions)’, an album of very special recordings made at the legendary Abbey Road Studios with producer Chris Sheldon (Troublegum, Semi-Detached, Cleave), Therapy? also marked the occasion with a Greatest Hits tour earlier this year. Released via Marshall Records in 2020, the album saw Therapy? Grace the UK Top 40 once more and was accompanied by an official biography of the band written by Simon Young a few months later. 

10 Nov – Depo, Plymouth

11 Nov – Princess Pavilions, Falmouth

17 Nov – Booking Hall, Dover

18 Nov – Sound Circus, Bournemouth

19 Nov – Casino, Guildford

20 Nov – Sin City, Swansea

03 Dec – Level 3, Swindon

Another day another version of To Hell gets released. This one though features sleevenotes from Matt Dangerfield along with never before seen photos taken at the 1979 recording sessions at Nidaros Studios and a full lyric sheet. It’s available in regular black and limited edition blue vinyl from Mad Butcher Records. Originally released on CD by Casino Steel’s Revolution Records after the band had split. ‘To Hell’ might just have taken their power pop notoriety to the next level it had a little something extra and was the sum of their parts all rolled into one fantastic album they were no longer the punks of the first wave they were more than that and anyone who read previous reviews and interviews will know that The Boys are a massive influence on the records we play around HQ. ‘To Hell’ was given a kiss of life for record store this year but this has to be the definitive mix (being the original mix) it doesn’t have the original sleeve artwork but then Who doesn’t love a new fresh mix of a classic album? I certainly do and although it’s been a while since I spun this on vinyl I thoroughly enjoyed hearing a not-clicky-popping version that wasn’t a CD.

It seems a bit weird looking at the artwork and it not being the blue and red lit sleeve and this version is such a great cover in Black & White looking so youthful in black leather. A Japanese compilation came out on CD about seven years ago with this very image but like the music – not quite as sharp.

‘To Hell With The Boys’ curiously opened with an instrumental cover of ‘Sabre Dance’ and quickly bled into ‘Rue Morgue’ Johnny Thunders and Hanoi used to open their sets with Pipeline and I always saw this as the same kinda deal. ‘Rue Morgue’ being a swirling ball of energy and fine musicianship. The Keyboards punching in and out layer the track perfectly. The album contained one of those soft songs for hard men in the shape of the massively popular ‘Terminal Love’. ‘To Hell’ always had a great flow to the tracklist I love the rawness of the guitars on ‘See Ya Later’ a song that still features heavily in their set list to this day and it’s not difficult to see why. The same can be said for the ballad ‘You Can’t Hurt A Memory’ again so far from the punk bands of the day it’s a beautiful song with a great feel to it from the crisp piano intro and harmonies to the chorus. It’s also almost as long as a lot of punk rock albums on its own. Often described as Lennonesque, it’s certainly got similarities in the vocal effect but I always loved the harmonica and where it speeds up it’s got more in common with Mott The Hoople or The Stones in my humble opinion and that saxophone is a great piece of arrangement. ‘Kamakazi’ continues the use of sax again an influence on Hanoi Rocks no doubt about it. what’s not to like about songs about bikes and Rock and Roll.

I guess it’s fair to say the band was really mixing it up with the tracks like the powerful ‘Lonely Cowboy’ or the Reid written ‘Waiting For The Lady’ they really were a band that had a whole bunch of excellent songwriters and not just one. Each added their own special ingredient to make a well-blended record that flowed better than its predecessors.

rounding off the record as it was originally intended there are no B sides bonus tracks its just the ten of the best from the Boys ending on the Lennoneque ‘Independent Girl’ and then we were done. As good a power pop rock n roll album as you could ever wish to hear and with it being the original mix it’s a beautiful moment in time captured forever. ‘To Hell With The Boys’ is an album that should have wide appeal and one that should be played loud and often. To hell with whatever you had planned get on this bad boy before they’re all gone. Quite simply an essential purchase – Get one!

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Author: Dom Daley

Ronnie James Dio joined Black Sabbath in 1979, and two classic albums followed. ‘Heaven And Hell’ and ‘Mob Rules’ both get a rebirth this month via BMG in deluxe boxset formats cD & Vinyl. Both albums have been newly remastered, and the set includes rare and unreleased music in certain regions. RJD replaced Ozzy in 1979 and quickly released ‘Heaven & Hell’. Sabbath returned to the studio in 1981 to record ‘Mob Rules’, with Ward replaced by Vinny Appice. Mob Rules was released in October of that year. The deluxe edition features additional tracks from Live At Hammersmith Odeon and an entire concert recorded in 1982 in Portland, OR. on the CD version with highlights making onto the Vinyl press.

Filling Ozzys shoes was a job that required a larger than life vocalist with his own personality and presence and in Dio they had certainly found their man who ticked all the boxes. It wasn’t the job for a shrinking violet or someone who didn’t have the credentials it wasn’t for the faint-hearted and RJD quickly grabbed the bull by the horns.

‘Heaven & Hell’ got under way in sprectacular fashion with a new sound unlike the old and as soon as the epic ‘Neon Knights’ opened up with its titanic riff and soaring vocals it was always going to be a success.

Due to what can be pressed onto vinyl the CDs have the full audio release whereas the vinyl has selected cuts. The package is a heafty tome with magnificent reproduced artwork that just looks sharper and wonderful sleeve notes included. the bonus disc is made up of ‘Children Of The Sea’ – Live B-Side Of ‘Neon Knights’ and ‘Lady Evil’ – 7 Mono Edit (unreleased on CD) so I guess to get the full experience the CD and Vinyl purchase is necessary. I only ever owned a second-hand copy of the original record until it was released on CD and have to admit it’s possibly my favourite Sabbath album of the lot including Ozzy releases. (Flame me I can take it) Having a crisp brand new vinyl copy in my hands is an emotional thing and memories come flooding back. Saying that ‘Mob Rules’ has its exceptional moments from the quiet parts of ‘Sign Of The Southern Cross’ and the rocking opener of ‘Turn Up The Night’. Dio brought new energy to the band and the quality of the songs and the running sequence was/is majestic.

The power of Dio’s vocals is none more evident than the bonus disc of ‘Mob Rules’ – ‘Live At Portland Memorial Coliseum, Portland, OR, April 22, 1982‘ captured in sequence on the CD but only highlights on the vinyl. The artwork and sleeve notes are magnificent on the vinyl but it is a shame it’s not the complete show like the CD because the Dio originals alongside the older Sabbath tunes are excellent and Dio takes it in his stride and the new Sabbath was born.

As far as reissues go these two are easily as good as the previously released box sets and all goes to prove what a great band Sabbath was/is Ozzy or Dio it matters not they both released some incredible heavy rock records and to hear then sounding this good is a treat. With Christmas coming why not treat yourself, if you’ve been naughty or not so nice pick em up at the link.

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Author: Dom Daley

After releasing the debut album at the beginning of the pandemic and with the squeeze on pressing plants That excellent debut took forever to reach my grubby hands which was a real shame and probably a massive ball ache for Helvete’s Kitchen and The Dirts it was probably the album that I had on pre-order that took the longest to get out so when I had notice that there was a follow-up but it was only digital I was pleased they hadn’t been put off by the experience and another bunch of lo-fi fuzzed up sleazy punk n roll was heading to my speakers and sure enough ‘2’ was here.

I can’t remember how I even stumbled across the band which I’m pretty sure is a one-man band from Sweden but I do know they make a beautiful noise and the (At times) almost inaudible fuzz of the first record is still evident on the follow-up but there is a clearer production (if production is the right word) it’s certainly got attitude and the fuzzed up guitars still sound magnificent. The album charges through your speakers in the shape of ‘Waste Of Time’ – all howling fuzz and distorted melodies form the vocals but it has a tonne of charm and boundless energy. Of the nine tracks that all pretty much hover around the two-minute mark, it’s impossible to get bored the record only clocks in at about sixteen minutes long anyway. Punk as fuck!

Buried underneath the avalanche of frantic guitars there are some cool melodies ‘They’re Talking’ is a real thrash and bang but the MC5 fuzz of ‘Don’t Think About It’ is a banger. ‘Mental Problem’ is a real highlight with its rapid nasty garage rhythm and the howling guitar licks reach a pinnacle.

‘Go To Hell’ has a dramatic opening tempo like early Sabbath mixed with some Alice Cooper and then when the drums kick in it’s as punk as you like. ‘End Of The Day’ is a real Rock and Rolla shaking its ass and getting its groove on it’s a great tune – simple as you like with the vocals fighting to be heard with that boogie Woogie guitar. The final few songs are like prog length in comparison all clocking in over two minutes, honestly. We end on a high with ‘All By Myself’ I’ll say the same conclusion as I did after the last album if this was polished and released with fanfare it would be a big winner but thats the loss of the mainstream because with The Dirts dirt its destined to stay in the underground and those of us lucky enough to have them stumble into our collections will be delighted with this second album.

Do yourselves a favour and invest in some of The Dirts music – you absolutely wont regret it. No time for filler this is all killer.

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Imagine The Hives were from the North Of England and were a three piece who could kick up an absolute shit storm be it on record or live, well? They’d be called Nosebleed and kick your backside with their brand of Garage punk n roll. Hailing from Leeds, Leeds, Leeds, these three gents are about to turn in one of the best records you’ll hear all year.

After the introductory punch to the eardrum from the fuzzed-out burst of energy that is ‘Dance With The Devil’ this album is a no holds barred rush of energy and a lesson in great songwriting. Careful those guitar chords are sharp as a chef’s knife. ‘Bad Magic’ is groovy as fuck and it doesn’t stop there because they’re all pretty much groovy as fuck but ‘Lost And Found’ is an energetic fucker that will rock your world from start to finish. these guys are on FIRE!

As the album settles down (well it doesn’t really but you know what I mean) ‘Let It Go’ is on a steady diet of rocket fuel and with the BV’s raising the chorus the shuffle of the verses as they shake rock and roll you into a frenzy only for the guitar solo to rock your world. This record was my companion on a long weekend recently and my train journey was a blast as the music kept pace with the train as it powered across the country moving faster than a 125 with more class and power.

They do add some shade to the white knuckle blinding light of the first few songs as ‘Under The Knife’ adds some Stooges piano tonking for good measure as the slower waltz of that fuzz guitar is an aural pleasure. “Were under the knife” is a hint of the fine Garage noise Brother Jim Jones dishes out.

 Initially recorded in 2019, the band stalled its release when the pandemic hit as their incendiary live performance was such an important aspect of what they do so with some years behind this release the live shows should be off the scale and if they busied themselves they should have the next album already in the can.

Twelve songs all different flavours of garage rock n roll but all rather tasty. I also love the fuzztones flavoured ‘All I Know’ with its shimmering guitar and fuzzed bass its melodic and massive sounding and a gear shift from their frantic tunes. The band do get more adventurous with the songs as the album grows twisting and turning down different avenues with ‘I Don’t Know’. Fear not speed freaks the thrash and frantic tempo of ‘I Got A Feeling’ has them chasing towards the end of the record.

To close of this rather exceptional record they dish up a howling funeral strut entitled ‘Make Up Your Mind’ and then they’re gone but not until one final wah driven freak out baby on that electric guitar. What a fine, fine record this is. some fantastic songs and hardly any drop in quality throughout and it would be remiss of me to not urge you to check this out and if they should roll into town get down the front for a frantic workout of the mind and body as you ‘Dance With The Devil’ excellent stuff indeed.

TNS Records Here

Author: Dom Daley

Australian garage rockers Civic follow up their impressive EP and album with a brand new video off their second full album release. Hot on the heals of ‘Future Forecast’ the Australian garage rockers tease with the first video lifted off the record ‘End Of The Line’. ‘Taken By Force’, is released on ATO but will also be sold through Rough Trade for UK fans which should help keep the shipping costs down. The follow-up to the Melbourne quintet’s 2021’s debut ‘Future Forecast’ was recorded in the countryside with Radio Birdman frontman Rob Younger as the producer The band spent long days holed up with Rob and the finished record looks set to propel the band to a wider audience. Pre-order the album Here