05 October 2023

Considering we’ve been a band for around 5 years, and we’re based between the Czech Republic’s second city of Brno and the Slovak capital of Bratislava, it’s somewhat surprising we haven’t played a show under the big lights of Prague. We had the chance earlier this year at Modrá Vopice – a gig we’d organised with our friends from Berlin, Top Down – but it was frustratingly cancelled at the last minute, and the opportunity was gone.

Tonight though we’re very lucky to be the support for Los Angeles rock ‘n’ rollers The Hangmen as they make a stop at Vagon Music Club in central Prague during their European tour. Bomber Booking have kindly allowed us onto the bill of a band I’ve liked for many years but have never had the chance to see live. So I’m doubly excited about tonight. I remember first encountering The Hangmen through a DVD I owned years ago called Badsville – a bizarre but brilliant collection of features and interviews from the LA underground rock scene, featuring bands such as Texas Terri, Throwrag, Streetwalkin’ Cheetahs, Bubble and many more.

So tonight we will finally catch them live. Although, things rarely go smoothly in a rock band, and a day before the show we discover we’ve lost Tom. He’s not dead, but there’s a virus running riot in his house and therefore me and Veronika are back to the duo that started this whole rock ‘n’ roll circus in the first place. But can we still do it without the bass? We’ll have to, I guess.

I always love coming to Prague. The atmosphere, the darkened narrow streets stumbling over each other as they meander through the city, along the river Vltava that divides the imposing castle and its old town from the deep well of activity down here. It’s my first visit to the famous old basement of Vagon Club, and as we’re setting up our merch table, The Hangmen arrive after a 12-hour journey from Belgrade (whose idea was that?!). They’re understandably tired, but still great sports and it’s a relief to meet people you admire who turn out to be sound. The most exciting thing for me is meeting their driver (his name sadly escapes me now), and discovering his mom is also from Birmingham and his uncle produced UB40’s incredible debut album Signing Off.

We have 5 minutes to soundcheck and we manage it in about 4. The Hangmen are visibly happy that we’re a simple two piece with few complications. For a fairly big club there are relatively few people here tonight, which is a disappointment for us, sure, but mainly for The Hangmen, who have been playing to much bigger crowds all tour. Half the crowd had travelled down from Germany. Regardless, we rocked through a half hour set bassless but with few problems, before the Hangmen lit the place up. They were fantastic, full of a swagger and attitude. And despite apparent illness and a long drive they showed no signs of weariness. They were class. Me and Veronika bought up half their merch table and moved to another pub with our friend Boris from Slovak punk band Dafy and the Rafters, who had unexpectedly turned up for the show. A good night all in all. Thanks Prague, and see you again soon.

Author: Craggy Collyde

Photo: Petr Foltýn

Kreuzberg is a whirlwind of colours and sounds, a complete patchwork of vibrancy so typical of Berlin. We arrive there at Jay’s house to drop our stuff off before heading to the venue for tonight’s show. Jay Gard is the drummer of Top Down, the band we’re sharing the gig with tonight. He’s also a very talented artist, and so in classic Berlin style, the first thing we do is head to an exhibition opening. Through the chaotic streets, where the cafes and bars seem to buckle up endlessly against each other, we reach a group of people waiting outside an old building. A disused window space is housing an exhibition in celebration of the A4 format, which is now 100 years old, and Jay has a sketch in there among over 100 other art pieces. It’s an entertaining way to begin the evening, and the curator of this event asks me to choose my favourite before I leave (which I do but he’s too occupied by the time we need to go, so I leave him to it – numbers 39 and 93, by the way).

Our gig tonight is at the Wild at Heart, a well-known and incredibly atmospheric venue with a culture all of its own. I haven’t been somewhere like this for a long while, and I’m instantly brought back to old the Intrepid Fox on Wardour Street in London. Gig posters, stickers and t-shirts hang from the dark red walls, framed by low red lighting. There’s music here every night of the week, and I spot that the Hangmen were here a few nights ago, just after we played with them in Prague (more on that in the next episode). The Supersuckers will be here soon too. We don’t have anywhere quite like this in Brno, and I’m just sitting here soaking up the atmosphere while I can.

We were kindly invited to tonight’s show by Berlin rockers Top Down, who we enjoyed great gigs with in Brno and Bratislava earlier in the year (we were also supposed to make it to Prague but that got cancelled at the last minute). Their most recent album Backyard Thunder has often been on the record player since then. This is their home turf, and they are well-known here at the Wild at Heart, meaning we’re getting a good crowd tonight. A couple of guys have come all the way down from Oslo just to see them, although I’m not sure they’ll remember anything about it considering how hammered they are. I’ve had to stop him using our records as beer mats several times already. Each time he apologises sincerely.

We’ve got our own backstage, remarkably with our own toilet, free soft drinks and a number of free beers. And we’re even getting well paid! We deliver one of our most enjoyable sets of the year before Top Down get on stage and rock the hell out of the place, Szim and Charlie swapping vocal duties as they go. The bar staff are wonderful, the sound engineer is excellent and helpful, and the crowd are having a ball. With the amps eventually cooling down, the DJ takes over with a wonderful collection of rockabilly and garage music, reminding me of wild nights at Born Bad in Brighton, down there at the Engine Rooms. The night is a blast from beginning to end, and it’s times like these that remind me why we do all this in the first place.



‘Drone Etiquette’ is the latest slice of power pop perfection from the Minnesota band The Persian Leaps, although the collective word “band” may be stretching it for this particular release, with all work being done this time by singer/guitarist Drew Forsberg alone.

I stumbled across this band by accident while searching for music to listen to in the throes of the pandemic. Their song ‘Lost Cause’ (from the album Smiling Lessons) appeared on a playlist in which my own band were also featured. There were really only two decent songs on it – ours and theirs. Actually, theirs wasn’t just decent, it was excellent, and I was instantly hooked. So, I emailed him and told him so.

For ‘Drone Etiquette’, what would usually be a collaborative effort has turned out to be a solitary development, for reasons outside of anyone’s control – it is actually written as a by-product to the last two restrictive, pandemic years. The songs are not about it exactly, but the one-man band nature of it reflects the frustration many of us have felt.

It’s certainly no less of a record for it, and as with the previous album, it’s a fine collection of sugary riffs and honey-soaked harmonies. As catchy as ever, this short album is undeniable power pop glory, delivered with a decisive punch. And it is frustration that has formed the basis of the record, which is no better expressed than in the opening song and single ‘When This Gets Out’. Here is a story about the horror of watching the now ex-president and ultra-capitalist Donald Trump get away with scandal after scandal, and hoping that surely the next one will be big enough to bring him down. Is there no scandal big enough these days?

Frustration and hopelessness are themes explored throughout, always accompanied by bright and sharp guitars and rhythms, culminating in the somewhat sarcastic ‘Keep Smiling’. The Soviet-style, propaganda-themed artwork is perhaps the perfect visual accompaniment to a record lamenting the factory line of enablers that will inevitably lead us all to a sorry end. So with that thought, go and listen to the new album ‘Drone Etiquette’, and just keep smiling.

Buy  Here


Author: Craggy Collyde


Former front man of Minneapolis boneshakers The Rockford Mules is back with his first full solo album since 2012’s ‘The Ballad of a Winter Beard’. Following the Mules’ final record in 2010, ‘Ma, They Broke Me’, Erik Tasa’s solo record was a far mellower and introspective offering, employing acoustic melodies and haunting vocals to create a powerful and atmospheric 7 songs in just over 20 minutes. For the new album ‘Murky’, the folk balladeer has happily returned to this formula, this time under the name Mudfoot Barker.

For those who have been waiting a long 9 years for a follow up, ‘Murky’ is in fact reminiscent of the its predecessor in many ways – beautifully crafted, melodious and mysterious. The sheer beauty of the title track opens up yet another collection of late-night, whiskey-sipping acoustic folk. It’s a sound so descriptive you can almost see it – delicate tones warmly blending into one another, a voice full of warmth, stories of time gone by; all helped on by the atmospheric production of another ex-Mules man, Ryan Rud.

From the magic of ‘Whiskey Witching Hour’ to the tingling charm of ‘Between the Ditches’, the chorus of ‘My June’ to the lonely road song of ‘Long Setting Low’, ‘Murky’ is an album that illustrates a myriad of portraits within a desperately short 7 songs. While acting as something like a follow up to ‘The Ballad of Winter Beard’, it’s certainly not a conclusion. I just hope we don’t have to wait for another 9 years to get one.


Author: Craggy Collyde


One lucky morning around 11 years ago, I was passed a copy of an album called ‘Ma, They Broke Me’ by the Minneapolis band Rockford Mules, and asked to write about it. I’d never heard them before, but duly placed the CD in the player and pressed play. Something about it immediately struck me. I fell it love with the sound, and spun it more than once that day. Lead singer/guitarist Erik Tasa soon sent me a copy of his solo album, ‘Ballad of a Winter Beard’, a far more low-key, melodic affair that ever since has been one of my most played albums. I’m not exaggerating when I say it’s one of my favourite albums, or how many late, drunk evenings I’ve spent listening to it. Now, finally, a new album is on its way, this time under the moniker Mudfoot Barker. Erik was kind enough to join me for a quick chat about about the new record ‘Murky’, and what’s been going on in the several years since his last release.


So, it’s been 9 years since the last Erik Tasa solo record and 11 years since the last Rockford Mules record. Is that right? What’s been happening in that time?

It has been 9 since my last, but there was one last album the Rockford Mules released the night of our last show. Kind of a “here you go, see you later” exchange with our in-town following. It was called “O tulip, I told you so”. It was a rocker. No lap steel, just dual, down-tuned Les Pauls in conspiracy with each other. It was a download release only. I will ask the bass player, Craig, if there’s any way I can get it for you if you don’t already have it. Since then, Ryan and I recorded an album of music under the name Bloodpine, and put out a record called Fever Prone/Circus Owned. The guitar has also done its share of hanging on the wall for months at a time. Literally gathering dust. But out of the respect for all they have done for me, I at least keep ‘em wiped off and tuned up. Then there will be the months that I cannot put it down. The need to get something out gets overwhelming. And on my stumbling to catch up with it, it drops another song idea on me. We dance for months and then it dries up again. So just when I think I have it figured out, all I really learn is how much I really don’t know. The mystery of it all goes deeper, and I love it and hate it all the more. But mostly love it. What was the question again? Haha.


Well I’ll definitely get my hands on those missed releases! I didn’t even know about them. But now, a long 9 years later, finally you have a new album coming. What more can you tell us about ‘Murky’. What’s the inspiration behind it?  

They are my best songs yet. If I cannot say that about my new songs then I cannot put them out. Even if I cannot say that years later, I need to be able to say that initially. It tells me I am keeping up with who I am and documenting what I feel at the time. I have written some real crappy songs I once thought good. You think I’m an idiot now, you should have seen me then. Hopefully the distance between east and west closes up a bit more every time as I get older. The inspiration? It’s always life. I have a faith that I look at myself and life through. I look to relate and help relieve both myself and whoever might be listening. We’re all just trying to do our best and get through the day. Music is an easy hand to lend to someone you might never know or see.



Where does the name Mudfoot Barker come from? The last album was under simply Erik Tasa.

My take on John the Baptist. The man wore camel hair coats and ate locusts and wild honey. He walked the shore of the river on a mission that ended with him losing his life. Nothing glamorous or pretty about it. But he stuck to task for a future promise he would not see while barking on the banks. I guess I like that.


You’ve enlisted fellow Mules man Ryan Rud (also making music under the name Frequency Collisions) to produce this album. What can we expect from it this time round?


Ryan-sounding things. We basically put one mic in front of my mouth and one in front of my guitar’s mouth and I recorded the songs live in his living room. He did the rest. He has been my dear friend forever and I have been a fan of his for just as long. I knew he would know exactly what to do. And I got to just sit back and watch these songs come to life in ways I was hoping for but had no idea of how to do. That’s my dear friend Ryan for you. He creates music universes.


Any plans to release a hard copy of the album, or will it be solely a digital release?    

Digital for now. I have 975 copies of a former project of Ryan and I’s called Spurcut Factory Rider that I thought was going to set the world on fire. We pressed 1000. So, my gun jumping days are over. If at some point there becomes a demand, I will gladly oblige.



And what’s happening on the Minneapolis scene these days? Anything good we should be looking out for?

I hate to say it but I have not been a part of that scene for some time now. I have chosen recluse life of a musical hermit who sits on the south side of the river from mpls. I hear the faint sounds of banging drums and muffled guitars coming from that lit up beacon at night. Sounds like they are still alive and kicking. Just now without me. I have taken to keeping a backyard fire stoked and staring up at the sky wondering if that light is a plane, satellite or star.



What happened to the Mules anyway? There was almost a reunion recently that never happened?  

The final show had a poster of the back of a mule (the ass of an ass if you will) and he was staring out into an open pasture. And that’s how it went down. The mule was let go out to pasture.



And so is that it for the Mules now? 

Yes.  Kind of.  I have recruited them all to be the backing band on the next Mudfoot Barker record. It’s rather incestuous.


After the Rockford Mules finished you came out with the brilliant ‘Ballad of a Winter Beard’ within two years. But just recently I discovered you had produced more solo music, but it was never available. What’s that all about? And will it all be available at some point?


I have put out a total of 4 solo records. Only winter beard being released digitally. The other 3 hard copy only. Craig talked me into putting the second one out digitally because he really liked a song I wrote about my grandpa when my grandma died called Carl’s Waltz.  I don’t know if they all will see the light of day on the internet because I am almost 20 years removed from them being released. But who knows.



So, what’s next for Erik Tasa/Mudfoot Barker?  

Staying alive, staying in love, another cup of coffee, being the best husband and dad, mowing the lawn and putting up the pool, summers here!!


‘Murky’ by Mudfoot Barker is available now on Spotify & Amazon Music… Interview by Craggy Collyde



 In times like these we need bands like Reverend Peyton’s Big Damn Band. This fact is not lost on the band itself, and so now here we are with their latest album ‘Dance Songs for Hard Times’. If ever music can be the cure for anything, the Rev is here to deliver.

The band aren’t kidding when they declare these to be dance songs. The Rev’s bellowing voice (stronger here than ever before) and blues craftsmanship, backed up by the endless charm of Breezy’s washboard and backing vocals, and Max’s Senteney’s drum rhythm, are as solid as always. This album, however, really is brimming with bluesy, party numbers.

From the driving opener of ‘Ways and Means’, straight into the swinging ‘Rattle Can’, this record is crying out to be enjoyed loud. The rockabilly of ‘Too Cool to Dance’ perhaps symbolizes the carefree nature of this release more than any other song on the album – “we may not get another chance/please don’t tell me you’re too cool dance.” It really is a breath of fresh air in these tough and uncertain times. It just makes me sad that we really can’t get out there to dance.

The record still leans heavily on its traditional influences, and songs such as ‘No Tellin’ When’ carry the timeless and haunting sound that is so integral to folk & blues storytelling, whereas ‘Come Down Angels’ closes out the album with a raucous riot of gospel.

Reverend Peyton’s Big Damn Band is a band that just keeps improving – technically and creatively – without ever straying from the elements that make them easily one of the best blues bands of modern times. I fell in love with them upon listening to ‘Between the Ditches’ in 2012 and have rejoiced in everything they’ve released since; however, listening to ‘Dance Songs for Hard Times’ comes closest to that feeling of utter joy I experienced the first time around.

Buy Here

Author: Craggy Collyde

It was typical Saturday morning in the late 90s when I rode my bike to a friend’s house to hang out and do much of nothing for the day. His family had just accommodated some Swedish exchange students who had kindly given him a couple of CDs – Sator’s ‘Headquake’ and Atomic Swing’s ‘Car Crash into the Blue’. From that day we listened to them both religiously, and over time I delved fully into the Sator discography. It wasn’t until 2014 that I finally got the chance to see them, when they finally headed to The Pipeline in London for a blistering show with The Nomads.

The band have recently announced some re-releases on CD and vinyl, including the re-mastered ‘Basement Noise’ (originally recorded in 2006), which will be released in early June 2021. Sator have always blended hard rock and all-out punk together with ease, and ‘Basement Noise’ is no different. What makes Sator so good, though, is simply the relationship between brilliant songwriting and sharp production. Chips Kiesbye has a way of bringing out the best in any record – only a couple of years ago I bought The Dahlmanns ‘American Heartbeat’ and wondered at the production of it (Kiesbye is also a songwriter on it). He’s also worked closely with bands such as the Hellacopters and Sahara Hotnights.

‘Basement Noise’, with its black leather front cover, is a brawling album full of Sator’s typical hard sound and pop rock melodies, stuffed with harmonies and singalong choruses. From the rolling opener of ‘So Dressed Up’ the album doesn’t let up for a minute – the garage rock of ‘Angelina and Sister Ray’ or the punk rock party of ‘Escape from Pigvalley Beach’, there’s not a single dud on this record. Like many of Sator’s albums, ‘Basement Noise’ is a delightful bundle of the band’s various influences all tied up in a collection of tight tunes. And talking about influences – this album has one of Sator’s greatest and saddest songs, ‘Goodbye Joey’, in honour of the late Ramones singer, who passed away 20 years ago this month. Listening to this album again now, ‘This Ain’t the Way Home’ brings back memories of first hearing ‘I Wanna Go Home’ from the ‘Headquake’ album – both such wonderful songs. Whether it’s the almost Kiss-esque riot of ‘Water on a Drowning Man’, the stomping ‘At the End of Time’, or the searing ‘You Walk Alone’, this album simply kicks from first to last.



WEB: Website / Wild Kingdom


Author: Craggy Collyde


Tennessee’s very own Renaissance man and cowpunk pioneer, Pete Berwick, is seeing off 2020 with a retrospective of his extensive and active career. The ‘Too Cow to Punk’ anthology, set for release in January 2021 through his own label Shotgun Records, cherry-picks songs from a back catalogue stretching from 1976 to 2019 over a series of critically acclaimed albums. A man of many talents, Berwick has crossed several boundaries – from amateur boxing to novel writing, stand-up comedian to actor, the wandering storyteller has a wealth of experience from which to draw inspiration for his tales of love, loss and regret.

From the hard-hitting snarl of opener ‘Is That What You’re Telling Me’, through the darkness of ‘Chained’, to the reflective ‘Streets of Pasadena’ (the final song of his most recent album ‘Island’), you’re getting all sides of Berwick’s character – a 37-song collection of heart-on-the-sleeve confessions delivered down hard-fought years. The album finishes with the defiant ‘Vacancy in My Heart’, the free-flowing slide guitar of this bluesy barnstormer capping off a thoroughly brilliant, raucous and rousing record.

The energy and charisma which have dominated Berwick’s life is presented here in almost half a century of music. The anthology is far more than just a collection of songs – it’s a journey that includes re-recordings and remasters, some rarities and one unreleased song, ‘Preachers Kid’. A songwriter long before cowpunk became a thing, Berwick has explained how the title of the album comes from when one audience member told him many years ago he was “more cow than punk”. Throughout the years, Berwick has been an artist treading a dusty road between rock, country and punk, and this latest release is undoubtedly the perfect starting place for new listeners wishing to follow him down that long, colourful road.

Buy Here 

Author: Craggy Collyde

The Best Of The Best

according to the team at RPM Online


It’s gotten to the time of year when everyone seems to be putting the past twelve months in order and creating their lists or best of and we read on social media that it’s been a bit of a rubbish year for new releases etc. Now we know that’s not quite true and bands and solo artists have been making good use of lockdown and releasing some pretty impressive albums and singles be it virtually or remotely or when possible in an actual studio.

Here at RPM Online, we pride ourselves on bringing you the best of those releases from far-flung places and the darkest recesses of the Rock and Roll world and this is where the talented bunch of writers get to reveal what is at the top of their lists for 2020.

I’d personally like to thank the writers for the hard work and dedication during such a difficult year for everyone and first and foremost would like to thank them for their efforts in bringing such talented writing to everyone’s attention.  the one thing that stands out is whilst we all champion alternative music it’s generally a very diverse pool we dive in for our musical highs yet there are many common threads.  I’d also like to thank the PR that send through the countless emails and the ones who do an outstanding job above and beyond for the bands to make this past year work and not totally collapse as well as the labels who release a lot of these albums at great personal expense thank you one and all and the biggest thank you goes to those of you who’ve taken the time in real life to check in on us be it a daily read or the occasional glance thank.  so without further delay please check out our end of year list from Best Albums, Best EP, Best Single, Best Reissue, Best music-related Book, and yes live concert (there were plenty in the first few months honest)

Enjoy –




Albums of 2020

Levellers – ‘Peace’ (On The Fiddle Recordings)

Bob Mould – ‘Blue Hearts’ (Merge Records)

Kathleen Edwards – ‘Total Freedom’ (Dualtone)

Soul Asylum – ‘Hurry up and Wait’ (Blue Elan Records)

Craggy Collyde – ‘Wrapped up in Ribbons’ (Break Me Records)

Warner E Hodges – ‘Just Feels Right’ (JCPL)

Pete Berwick – ‘Too Cow to Punk’ (Self Release)

Dark Rags – ‘Suburbia’ (Backstab Records)

Parketový Lev – ‘Parketový Lev’ (Papagájův Hlasatel Records)

Rabbit Slow – ‘Coming Waves’ (Self Release)



Nev Brooks

Albums of 2020

Bob Vylan – ‘We live Here’ (Self Release)

Jesse Malin – ‘Sunset Kids’ (Wicked Cool Records)

Humanist – ‘Humanist’ (Self Release)

Suzie Stapleton – ‘We Are The Plague’ (Negative Prophet Records)

Mark Lanegan – ‘Straight songs of Sorrow’ (Heavenly)

Duncan Reid and the Bigheads – ‘Don’t Blame yourself’ (Lbh Records)

Psychedelic Furs – ‘Made of Rain’ (Cooking Vinyl)

Asaf Avidan – ‘Agnorisis’ (Telmavar Records)

Me and that Man – ‘New Songs, Same shit vol 1’ (Napalm Records)

Nick Cave – ‘Idiots Prayer’ (Bad Seed LTD)

Dystopian Future Movies – ‘Inviolate’ (Lasairfhiona Records)

The Levellers – ‘Peace’ (On The Fiddle Recordings)

Ryan Hamilton and the Harlequin Ghosts – ‘Nowhere To Go But Everywhere’ (Wicked Cool Records)

The Cravats – ‘Hoorahland’ (Sef Release)

Sault – ‘Untitled (Black is)’ (Forever Living Originals)

Bill Fisher – ‘Mass Hypnosis and the Dark Triad’ (Septaphonic Records)

Stay voiceless – ‘Lies to Tell Your Children’ (GMC)

The Dowling Poole – ‘See You See Me’ (Self Release)

Jehnny Beth – ‘To love is To Live’ (20L07 Records)

The Strokes – ‘The New Abnormal’ (RCA Cult Records)


Top 5 e.ps


Bar Stool Preachers – ‘Soundtrack to your Apocalypse’ (Pirates Press Records)

Jesse Malin – ‘Ameri’ka’ (Wicked Cool Records)

Buzzard Buzzard Buzzard – ‘Non Stop e.p.’ (Communion Records)

The Damned – ‘Rockfield sessions’ (Spinefarm Records)

Paul Ronney Angel – ‘Seven Spanish Angels’ (Self Release)


Top 5 Re-issues / Boxsets


Twin Temple – ‘Present Their Signature Sound (Satanic Doo Wop)’ (Rise Above Records)

New Model Army – ‘Carnival’ (Attack Attack Records)

David Bowie – ‘Metrobolist’ (Parlophone)

Rolling Stones – ‘Goats Head Soup’ (Rolling Stones Records)

Prince – ‘Sign Of The Times’ (NPG Records, Warner Records, The Prince Estate)




Dom Daley

Albums of 2020

Stiff Richards – ‘State Of Mind’ (Legless Records/Drunken Sailor Records)

Chubby & The Gang – ‘Speed Kills’ (Partisan Records)

Mud City Manglers – ‘Give Me The Hammer’ (Beluga Records)

Wayne Hussey & The Divine – ‘Live At The Bridge’ (Eyes Wide Shut Records)-

Thee acid tongue – ‘Snake Rattle And Roll (Bear Beach Records)

Bob Mould – ‘Blur Hearts’ (Merge Records)

Bob Vylan – ‘We Live Here’ (Self Release)

Marylin Manson – ‘We Are Chaos’ (Lorna Vista)

Cabbage – ‘Amanita Pantherina’ (Brassica Records)

Deathtrap – ‘Stole Your Rock and Roll’ (Spirit Of Disaster)

Lovesores – ‘Bats From Planet Skull’ (Self Release)

Wyldlife – ‘Year Of The Snake’ (Wicked Cool Records)

Duncan Reid & The Bigheads – ‘Don’t Blame Yourself’ (Lbh Records)

The Good The Bad And The Zugly – ‘Algorithm And Blues’ (Fysisk Format)

Midnight – ‘Rebirth By Blasphemy’ (Metal Blade Records)

Tommy Ray  – ‘First Hits Free’ (Cool Cat Music)

Mick Rossi – ‘All The Saints & All The Souls’ (TJM Records)

The Hip Priests – ‘Solid Gold Easy Option’ (Speedo Wax Records)

Chuck Prophet – ‘The Land That Time Forgot’ (Yup Rock)

Bruce Springsteen – ‘Letter To You’ (Columbia Records)


Single of the year

The Black Halos -‘ Ain’t No Time To Say Goodbye’ (Self Release)

Rock ‘n’ Roll Manifesto vol 1(Stamp Out Disco)

Jesse Malin – ‘Todd Youth’ (Wicked Cool Records)


Reissue / Boxset

The Boys – ‘The Safari years’ (Cherry Red Records)

Motochrist – ‘Greatest Hits’ (Dr Wu Records)

New Model Army – ‘Carnival’ (Attack Attack)

Buzzcocks – ‘Sell You Everything’ (Cherry Red Records)

Keith Richards – ‘ Live At The Hollywood Palladium’ (Virgin America)

Coloursound – ‘Coloursound’ (The Great North Western Recording Company)

Manic Street Preachers – ‘Gold Against The Soul’ (Sony Music)



Music-related Books of the Year

Alvin Gibbs – ‘Diminished Responsibility Volume 1’ (Tome & Metre Publishing)

‘Clang!’ (Smiley drops a few) – Steve ‘Smiley’ Barnard (GTP)

‘What Makes The Monkey Dance’ – Chuck Prophet & Green On Red – Stevie Simkin (Jaw Bone)


Best E.P. 

Buzzard Buzzard Buzzard – ‘Non Stop’ (Communion Records)

Bar stool preachers. – ‘Soundtrack To The Apocolypse’ (Pirates Press Records)

Chesty Malone and the Slice ‘Em Ups – ‘Covered In Blood! Quarantine Covers’



Live show of the year

Bar stool preachers – Bristol, Rough Trade

Mike Peters – Gathering – Llandudno North Wales

The Bellrays – le Pub, Newport

The Wildhearts – Cardiff, Tramshed

The Interrupters – Cardiff, Tramshed


2021 wishes?  I’d love to see an end to restrictions (stating the obvious I know) but it would be smart to see the Proposed Vive Le Rock show take place with Michael Monroe fronting the Lords Of The New Church and live shows becoming a thing again.  Other than that Stay Safe and look out for each other.


Dan Kasm

Albums Of 2020

Bambara – ‘Stray‘ (Wharf Cat Records)
…Trail Of Dead – ‘X The Godless Void and Other Stories’ (Dine Alone Records)
Airborne Toxic Event – ‘Hollywood Park’ (Rounder Records)
Bdrmm – ‘Bdrmm’ (Sonic Cathedral)
Zombeaches – ‘Zombeaches’ (Self Release)
The Blinders – ‘Fantasies of the Stay at Home Psychopath’ (Modern Sky Music)
Neonic Sundrive – ‘Lies Paradise’ (Self Release)
The Wildhearts – ’30 Year Itch’ (Round Records)
Neil Young – ‘Homegrown’ (Reprise Records)
Reissues / Boxsets
The Guilty Hearts – ‘The Guilty Hearts’ (Voodoo Rhythm Records)
Anna Calvi – ‘Hunted’ (Domino Records)
Virgin Suicides – ‘ost’ (Parlophone)
Neil Young – ‘After the Gold Rush’ 50th anniversary (Reprise Records)
Iggy & the Stooges – ‘You Think You’re Bad Man’ (Cherry Red Records)
Eyesore & the Jinx – ‘The Exile Parlour’ (Eggy Records)
Grow Rich – ‘Frantic Semantic’ (Self Release)
The Lotts – ‘We Are The Lotts’ (Self Release)
The Mysterines – ‘Love’s Not Enough’ (Self Release)
Various Artists – ‘Not Psycho Enough?’ Cosmic Psychos Tribute (Dull City Records)
The Dry Retch – ‘12000 Miles From New’
Murmur – ‘Shame’ (Self Release)
Salt The Snail – ‘Junkyard Cat’ (Self Release)
Psychedelic Furs – ‘Don’t Believe’ (Cooking Vinyl)
Silverbacks – ‘Drool’ (Nice Swan Records)
Music-related Books of the Year
Dave Haslam – ‘Looking for Love – Courtney Love in Liverpool’
Justin Quirk – ‘Ain’t Nothin’ But A Good Time – The Rise & Fall of Glam Metal’ (Unbound Digital)
Mikel Jollett – ‘Hollywood Park’ (Sceptre)
The Wildhearts, Backyard Babies – Manchester Ritz
The Dry Retch, Tio Rico – Liverpool Outpost
Mysterines, Buzzard Buzzard Buzzard –  Liverpool Jimmys
I’m hopeful for the new year that I will get some normality in order to attend the inaugural event of the new Futurama festival as well as 2000 Trees, HRH Sleaze & Psych as well as numerous other gigs and events. Like a lot of people the past 9 months has put things in perspective, grab things with both hands and tick off ‘bucket list’ life events instead putting them off.


Fraser Munro

Albums Of 2020

Scumbag Millionaire – ‘Poor and Infamous’ (Suburban Records)

The good, The Bad And The Zugly – ‘Algorithm & Blues’ (Fysisk Format)

Beat City Tubeworks – ‘Top Rock’ (The Sign Records)

Mud City Manglers – ‘Give Me The Hammer’ (Beluga Records, Spaghetty Town Records, Ghost Highway Records)

Supersuckers – ‘Play That Rock ‘N’ Roll’ (Acetate Records)

Christmas – ‘Hot Nights In Saint Vandal’ (TNS Records)

DBOY – ‘New Records In Human Power’ (Dine Alone Records)

Hank Von Hell – ‘Dead’ (Sony Music)

Kvelertak – ‘Splid’ (Rise Records)

ACDC – ‘Power Up’ (Columbia)

The Wildhearts – ’30 Year Itch’ (Round Records)


Reissues / Boxset

Black Halos – FFTS Demos & Rarities (Bandcamp)

The Hip Priests – Solid Gold Easy Option (Speedowax Records)

Midnight Evils – Straight ‘Til Morning (Sweet Ohm Ramalama)




Undertones et al – Minehead

Wildhearts / Backyard Babies – Cardiff

Wildhearts / Backyard Babies – London

Guida – Bristol

Showaddywaddy – Swansea



Johnny Hayward

Albums Of The Year 2020

Aerial Salad – ‘Dirt Mall’ (Plasterer/Roach Industries)

Henrik Palm – ‘Poverty Metal’ (Svart Records)

The Wildhearts – ‘30 Year Itch’ (Round Records)

Mondo Generator – ‘Fuck It’ (Heavy Psych Records)

Then Comes Silence – ‘Machine’ (Oblivion/SPV, Metropolis Records)

Midnight – ‘Rebirth By Blasphemy’ (Metal Blade Records)

Kvelertak – ‘Splid’ (Rise Records/World Records)

The Dowling Poole – ‘See You See Me’ (369 Music)

Lovesores – ‘Bats From Planet Skull’ (Self Released)

Dirt Box Disco – ‘TV Sex Show’ (Avenue Recordz)

Division Of Laura Lee – ‘Apartment’ (Welfare Sounds)

Spunk Volcano & The Eruptions – ‘Barry Milner Is Thick’ (Avenue Recordz)

Stay Voiceless – ‘Lies To Tell Your Children’ (GMC)

Deathtraps – Stole Your Rock ‘N’ Roll (Spirit Of Disaster)

Scumbag Millionaire – ‘Poor and Infamous’ (Suburban Records)

HMLTD – ‘The West Is Dead’ (Lucky Number)

The Hip Priests – Solid Gold Easy Option (Speedo Wax Records)

The Speedways – ‘Radio Sounds’ (Alien Snatch Records, Snap!! Records/Hurrah Musica and Beluga Records)

Marilyn Manson – ‘We Are Chaos’ (Lorna Vista)

Mariachi El Bronx – Musica Muerta Volumes 1&2 (White Drugs)



The Bar Stool Preachers – ‘State Of Emergency’ (Pirate’s Press)

Lickerish Quartet – ‘Threesome Vol 1’ (Lickerish Quartet/Label Logic)

The Wildhearts – ‘30 Year Itch’ (Encores) (Round Records)

Buzzard Buzzard Buzzard – ‘The Non Stop EP’ (Communion Records)

Bob Vylan – ‘We Live Here’ (Venn Records)



Reissues / Boxset

UFO – ‘Strangers In The Night’ (Super Deluxe) (Chrysalis)

Def Leppard – ‘The Early Years’ (Mercury)

Bob Mould – ‘Distortion’ (Demon)

Keith Richards & The X-pensive Winos – ‘Live At The Hollywood Palladium’ (Mindless Records)

Black Sabbath – ‘Paranoid’ (50th Anniversary) (Sanctuary Records)


Music-related Books of the Year

Alvin Gibbs – ‘Diminished Responsibility Volume 1’ (Tome & Metre Publishing)

Rob Halford – ‘Confess’ (Headline)

Reuben Archer – ‘Rock N Rollercoaster Ride’ (Toxic Arrow)


Live Gigs

The Bar Stool Preachers – Rough Trade, Bristol – 6th March 2020

Great British Alternative Weekend – Butlins Minehead – 28th February – 1st March 2020

Bad Sam – Le Pub, Newport – 14th February 2020

Giuda – Louisiana, Bristol – 18th January 2020

The Bellrays – Le Pub, Newport – 17th January 2020

Wonk Unit – Clwb Ifor Bach, Cardiff – 11th January 2020


Bandcamp Discovery

Guerrilla Teens


Best Single

The Hip Priests – ‘Zero Fucks Given’​/’​Social Hand Grenade’ (Shitpark Records)


Most Looking Forward to in 2021

Going to a gig.




Ben Hughes

Albums of 2020

Butch Walker – ‘American Love Story’ (Ruby Red Records)

Ryan Hamilton & The Harlequin Ghosts – ‘Nowhere To Go But Everywhere’ (Wicked Cool Records)

Wyldlife – ‘Year Of The Snake’ (Wicked Cool Records)

Baby Chaos – ‘Ape Confronts Cosmos’ (Three Hands Records)

Dangereens – ‘Tough Luck’ (Alien Snatch Records)

Hellbound Glory – ‘Pure Scum’ (BCR Los Angeles)

Hello Operator – ‘S/T’ (Self Release)

Me And That Man – ‘New Man, New Songs, Same Shit’ (Napalm Records)

Low Cut Connie – ‘Private Lives’ (Contender Records)

The Speedways – ‘Radio Sounds’ (Alien Snatch Records, Beluga Records, Snap Records, Hurrah Records)



The Lickerish Quartet – ‘Threesome Vol. 1’ (Label Logic)

Saint Agnes – ‘The Family Strange’ (Death Or Glory Gang Records)

Junkyard – ‘Rome Is Burning’ (Acetate Records)

Hands Off Gretel – ‘The Angry EP’ (Puke Pop Records)

The Future Shape Of Sound – ‘It’s Gone All Wrong’ (Self Release)


Reissues / Boxset

Diamond Dogs – ‘Too Much Is Always Better Than Not Enough’ (Wild Kingdom Records)

Diamond Dogs – ‘Weekend Monster’ (Wild Kingdom Records)

Diamond Dogs – The Atlantic Juice’ (Wild Kingdom Records)



The Wildhearts/Backyard Babies/CKY – 02 Academy, Newcastle

Jesse Malin – Headrow House, Leeds



Jesse Malin – The Fine Art Of Self-Distancing

Baby Chaos

Low Cut Connie – Tough Cookies


Gerald Stansbury


Soraia – ‘Dig Your Roots’ (Wicked Cool Recotrds)

Massive Wagons – ‘House of Noise’ (Earache Records)

Ward Davis – ‘Black Cats and Crows’ (LLC)

Karen Jonas –  ‘The Southwest Sky and Other Dreams’ (Self Release)

Brooke Brown – ‘Troubled Heart’ (Self Release)

The Nude Party – ‘Midnight Manor’ (New West Records)

Vulvarine –  ‘Unleashed’ (Self Release)

Dangereens – ‘Tough Luck’ (Alian Snatch)

The Rumours – ‘Suck It’ (Self Release)

Lucifer Star Machine  – ‘The Devil’s Breath’ (The Sign Records)

Gareth Leach – ‘Trigger’ (Self Release)

Steve Earle & the Dukes –  ‘Ghosts of West Virginia’ (New West Records)

Randy Rogers and Wade Bowen – ‘Hold my Beer Volume 2’  (Lil Buddy Tunes)

Tyla – ‘Isolation Crossing Collection’ (King Outlaw Records)

Low Cut Connie – ‘Private Lives’ (Contender Records)

D.L. Marble – ‘One Line at a Time’ (Self Release)

Reckless Kelly  – ‘American Jackpot/ American Girls’ (No Big Deal Records)

Givvi Flynn –  ‘Tomboy’ (Self Release)

Armored Saint – ‘Punching the Sky’ (Metal Blade Records)

Butch Walker ‘American Love Song’ (Ruby Red Production)


Single of the Year 

Charlotte Leigh – ‘Life’


EP of the Year

Quinn the Brain – ‘Wide Open’


Reissue of the Year

Def Leppard ‘The Early Years’


Gareth ‘Hotshot’ Hooper


Duncan Reid And The Bigheads – ‘Don’t Blame Yourself’ (Little Big Head Records)

The Network – ‘money money 2020 part 2 we told ya so’ (Warner Records)

Billie Joe Armstrong – ‘No Fun Mondays’ (Warner Records)

Green day- ‘Father Of All Motherfuckers’ (Warner Records)

Deathtraps – ‘Stole Your Rock’n’Roll’ (Spirit Of Disaster)

The Damned – ‘The Rockfield files’ (Spinefarm Records)

Stop worrying and love the bomb – ‘Fake Nature’



The Bellrays – Le Pub Newport

The Wildhearts  / Backyard Babies – Cardiff Tramshed

Reissues / Boxset

Iggy and the stooge – ‘From KO to chaos’

The Boys – ‘On Safari’

Johnny Thunders – ‘Que sera Sera Resurrected’

Buzzcocks – ‘Sell You Everything’ (Cherry Red Records)

Buzzcocks – ‘Late For The Train’ (Cherry Red Records)


Music-related Books of the Year

Alvin Gibbs – ‘Diminished Responsibility Volume 1’ (Tome & Metre Publishing)

Joe Strummer – ‘Redemption Song’

The Replacements – ‘All Over But The Shouting’

Gaz Tidey

Albums of the Year

Butch Walker – ‘American Love Story’ (Red Ruby Production)

Larkin Poe – ‘Self Made Man’ (Tricki Woo Records)

Lamb Of God – ‘Lamb Of God’ (Epic)

Bob Vylan – ‘We Live Here’ (Venn Records)

Ryan Hamilton & the Harlequin Ghosts – ‘Nowhere To Go But Everywhere’ (Wicked Cool Records)

Onslaught – ‘Generation Antichrist’ (AFM Records)

Baby Chaos – ‘Ape Confronts Cosmos’ (Three Hands Records)

C.J. Wildheart – ‘Siege’ (Devilspit)

Foxy Shazam – ‘Burn’ (EEEOOOAH Records)

Kvelertak – ‘Splid’ (Rise Records)

Tairrie B. – ‘Feminenergy’ (Self Release)

Cro-Mags – ‘In The Beginning’ (Mission Two Entertainment)

Mommy Sez No – ‘The Dwellers Below’ (Self Release)

EPs of the Year

The Lickerish Quartet – ‘Threesome Vol. 1’ (Label Logic)

Chesty Malone and the Slice ‘Em Ups – ‘Covered In Blood! Quarantine Covers’ (Self Release)

American Hi-fi – ‘Anywhere Else But Here’ (Rude Records)

Tyla’s Dogs D’Amour – ‘The Powder Dry EP’ (King Outlaw Records)

Chris Catalyst – ‘Acoustic Machines’ (Self Release)

Singles of the Year

Tyla’s Dogs D’Amour – ‘Superhuman’ (King Outlaw)

Jesse Malin – ‘Todd Youth’ (Wicked Cool Records)

Royal Blood – ‘Trouble’s Coming’ (Warner Records)

Reissue/Boxset of the Year

Sigue Sigue Sputnik – ‘Flaunt It’ 4CD Deluxe Capacity Wallet  (Cherry Red Records)

Music-related Books of the Year

Pete Paphides – ‘Broken Greek’ (Quercus)

Rob Halford – ‘Confess’ (Headline Publishing)

Justin Quirk – ‘Nothin’ But A Good Time’ (Unbound Digital)

There you have it a fine selection of music you’re likely to find anywhere as diverse as you like yet common threads woven throughout.  It would be a boring place if we all liked the same records that’s for sure and I’m sure there are records released we’ve forgotten about in the deluge.  Don’t let anyone tell you that there were no good albums released during the pandemic because we know by looking at the list that there were plenty & plenty of reissues and Boxsets that were released during 2020.

Onwards and upwards we move into 2021 and we hope to bring you more new albums to fill yer airwaves and a return of the live show and festivals.  We need em and so does the industry.  So raise a glass to days gone by and to a better future when we can all meet again and watch our favourite bands.  Be good and stay safe RPM Online looks forward to a great 2021!

Mickey Leigh has been a fixture on the New York rock scene since the late 1970s, fronting the Rattlers and Stop, appearing regularly at CBGB, joining Lester Bangs in Birdland and his brother, Joey Ramone, in Sibling Rivalry. The guitarist, keyboard player and singer has become something of an elder statesmen. In addition to being an author (‘I Slept With Joey Ramone’) and an all-around swell guy, he organizes the annual Joey Ramone Birthday Bash charity concert.  Here he is with his brand new video for ‘Little Cristine’.

Whilst not strictly a video but a great track off the new EP.  Ships from Europe and the UK and can be purchased Here and as you know RPM Online loves to champion independent artists who write and play great music and Craggy Collyde does that.  check out ‘Dead Refrain’ from ‘Wrapped Up In Ribbons’.

Finally it’s pop-punkers Catholic Guilt from Melbourne Australia. Taken from the upcoming EP ‘This Is What Honesty Sounds Like’ out at the end of the month on Wiretap Records. Website / Facebook