BLACK EYED SONS release ‘Dig me out of this hole” featuring Angry Anderson and Scotti Hill

BLACK EYED SONS release ‘Dig me out of this hole” featuring Angry Anderson and Scotti Hill

Black Eyed Sons return with a brand-new version of their track “Dig Me Out of This Hole”, featuring Angry Anderson (Rose Tattoo) on vocals and Scotti Hill (Skid Row) on slide guitar. Written by Paul Guerin, the song is a raw, Rose Tattoo-inspired rocker, so who better to guest than the iconic voice of that legendary band?

Stream/download album HERE 
  
 Black Eyed Sons CD or Vinyl HERE 
  
 Facebook HERE

 

 
Frontman and guitarist Guy Griffin explains: “This is a brand-new version, not on the album. Due to time constraints and touring commitments, we missed the deadline to include it and at one point the vocal got lost somewhere in Australia! We finally tracked it down, and it’s too good not to release.” 
 
Guy continues: “It was great to have Scotti play on the track, who we’ve always admired as a guitarist and a good friend that we’ve toured with over the years. I read an interview where he said he wished he had more opportunities to play slide guitar, so I called him up and said we had just the track for him! And like us, he’s a massive Rose Tattoo fan.”
 
Scotti Hill adds “I’ve known the guys for many years and was very much looking forward to playing on one of the tracks. When they told me Angry Anderson was going to be on the record, I said that’s the song I need to play on!”
 
Also appearing on the track are Chip Z’Nuff (Enuff Z’Nuff) and Ronnie Simmons (Rose Tattoo).
 
The new single is accompanied by an action-packed, Sin City/Quentin Tarantino–inspired crime-noir style video, starring Black Eyed Sons and special guests, shot in high-contrast cinematic style with all the swagger and grit you’d expect.
 
The release coincides with Black Eyed Sons’ first-ever tour, where they’ll be performing songs from their debut album Cowboys in Pinstriped Suits, which entered at #1 on the Official UK Blues Chart.
 
Dig Me Out Of This Hole is OUT NOW on all digital platforms https://bfan.link/dig-me-out-of-this-hole
 
The Cowboys in Pinstriped Suits Tour Part 1
  
 Nov 6th  – Hard Rock Hell 18 – Sold Out
 Nov 7th  – Hard Rock Hell – Sold Out
 Nov 8th  – Bridgewater, Cobblestones (with Revenant)
 Nov 9th  – Southampton ,The Brook (with Revenant)
 Dec 12th  – Bradford, Nightrain (with Revenant)
 Dec13th  – Newcastle, The Cluny
 Dec 17th  – Bilston, The Robin (with Revenant)
 Dec18th – Llandudno, Motorsport Lounge
 Dec 19th  – Crumlin, The Patriot
 Dec 20th London, Camden Underworld (with The Dirty Strangers)
  
   
 Tickets available at: www.blackeyedsons.com   www.dice.fm 

Jim Bob – Art!

Jim Bob – Art!

Jim Bob is one of the UK’s most distinctive and enduring songwriters. Best known as the frontman of indie punk rock pop legends Carter The Unstoppable Sex Machine, he enjoyed 12 Top 40 singles and four Top 10 albums (including a No.1) before Carter disbanded in 1997. Since then, Jim Bob has forged a prolific solo career: thirteen solo albums, six novels, two acclaimed memoirs, a theatre debut at the Edinburgh Fringe, and most recently the career-spanning book Where Songs Come From.

His albums Pop Up Jim Bob (2021) and Who Do We Hate Today (2023) both broke into the UK Top 40, while 2024’s Beach Ready EP hit No.1 on both the Vinyl and Physical Singles charts. In August 2025, he released his most ambitious project yet – twin albums Automatic and Stick – to widespread acclaim.

Earlier this year, Jim Bob sold out London’s Shepherd’s Bush Empire with a 40-song career-spanning set. A major UK tour for 2026 will be announced soon.

The track is available now across all streaming platforms — Spotify, Apple Music, Deezer and more

THE ALBUMS

Automatic – a glorious, full-band statement bursting with melody, wit and heart.

Stick – the punkier, scrappier sibling: lean, loud and loaded with bite.

Together, they showcase Jim Bob at the peak of his powers. Or, as Jim himself puts it:

“Automatic and Stick are both the greatest album I’ve ever made.”

Mike Tramp – ‘Songs of White Lion’ – Volume 3 (Frontiers)

Mike Tramp – ‘Songs of White Lion’ – Volume 3 (Frontiers)

Well, if you’re reading this, then the name Mike Tramp and especially that of White Lion is obviously no surprise to you and is more than likely somewhere to be found in your record collection. As you can more than likely tell, with this being the third volume of Mike Tramp giving a new updated shine to the musical legacy of his much-loved and missed ‘80s/’90s hard rock band White Lion. While this is Mike’s voice in the right here, right now, the songs have a timeless feel to them.

As you can imagine, the ‘hits’ were re-recorded for the first two volumes. On this third entry, we have the deeper cuts, such as the opening ‘Dirty Woman’ from 1989’s Big Game. This new version is less polished than the original, but that doesn’t mean the impact is any less. As with most new recordings of older songs, sometimes it can highlight the limitations of the original. However, I can gladly say that these new versions add something to the original that can make the experience fresh.

‘Warsong’ from 1991’s swansong album ‘Mane Attraction’, is even more impactful than that of the original and with the state of the world as it is at the moment, has never been more relevant. ‘Fight To Survive’ is the first of four tracks from the band’s debut album of the same name. Now it is these tracks that retain my interest the most, as I got into the band via their major label debut ‘Pride’. So reliving these tracks is glorious. 

Another track from Mane Attraction is ‘She’s Got Everything’, which, along with many of the lyrics of the late ‘80s / early ‘90s has aged too great; that said, the song is a great reminder of what made White Lion great during their heyday

‘If My Mind Is Evil’ and ‘Don’t Say It’s Over’ both come from the ‘Big Game’ album and while being decent – I never loved the originals but these new recordings give me a reason to delve back in the the wondrous back catalogue and see if I was being too harsh to them the first time around.

As mentioned previously it is the ‘Fight to Survive’ tracks that hold the most interest for their ears, and with ‘In The City’, ‘Cherokee’ and ‘All Burn In Hell’, the new versions have breathed new life into these songs originally made some 40 years ago.

Mike has said that these re-recordings are not meant to replaced the originals but to compliment his journey and show where he is now and that this volume 3 is the emotional conclusion of a trilogy of music that connects the past to the present.

These have been recorded by Mike’s trusted band, which features Marcus Nand on guitar, Claus Langeskov on bass and Morten Hellborn on the drums. The majority of these songs were written by the main duo of the original group i.e. Mike Tramp and guitarist Vito Brtatta, with the exception of their cover of the Golden Earring classic – ‘Radar Love’.

As a fan of Mr Tramp – this will sit happily amongst my collection. There I deem this a winner in every sense of the word.

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Author: Dave Prince

The Hives – Stylus, Leeds – 31st August 2025

The Hives – Stylus, Leeds – 31st August 2025

“I think the show’s going well so far, what do you think?” asks The Hives mouthpiece Screamin’ Pelle Almqvist, halfway through a 45-minute set from probably the greatest garage rock band around. 

The Hives are playing a series of album release shows at intimate venues across the UK, promoting their most excellent new long player “The Hives Forever, Forever The Hives’. 

This show was arranged in conjunction with local independent record store Crash Records, and is a completely different kettle of fish compared to last night’s amazing Bryan Adams show at the Brudenell up the road.

While both acts hit the stage bang on 8pm and are done before 9pm, The Hives choose to play oldies and newbies rather than concentrate just on the new album.

That said, the first couple of tracks are new, and they absolutely kill it.  Opener ‘Enough Is Enough’ slays from the opening bombardment of jagged riffs and powerhouse drums. Pelle is stage front, motioning at the crowd to go wild before he has even sung a note, and they respond. To his left Nicholaus performs his signature moves while bashing out punchy riffs on his telecaster. You can’t take your eyes off the pair of them.

Like The Ramones before them, the Swedes deliver song after song. 3 chord punk rock, a tried and tested style where the songs may sound the same, yet are still different, energetic and exciting. You instantly know a Hives song when it hits the radio, right?

‘Paint A Picture’ follows, the crowd go wild for the hyper energetic vibe the band create. That chorus is sublime; it’s a killer tune make no mistake. Two songs in and the frontman has the whole room in the palm of his hands; oh he makes it look so easy!

Next up ‘Bogus Operandi’ sounds like an old friend, it’s epic, nearly as epic as the following classic ‘Hate To Say I Told You So’, which is never going to disappoint at any size venue.

It’s warming up nicely, hold on, we’re only 5 songs into a Hives show, that’s about 15 minutes in real time! They jam out and extend an incendiary ‘Tick Tick, Boom Boom’ to give the hyper crowd down the front a breather between Pelle’s high kicks and DLR style stage raps. He’s in the crowd for at least the third time tonight, and you can’t take your eyes off him. 

‘Legalise Living’ is another newbie single that goes down a blast, and Strokes soundalike ‘The Hives Forever, Forever The Hives’ closes the main set in style with an audience member dragged up on stage to play the 2 chords needed. 

A one-two encore of ‘Come On!’ And ‘Countdown To Shutdown’ ends a show that went by in the blink of an eye. 

9 tracks in 45 minutes, delivered with enough raw power, humour and energy to fuel a small city. With a frontman who entertains and lights up a crowd with his humour as much as his voice, and a band who are a well-oiled punk rock machine, The Hives were never going to be anything short of amazing tonight. The Hives forever, forever The Hives indeed. 

Author: Ben Hughes

PUNCHDRUNK SAINTS -DEBUT SELF-TITLED ALBUM – OCTOBER 24TH VIA CADIZ MUSIC

PUNCHDRUNK SAINTS -DEBUT SELF-TITLED ALBUM – OCTOBER 24TH VIA CADIZ MUSIC

ORDER HERE:

FEATURING COCKNEY REJECTS GUITARIST MICKY GEGGUS

As 2023 drew to a close, The Cockney Rejects’ guitarist and founder, Micky Geggus, after much soul searching, decided to leave the band that he created in 1979.

Along with original Rejects’ bassist, Vinny Riordan, Mick decided to break free from the confines of punk rock and to embark upon a project that encompassed his first love: hard, heavy, and at the same time, melodic, Rock. Mick’s love of rock music will be of no surprise to any fans of the Rejects, as the band confirmed their passion for more traditional rock sounds as far back as their Pete Way (UFO) produced album ‘The Wild Ones’ in ’82. 

Having already written several songs, Mick began a series of trips to producer Kevin Poree’s Canterbury studio where he began to lay down the tracks that would become the basis of the Punchdrunk Saints’ debut album.

Along with bassist, Riordan, and drummer, Reg Downer, the songs began to take on a distinct personality and feel, ranging from hard ‘n’ heavy anthems to searing, soulful ballads. This was exactly the mix that Geggus had envisaged. Now the search for a singer who could do justice to the material began.

Acting on a tip from Mick’s East London guitarist friends, (former Iron Maiden and Lionheart guitarist) Dennis Stratton, and Dave Edwards (who played in Remus Down Boulevard with Dennis Stratton and in Ramrod with Rory Gallagher), Mick discovered inexperienced but brilliant vocalist, Marc Salmon. The pair soon took the trip down to Poree’s studio in Canterbury and the results were phenomenal. “He’d done his homework,” said Geggus. “I was blown away by the control and power he demonstrated in that first session. I thought ‘fuck me, we really got something here. This band is gonna be incredible!’”

Fast forward a year, and the debut Punchdrunk Saints album is here. From the opening stomp of “Holy Mother” to the anthemic first single “I Wanna Know What It’s Like” and the heartfelt, uplifting “Come Home”, the Punchdrunk Saints debut is a 10-track masterclass in anthemic hard rock with every song a crafted gem in its own right. This album is refreshing, vital and new and if there’s any justice in this world it deserves to be heard at maximum volume in stadia across the globe!

Sadly, neither Vinny nor Reg could commit to the band long term, but Mick and Marc were soon blessed with the arrival of powerhouse drummer, Chris Nedzynski, and brilliant bass player for Leader of the Down, Tim Atkinson. Tim is the co-founder of Leader of the Down, who up until his passing in 2011, featured the late, great Würzel from Motörhead, and he has worked in the past with legends such as Lemmy, Whitfield Crane from Ugly Kid Joe and Bruce Foxton from The Jam, to name just a few). Tim and Chris both constitute a mighty rhythm section in what is now a unique outfit.

Punchdrunk Saints recently played their debut show at London’s legendary 100 Club to an ecstatic audience in an incendiary performance that surpassed already lofty expectations and included a guest appearance on guitar from former Iron Maiden six-stringer, Dennis Stratton.  

Make no mistake, the Punchdrunk Saints are here to stay. And then some.

Problem Addict – ‘Back In Jail’ (Dummest Records)

Problem Addict – ‘Back In Jail’ (Dummest Records)

Second EP offering from this Philly trio of noise makers who live in the shadows and walk on the sleezy side of town, where shit happens and the music is rough and ready. Brought up on a steady diet of T Rex rhythms and dreams but with a darker reality of festering punk rock, Problem Addict have got it going on. ‘Back In Jail’ is what the kids would describe as Fire, or the slightly older amongst us would say is banging. Me I’d say it has the beating heart of Bolan played through TSOL’s instruments and the DK’s four-track recorder.

What it lacks in finesse and big studio edits and sheen, it has a beating heart full of napalm and it ain’t afraid to let it all hang out. ‘Damaged In Transit’ is the sound of cheap alcohol fueled punk rock giving the listener the middle finger right up in their grill.

It’s short and oh so sweet, and we love that here at RPM Online, it’s got heart and soul in spades and a pocket full of great ideas and tunes, and boy is it gonna let ’em out. Hell, to finish they even open Pandora’s box of pop shit just to fuck with you some more. Bad drugs Bowie and Bolan mixed with some more noisy fuckers but with a style and swagger Problem Addict might get to make a diamond long player with great tunes or they really might end up in jail or as Michael Monroe once said ‘Dead Jail or Rock n Roll’ one of the three only they can decide but lets hop for the latter. top tunes.

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Author: Dom Daley

Robert Kane- ‘Blues Is Blues’ (Conquest Music)

Robert Kane- ‘Blues Is Blues’ (Conquest Music)

Life is full of surprises. It seems like just the other day I was reviewing ‘Damn Right’, the first Dr Feelgood album to contain all original songs, and damn fine it is too. That was an unexpected treat. And in March, I finally got to see the band live, in France, with Robert Kane in his element. Now, after an illustrious career, I’m listening to his debut solo album, ‘Blues Is Blues’.

 The blues can be a tricky one. Simple, yes. Easy, no. I freely admit that, as a young man, I really overdid my blues obsession, and, rhythm and blues aside, don’t listen to that much now. I am, inevitably, a bit of a snob, musically speaking. I like my blues rough, economical and from the heart. Thankfully, this was pretty much Robert’s instruction to the musicians involved in the recording.

So, we have 11 songs, mainly originals that he hadn’t previously recorded, but felt that they deserved to be heard. Every track was nailed on the first or second take, predominantly live, and this is partly why they really stand out. Lead single, ‘Halfway To Memphis’, hits out with some slide guitar and his wailing harmonica, which are also both present on ‘Heart Attack Baby’. A fine way to start. ‘Staying Home’ really pares things back, just a lone vocal and a picked guitar melody. Suitably mellow for the subject matter; “Life ain’t easy, but life is good. Gonna stay home and live the way I should”. I hear you.

‘How Many Times’ uses a refrain you will indeed have heard many times before, but we are dealing with a medium that generally uses three chords, so it shouldn’t be a surprise. What counts is that, when done properly, as here, that’s all you need. ‘Man Who’s Got The Blues’ broadens the blues palette, with some classy keyboard playing, yet never overplayed. Perfect for a smoky club.

‘Baby, Please Come Home’ is essentially a rewrite of ‘Baby, Please Don’t Go’, and Robert’s version of ‘The Ballad Of Staggerlee’ has added some new verses to the blues classic. But, rawest of all is the album closer ‘Jawbone’. A lone vocal describes the mythical character, which could easily be a lost blues traditional. I’ve always said that Mr Brilleaux was the greatest white rhythm and blues singer ever. After 26 years and counting with Dr Feelgood, it’s clear that Mr Kane is a blues voice to be reckoned with. He is steeped in the music, assured in his place, and it’s a pleasure to hear.

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Author: Martin Chamarette

Bastardes – ‘No Glory’ (Sunny Bastards)

Bastardes – ‘No Glory’ (Sunny Bastards)

No Glory is the brainchild of Stefan from City Saints and Arild from Troublemakers, and if you’re after a rock-solid bastard child of Rancid and Cock Sparrer, then look no further. With a bouncing and well-defined production, this record is up for a good time right out of the traps. ‘Wild Young And Free’ sets the tone, and everything follows as you’d hope it to. Big hooks, good times and full of melodies and riffs.

With their colours nailed to the mast and wanting to pay tribute to the mighty Sparrer, they drafted in Chips Kiesbye (SATOR, Millencolin, Michael Monroe, The Hellacopters, The Boys), and it all fell into place, The album leans on really strong melodies and good time lyrics it follows, ‘Drunk on Dreams’ and there isn’t much to split over the strongest songs but I love ‘Pay The Price’ for the riff and the melody works really well.

Tracks like ‘Born A Loser’ will see a soaked dance floor with all that spilt beer, and the Oi rock n roll of ‘Run Away’ with its boundless energy will no doubt be a favourite. The pace increases for ‘Raise Your Voice’, but I do like the details of adding harmonica on ‘Like A Drug’, sounding like something Michael Monroe would record.

The main theme is a tip of the hat to those who trailblazed a scene, but there is more to this than just a tribute. It stands tall next to their peers on merit, and with a pint of beer in their hand, they’ll hold their own. Of course, the album has plenty of sing-along moments, none more so than the encore of ‘One More Day’. It signs off as strong as it kicked off. Excellent album, polished and delivered with love and quality. Go and get it Oi Oi!

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Monty Oxymoron – ‘The Piano Plays ‘Til Midnight’ (The Songs Of The Damned) (Damaged Goods)

Monty Oxymoron – ‘The Piano Plays ‘Til Midnight’ (The Songs Of The Damned) (Damaged Goods)

Monty has been a valued member of The Mighty Damned since 1996 and has contributed to the songwriting process, and has also written and played with the Captain, but did you know he is a trained Psychiatric nurse and Psychotherapist

Now its fair to say The Damned have been the pioneers of Punk since its inception and have easily weaved their magic through many of its subgenres as the pioneers never afraid to take a chance and always had diversity in th e records introducing keyboards and having songs with synths so it might only have been a matter of time before someone in the camp inspired Monty to get in a studio and lay down his parts or interpritations for many of the bands best loved songs adding another flavour to many classics and some not so classic. Join Monty on this magical mystery ride.

Now I’m not sure if his tongue is firmly in his cheek or this is a deadly serious project, either way I was intrigued to investigate all nineteen tracks. Sure, we would all agree there are some quite beautiful songs that either already have significant piano parts or involve keys in some fashion, so beginning with ‘Beauty Of The Beast’ is safe territory, but having no vocals and just piano and no synths is very interesting. ‘Blackout’ had me upright and not sure whether to laugh out loud or to appreciate the majesty of the melody or scratch my head at the blasphemy of hearing it like this. Sure, the breakdown sounds wonderful, but whatever gets you through, I guess.

Monty often has me scratching my head as he dances on the side of the stage or leaps up and down, but when the band do the huge songs like ‘Absinth’ I see his worth and like what I hear. There are some safe tunes like ‘History Of The World’ where it works, and others like ‘Smash It Up’ that sound like it belongs on Blackpool sea front, amusing old punks in their kiss me quick hats.

‘Life Goes On’ sounds fantastic, and is it rude of me to prefer Captain’s performance of ‘Just Can’t Be Happy’? ‘Shadow Of Love’ works as does ‘Limit Club’, a song the band should get back in the set and leave it there in place of ‘Eloise’ if anyone’s asking. ‘The Dog’, ‘Disco Man’, ‘Generals’, ‘Natures Dark Passion’ and the beautiful ‘Under The Floor’ make this all worthwhile.

Saying that the tribute pieces to end this album, dedicated to Cap, Dave, Paul, Stu, and Pinch, are lovely, but not something I will be returning to, (Jazz just goes over my head or on this case right through it) even if the one for Paul sounds like the same amount of notes Paul hits every song hes ever played on. For Damned completists, no doubt a lovely piece of curio from a maverick figure in the most glorious and wonderful punk rock band that ever made a note of music. Long live The Damned and everything they do, even the bat shit crazy piano lounge albums with no words just piano. Respect to Monty and whoever commissioned this crazy album. I await the tour dates as Monty heads out on a solo tour with this bad boy.

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Author: Dom Daley