David Ryder Prangley – ‘If You Were To Kiss Me Now, All History Would Pour From My Lips’ (Self Released)

David Ryder Prangley – ‘If You Were To Kiss Me Now, All History Would Pour From My Lips’ (Self Released)

We’ve already been mulling over our potential favourite albums of 2025 at RPM Towers. It’s been a very strong year so far, and a pleasingly varied one. Yet, I’ve been patiently waiting for this, the third in the trilogy of solo albums by the glamtastic David Ryder Prangley. If you only know him from the mighty Rachel Stamp, his solo work may come as a welcome surprise. Understandably, the album release was put on pause after the tragic death of Stamp drummer Robin Guy. It’s inevitable that a period of reflection and reevaluation was necessary. I’d like to state here for the record that Robin played the only entertaining drum solos I’ve ever seen. An enormous talent, a gentleman and a huge loss.

If you already know ‘Black Magic And True Love’ and ‘Vampire Deluxe’, ‘If You Were…’ is the perfect ending. There is a dark, ethereal thread running through the trilogy, mixing fables and true-life events from throughout David’s life. I’m not here to dissect the stories, I prefer to let the music transport me to other places. While there are fewer big bangers like ‘Sweet Heartbreaker’ and ‘Black Magic…’ here, do not despair. Immerse yourself in the album as a whole, and you will reap the rewards. It has been worth the wait…

‘The Devil Has Come To Dinas Powys’ is a dream-like introduction. David’s home town sets the scene, acoustic guitar and the synths of Laurie Black evoke a haunted forest. ‘Die Alone’ was written as a duet for David and Nymphs singer Inger Lorre. Sadly, this wasn’t possible, but it stands as a beautiful tribute. Drew Richards returns for guitar and co-production, with a deft touch throughout.

‘Let’s Fall Apart Together Tonight’ does indeed have a similar mood to ‘Black Velvet’ by Alannah Myles, with a darker, dirtier edge to it. ‘Big, Bad Wolf’ brings out a low-slung, classic rock n roll riff, albeit with ‘flute’ solo. Trust me, it works! David was thinking about the Elvis films, often derided, which he was hooked on. “Elvis would just be walking around then suddenly burst into some really weird song with lyrics that sounded like a cross between a nursery rhyme and pornography, and I decided to write one of my own”. Pleasingly sleazy.

‘Jesus Christ Is Coming To Town’ is the closest thing to Americana on here, inspired by Rachel Stamp’s experiences at the South By Southwest festival. ‘Stained Glass Star’ with its smoky, film noir guitars, reminds me of the most sultry moments by The Hillbilly Moon Explosion. The fragility of stardom and temptation, in a suitably sensual style.

‘Box Of Dead Lovers’ is possibly the closest to Rachel Stamp, a crunching riff. Influenced by the Paisley Underground movement, but with much more swagger here, which is only to be expected. ‘Joanie Loves Davey’ is a paen to Joan of Arc/Jeanne d’Arc, another childhood obsession of David’s. It includes “a singalong coda in a made-up language”, which explains why I was initially confused. The Stonesy riff wouldn’t be out of place on ‘Tattoo You’. Very catchy from the first listen.

‘Falling From The Stars Down To Earth’ is the perfect ending to the trilogy. The first song that David wrote while Rachel Stamp were on hiatus in the 2000s, “ a song of acceptance and hope”. While the gentle acoustic guitars evoke Zeppelin’s eastern influences, the overall feel is otherworldly, another thread that links the albums. The stunning cover photo by Rowan Spray only adds to the atmosphere. No one else really makes music like David Ryder Prangley. With plans for a concert to cover the trilogy, and with Rachel Stamp back onstage with drummer and long-time friend Joe Holweger, let’s hope there’s a lot more music to come.

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Author: Martin Chamarette

Robert Kane – Interview: Did Somebody Call A Doctor

Robert Kane – Interview: Did Somebody Call A Doctor

With 26 years and counting as vocalist with r n’ b legends Dr Feelgood, Robert Kane is about to release his first solo album, which I’ve reviewed for RPM, natch. This seemed like the perfect time to put some questions to him about his 50-plus-year career, which may be more varied than some people realise.

After founding The Showbiz Kids in the 1970s alongside Olga (yes, he of The Toy Dolls), Robert became the singer with the reformed Animals, before joining Dr Feelgood in 1999. Some 1000-plus gigs later, he’s still happy on the road, and having seen the band recently in France, I can tell (see what I did there) that they are still loving it, and are very much on fire at the moment. Catch them if you can.

RPM: The press release says that you’ve had these songs sitting around for a while, from various periods in your career. Why did you choose this moment to release your debut solo album, and which is the oldest song? 

R.K: I write all the time, even if it’s just a line or two that might get used later, but a lot of finished songs don’t fit with what you’re currently doing, so if there’s no outlet for them and they just get left behind, languishing in a kind of no man’s land. One day, I was playing one of those songs at home and realised I’d never played it to anyone, and I thought, ‘Well, does a song actually exist if no one has ever heard it?’. It was then that I realised that I needed to get some of these songs together and get them out there. Originally, I was hoping to have the album out about five years ago and had got started on it when COVID came along and everything just stopped. When things opened up again, I was so busy with Dr Feelgood that it had to be put on hold until I had the time (and money) to get it done. And that time is Now! 

RPM: While the styles are slightly different, did you ever consider any of them for Dr Feelgood?

R.K: Well, Dr Feelgood is an R&B band and these songs are all rooted in R&B but there are many styles within the genre and I never heard these as Feelgood numbers. 

RPM: Tell us a little about the musicians that you chose to play on the album. What’s your history with them?

R.K: I worked with guitarist George Fearon in a band called The Alligators from 1989 to 1994, and two of the songs on the album were written with him. 

There are two drummers on the album  – Dave Dodsworth, who was also in The Alligators and Ian Hamilton, who is in great demand in the North East of England, where I live. 

Bass is played by Frankie Gibbon who also played some keyboard and even drums on one track. Also the recording was done by him at his studio. 

Steve Dawson played guitar alongside Hilton Valentine when I was in Animals ll from 1994-99 and he’s on a couple of tracks. He also did the mixing and mastering. 

Dave Chapman plays organ on one song and he was recommended to me by Steve Dawson. 

I play harmonica and rhythm guitar. 

RPM: I recently heard the first single by The Showbiz Kids, thanks to YouTube. I’m always fascinated by the history behind an artist. It’s a really good track, reflective of the era. Naturally, your voice and approach have changed over the years, and most singers take a long time to find their voice, which you clearly have now. What are your fondest memories of this time? 

R.K: It was a great time. I was young and ambitious and we really worked to try and make it.  We became very popular locally and worked a lot in London too but although we did our best to get a record contract it just didn’t happen for us. Good times though. 

RPM: While Dr Feelgood are pretty much always on the road, do you plan on releasing another solo album in the future? 

R.K: It has been mentioned, so I wouldn’t rule it out.

RPM: And, speaking of future releases, are you and Gordon Russell working on new songs at the moment, or do they just arrive when they’re ready to? ‘Damn Right!’ was such a welcome surprise; 11 great, new songs by Dr Feelgood that fit so well into the set. You obviously all had a blast recording them; it’s evident in each song. 

R.K: Gordon and I have got plenty of ideas but like all these things it’ll happen when the time is right. 

RPM: As a lifelong fan of Feelgood and a frustrated harmonica player, I have to ask. I read somewhere online that, during your audition, or perhaps just afterwards, the band gave you a nod during a practice, to tell you where the harp solos were. Your response was “I don’t play harp”, and they said “well, you better learn quickly, the tour’s coming up”, or words to that effect. Correct me if I’m wrong. And, how did you learn? After years of trying to ad-lib, I had some very technical harmonica lessons, which, as I had suspected, couldn’t teach me the ‘feel’ necessary for r n b. 

R.K: Yes, it’s true. When I auditioned and said I didn’t play, they said, ‘Can you sort that out for next week?’ My first thought was, ‘Does that mean I’ve got the job?’ 

Anyway, I had a harmonica with a busted reed, which I’d been given by The Alligators’ harmonica player but it had just been sitting in a drawer for years. So when I got home, I got this out and spent a few days frantically sucking and blowing and trying to get something out of it that sounded vaguely musical! By the end of the week, I’d managed to play a bent note with a bluesy feel to it and thought, ‘That’s it, I’ve cracked it!’ Of course, I hadn’t but I had enough to bluff my way through the songs. A few weeks later, I did my first gig with the band, and that was a bit nervy but it went really well. I never had any instruction or lessons, I just picked it up by gigging constantly, and twenty-six years later, I still don’t know what I’m doing! 

Buy Robert Kane’s ‘Blues Is Blues’ : Here.

Author: Martin Chamarette

The Shambolicks – ‘PrimeTime’ (Real Vision Records)

The Shambolicks – ‘PrimeTime’ (Real Vision Records)

2025 continues to surprise. Just a few months on from Jerry Thornton Jones’ (One The Juggler) solo album ‘Back From Tomorrow’, and here we are with his first album as part of The Shambolicks. Not one to sit around, he is also a member of Kinks tribute band The Konks. And, throughout, there are threads from all these bands, as you’d probably expect. Yet, as with these previous releases, the quality of the tunes is what counts.

From opening instrumental ‘Theme’, it’s clear that things are groovy chez Shambolicks. ‘We Gotta Go’ is part sixties dance floor, part Dr Feelgood riff, with that hint of Bowie in Jerry’s voice. Somehow, it works perfectly, and finishes abruptly, where ‘Apple Charlotte’ is altogether more Beatlesque, circa 1966. It’s a second bite of the cherry for ‘Only Time Will Tell’, but as it’s one of my favourite tunes from ‘Back From Tomorrow’, I won’t complain. The Kinks styled backing vocals really suit the song. If Ray Davies released this today, he’d be applauded.

‘PrimeTime’ has the urgent riff and melody that would equally suit One The Juggler, while ‘Life Goes On’ evokes the more reflective moments of ‘Blue Mask’ era Lou Reed. A pleasant surprise. And, suddenly, ‘Heart Bleeds Rock n Roll’ ups the tempo again, like Bowie playing Hamburg Beatles. Kudos to lead guitarist Scott Blake for getting the tone just right.

And the John and Paul harmonies are present and correct on ‘Consequence Of You’, a hard thing to pull off, it’s really quite touching. ‘The Ticket’ has producer Jim Riley adding harmonica to the acoustic-led tune, and ‘Reflections’ once again captures that mid-60s vibe, just on the edge of psychedelia. I can picture Macca nodding appreciatively at the bass line.

‘No One Really Knows’ ends things like a song you remember warmly from somewhere in your mind. There’s no mistaking that these are lovingly crafted songs from people who care to make something special. That’s rare enough these days, so grab hold of a copy and catch them on tour.

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Author: Martin Chamarette

Human Toys- ‘At The Poor Cow’ (Soundflat/Topsy Turvy Records)

Human Toys- ‘At The Poor Cow’ (Soundflat/Topsy Turvy Records)

Isn’t it a treat when you discover a “new” band via online friends? Especially when they really tick your boxes. So, may I introduce you to punk pop duo, Human Toys? They seem to have quite a following here in France. I mentioned them to my bandmate Mickey, who already knew their stuff, typically a man of good taste.

If you get your kicks from short, snappy Ramones-style pop tunes, then look no further. Poupée, on vocals and theremin and Jon Von on guitar and vocals bring you 13 new songs that grab your attention as they fly by. 2025 seems to be the year of great, short albums, but, as ever, it’s quality over quantity/time. You just know that Dee Dee would approve of ‘Devil’s Night’ and ‘Emma Peel Explosion’. There’s no time to think before ‘Generation Shit’ takes off, not unlike Cyanide Pills, and throughout the theremin does what Pete Shelley did so well, adding simple, addictive melodies.

Another similarity to, say, ‘Rocket To Russia’, is that if you love one song, you’ll love them all. It’s been done to death, but it’s not easy to write short, catchy songs, and the Toys really have nailed it. In fact, there’s no chaff on this or their debut, ‘Spin To Win’, so I felt compelled to buy ‘At The Poor Cow’ on vinyl (no CD available). As it’s from the EU, I’m not clobbered with 14€ customs tax! Rant over.

‘Breakin’ The Law’ isn’t the Judas Priest song (sorry Mr Hayward), and whether it’s ‘Go, Go, Alco’ or ‘Human Zoo’, your feet will be itching to get bopping. It’s not big, it’s not clever, and it’s all the better for it. It’s pure fun with great tunes, and there is a hint of The Rezillos here and there. I don’t know if there’s bass when they play live, but there’s plenty on the record, allowing the likes of ‘I’m Sick Of You’ to have the required clout. If Spotify is good for anything, you can listen to it and then order the album. What are you waiting for?

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Author: Martin Chamarette

The Vapors – ‘Wasp In A Jar’ (Red Chuck Records)

The Vapors – ‘Wasp In A Jar’ (Red Chuck Records)

“Life, you just can’t odds it, can you?”, as a certain fictional barman of Brentford was fond of saying (hello, Robert Rankin). So, here in 2025, we welcome the fourth studio album by The Vapors. Yes, you heard that right. 2020’s ‘Together’ saw a record-breaking 39 years between albums, and perhaps it passed you by due to its release coinciding with the pandemic. Which is a shame, because it’s a belter.

‘Wasp In A Jar’ is even better. If you loved the debut album, the sound is immediately recognisable, not just due to Dave Fenton’s vocals, but also the subtle melodies that get under your skin after the first play. So, we have 14 new tunes to revel in, starting with ‘Hit The Ground Running’, which would sit nicely on the debut. Let’s face it, no one wants The Vapors to change their style. Fenton’s voice hasn’t changed at all, which is a joy to hear, and it certainly sounds like a single.

‘The Human Race’ follows suit, you feel like you already know the chorus, and ‘Forever And Ever’ proves this wasn’t a fluke. A spiky love song, “You’re my porcupine, always be my valentine, you’re my wasp in a jar…”. ‘Miss You Girl’ hooks you from the opening bass line, and the chorus is as simple as you could get away with, yet it’s perfect. What can I say? This album is as welcome as finding a forgotten twenty-pound note in your winter coat and much less likely. Yet, here we are.

‘Decompression’ adds a bit more clout, riff-wise, melded to another memorable chorus, where the guitars chime. ‘Carry On’ has all the hallmarks of classic Vapors, that lovely, clipped rhythm guitar, before it opens up, a song of hope. ‘Nonstop Radio’ deserves radio play, if only. I’m sure Uncle Dom will find space for a couple of tracks on the righteous RPM podcast…

‘Nothing Can Stop Us Now’ is their “us against the world” song, and ‘Look Away Now’ is perhaps the most beautiful song here, delicately yearning. I don’t know how long it took them to write these songs, but they’ve hit a purple patch, whether it’s ‘Proud’ or ‘It Gets Better’. This album was crowdfunded, and it’s clear that the band have made every effort to pay back their fans with quality tunes and modern production. If you’re already a fan, whatever your age, get your ears around this. It’s a gem.

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Author: Martin Chamarette

Ming City Rockers – ‘Clementine’ (Self Release)

Ming City Rockers – ‘Clementine’ (Self Release)

One of the most anticipated albums of 2025, two years on from ‘Lime’, I am very happy to have ten, new tunes from Ming City Rockers still ringing in my ears. There’s a lot of love for the Immingham trio here at RPM headquarters. Welcome to ‘Clementine’…

You should already be acquainted with the opening two songs, ‘I’d Like To Assist You (But My Head’s Too Small) and ‘Oh My God’, which set the tone nicely. Like the bastard offspring of Pete Shelley, they have a way with a simple, effective tune and catchy melodies, rather than overindulgent solos.

‘Plastic Recycling Facility’ continues their fine line in addictive “la, la, la” choruses. I first saw them at Rebellion festival in 2015, they were great then, and have gone on to hone their sound. ‘Seven Ate Nine’ is like an acerbic nursery rhyme, and ‘Window’ zips by in just under two minutes, complete with wonky keyboards.

‘Pounds And Ounces’ is even shorter, but you’re not being short changed, cause you’ll be playing it again and again. Believe it or not, ‘Blood In My Socket’ is even shorter, advert length but equally memorable, while ‘I Wanna Find A Way So I Don’t Feel Like Me Ever Again’ is reminiscent of The Only Ones. You can’t begrudge short songs when the tunes are this good.

‘Bad Luck Machine’ ups the volume and vitriol to pleasing effect. It’s easy to forget that some groups work and study whilst writing, recording and playing live. Obviously, making a living from your art is virtually impossible nowadays, but nevertheless they deserve credit for making music that is as good as its influences. ‘10, 3 Of 4’ sees Morley take lead vocals and the sound expand, showing that the band aren’t stuck in a corner, sonically speaking. It’s actually quite beautiful.

I missed out on owning a copy of ‘Lime’ as it sold out. I won’t be making the same mistake this time, and neither should you. Get your preorder in, you deserve it, as do Ming City Rockers.

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Author: Martin Chamarette

Willie Dowling- ‘The Simpleton’ (self Release)

Willie Dowling- ‘The Simpleton’ (self Release)

From The Grip onwards, one thing you can guarantee is that every Willie Dowling project will be packed with quality tunes. Fast forward to 2024, after Honeycrack, The Sugar Plum Fairies, Jackdaw 4 and The Dowling Poole, this is Willie’s debut solo album.

‘Let Us Begin’ manages to meld a slick, Queen-tinged melody to Willie’s customary smart, caustic lyrics. “We knew this was coming for most of our lives. Nobody wins, the anarchist sighs…”.

And sometimes it seems that the weight of having a social conscience sits heavily on his shoulders.

He’s joked about the Jeff Lynne comparisons, but musically the talent is at least equal here, though Willie is like the pessimist searching for a reason to remain hopeful. Understandably, given the warped nature of the world. It would probably be easier if he didn’t care, but he really does.

The piano-driven songs are beautifully played, and, as ever, the musicians are of impeccable quality (Andy Lewis and Jon Poole on bass, Darby Todd on drums). ‘Long Drop Down’ describes the idiocy of the “I’m not racist, but” keyboard warriors and the gutter press, while the title track is like Billy Joel with a rage of social ire.

‘Sadie Goldman’ “writes a line upon the wall; half of nothing equals nothing much at all”. This and ‘The Cure’ will appeal to those of us who appreciate the songwriting of The Feeling. The cello of Jo Lewis also adds another level to the melancholy. Jon’s bass playing on ‘The Gravy Train’ is fantastic, obviously, and Dowling Poole fans will find a lot to love here, unsurprisingly. It almost makes me want to buy a fretless. Almost.

‘Down The Slide’ gets its teeth into the world of the red top press, to a classy groove. “Don’t you let the truth get in your way. A retraction, but the damage is done anyway”. ‘I Killed My Imaginary Friend’ would be at home on a Sparks album (that’s high praise, by the way), and ‘In The Ocean’ perhaps saves the best for last. Willie’s voice has never sounded so good. “Regrets, you ask, I’ve more than just a few. They’re leaking out from places I once hid from view…”

While there are elements of the aforementioned artists, no one else but Willie Dowling could have written these songs. I hope that The Man Who Cared Too Much (copyright M. Chamarette) can feel some satisfaction in what he’s crafted here.

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Author: Martin Chamarette

Mad Daddy – ‘Too Tough To Die’ (Self-Release)

Mad Daddy – ‘Too Tough To Die’ (Self-Release)

Is it really three years since Mad Daddy released their debut album? Time flies when you’re getting old, and I play it regularly, so I was pleased to hear a second album was about to arrive. With a new rhythm section, but still retaining their grimy roots, fear not. Nothing has changed for the Iggy-endorsed Manx rockers. If it ain’t broke, e.t.c…

‘Too Tough To Die’ kicks off with the title track, another primal riff that clouts you round the head, and some snappy wah-wah. A sonically perfect three minutes. ‘Hot Chicks’ would really suit Iggy, strutting defiantly as it does. And Dolyn’s harmonica playing is even more assured, this time around.

The four songs from the ‘Road Racer’ EP are included here, remixed, but I’m eager to hear the new tunes, and it’s all good news. ‘I’m An Outsider’ is equal parts Ramones and Pistols, so what’s not to like? They are clearly loving playing the songs. This time around, only the singles will be available on streaming services, so you’ll need to order the CD (vinyl to come later). This is a smart move, as it’s nigh on impossible for bands to keep going nowadays. And ‘Stoned’ is another good reason to put in your preorder now. Simple, infectious stuff that will get you bopping.

‘Ride That Train’ is like Dr Feelgood on bad drugs after a long night, very much my thing. ‘Give It Some’ most certainly does, the only song over four minutes long here, but we’re fair rattling along, distorted slide guitar and brutal drumming. The band have kept their edge, whilst getting tighter.

With gigs coming up around the UK in April and May, you’d be daft to miss them. They’ve avoided the “difficult second album” syndrome. If you love dirty punk n roll, they’re worthy of your hard-earned cash. It’s not a tough decision.

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Author: Martin Chamarette

Dr Feelgood, ‘Live In Caen’ (Grand Records)

Dr Feelgood, ‘Live In Caen’ (Grand Records)

The most pleasant and unexpected surprise of 2022 for me was being able to say “there’s a great new album from Dr Feelgood”. I admit that I’d not followed their recent releases closely, though I respected their decision to carry on flying the Feelgood flag. Quite by chance, I heard the first single from ‘Damn Right!’ and immediately my ears pricked up. ‘The guitar sounds familiar’, I thought to myself. And, sure enough, it was the return of Gordon Russell, one of my favourite guitarists. This was clearly a very good thing, as the tunes he wrote with Robert Kane are truly worthy of the Feelgood name and legacy.

And he seems to have given them a shot in the arm onstage as well. So, here we have 20 songs from stages around Europe, with the band sounding vital and sharp. From ‘Drives Me Wild’ onwards, it is a joy to hear them having a ball. The four new tunes fit in perfectly with the classics, ‘Mary Ann’ sounding particularly excellent next to ‘All Through The City’. Kane does his thing without sounding like Brilleaux, and I really like his style. It’s hard to believe that on joining the band, he didn’t play harmonica, because on ‘Going Back Home’ he’s obviously done his homework.

It’s no secret that The Big Figure and Sparko are my favourite rhythm section ever, but Phil and Kevin have been playing together for so long that they also have a special chemistry. ‘Damn Right I Do’ and ‘Keep It Undercover’ sound even better live, and with ‘Roxette’, ‘Milk And Alcohol’, ‘Down At The Doctors’ and ‘She Does It Right’, it’s one hell of a set list.

I’d love to hear them include ‘Dangerous’ one day, and keep my fingers crossed they’ll return to France this year. For all of you in the UK, make the most of a good thing and catch them on tour soon. Doctor’s orders!

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Author: Martin Chamarette

The Arrogants – ‘Brainwash’ (Dirty Water Records)

The Arrogants – ‘Brainwash’ (Dirty Water Records)

Another day, another impressive album of psyche rock blues from France. Even though I live there, I’m not sure what they put in the water, but The Arrogants are convincing enough to have persuaded Pete Townshend to have them as support to The Who in Paris. “You really have captured the vibe of the very early ‘60s Mod scene and the UK R&B scene, this will work because you have reinvented it all so well. I wish you luck”. Pete Townshend.

The roots of the mod scene were quite varied, and these lads from Lille have an affinity with the scene, man. It’s by turns groovy, simple, spaced out and infectious. From the opening instrumental onwards, this could have been released in 1966-67. Not so much “reinvented”, Pete, but that’s not a criticism. ‘No Question’ and ‘Show Me How’ wouldn’t shame The Fuzztones, ‘Stoned Blues’ is perhaps a little too perfunctory, but pleasant.

‘Look At Your Body’ is more energetic, bonus points for the frenetic bass line which doesn’t let up. This should get you dancing. ‘Dark Flowers’ is equally catchy, the Hammond filling out the sound, while ‘I’m Tripping’ tips a nod to Roky Erickson. ‘Smokey Eyes’ and ‘6000 Years’ are quality garage rock, in a Morlocks style. They certainly tick all the boxes of the genre, and have worked hard at creating an authentic-era sound. This needs to be heard in a sweaty club, as you frug the night away.

‘She Smiles (She Comes)’ ends the album, drawing things out, starting off dreamy, then picking up pace like a youthful Stones. 14 songs, if you trimmed off the slower blues it’d be perfect, just my opinion. An impressive second album, I hope I get the chance to see them soon.

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Author: Martin Chamarette