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?

Buy Here

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.

Buy Here

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.

Buy Here

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.

Buy Here

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.

Buy Here

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!

Buy Here

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.

Buy Here

Author: Martin Chamarette

Helen Love – ‘Yeah, Yeah, We’re Helen Love’ (Damaged Goods Records)

Helen Love – ‘Yeah, Yeah, We’re Helen Love’ (Damaged Goods Records)

To celebrate the band’s 30th anniversary, the folks at Damaged Goods Records are releasing a double CD/vinyl compilation of dayglo, D.I.Y bubblegum punks, Helen Love. 30 years? I can’t remember where I first heard them, possibly Mark and Lard on the late shift. It’s like they’ve always been here.

From ‘Yeah, Yeah, We’re Helen Love’ onwards, it’s a reassuring trawl through their back catalogue. No one wants a drum n bass/free jazz Helen Love album. It was no wonder that Joey Ramone invited them to New York, they share similar DNA; instantly memorable tunes for sunny days, or when you need to pretend that the sun is shining. Most of them fly past in under three minutes, always guaranteed to raise a smile. Whether it’s ‘Beat Him Up’ or ‘King Of Kung Fu’, they put their Casio keyboard and Woolworths guitar to good use. Their hand made, primary colour record sleeves were designed by necessity, but perfectly suited the tunes.

‘So In Love With You’ would sit nicely in John Shuttleworth’s set, a real compliment in my book! Oof!

They even had the nerve to nick the title ‘Leader Of The Pack’ for one of their songs. ‘So Hot’ should be the theme to your summer holiday. This is ear worms a-go-go. There’s ‘Joey Ramoney’, of course, the perfect fan response song. I can even forgive their cut-up of ‘Wig Wam Bam’, and Joey himself appears on ‘Punk Boy’, a joyous duet.

As it’s looking like we’ll have a ‘Golden Summer’, this is the place to acquaint yourself with Helen Love. Over 30 songs. Tune into their own ‘Summer Pop Radio’, break out the ice pops and stop being so serious. Let’s go!

Buy Here

Author: Martin Chamarette

Rachel Stamp- ‘Hymns For Strange Children’ (Easy Action Records)

Rachel Stamp- ‘Hymns For Strange Children’ (Easy Action Records)

A mere 23 years after its release, the debut album by Rachel Stamp gets a souped-up reissue. Given their “should have been huge” status, and the current, prolific solo career of main man David Ryder Prangley, it’s about time. Released on CD and pink vinyl, there’s 17 tracks to please both ardent fans and newcomers. I’m somewhere in the middle, owning all but this album, so it’s a treat to hear the songs that don’t feature on the ‘Now I’m Nailed To Your Bedroom Wall…’ compilation.

Such as ‘Brand New Toy’, which has all the requisite sleaze you’d expect, as well as hiding an Alice Cooper album title in it’s lyrics. Both ‘Ladies And Gents’ and ‘Spank’ tip a slight nod of the head towards Mr Stuart Goddard, while ‘Pink Skab’ is a more in-yer-face tribute. I remember the live review of him joining the band onstage for ‘Beat My Guest’ and kicking myself for not being there. So, it’s no wonder that David and Will have both been part of the Ant family, and rightly so.

However, Rachel Stamp were impossible to categorise, which I imagine gave the record labels a headache, as they do like an easy time. After being dropped by WEA in 1997, it took the band a while to find their footing. Originally recorded in two weeks, this sounds surprisingly fresh, partly from the mix and partly because they’re great songs. Because they never fitted into a neat box, they haven’t aged.

In spite of the ‘glam’ tag, there are some monster riffs here, from ‘Girl, You’re Just A Slave To Your Man’ to the downright filthy ‘Dirty Bone’, which dares to rhyme ‘sinner’ with ‘Pinner’. Thankfully, they have no shame. But there’s also the acoustic, Hispanic-tinged ‘Carmelita’ and ‘Take A Hold Of Yourself’ could almost be the Manics at their most appealing. Add to that the classics ‘Monsters Of The New Wave’, ‘Black Tambourine’ and ‘My Sweet Rose’, plus two savage live versions of ‘I Got The Worm’ and ‘Please Don’t Touch’, and what you have is a fine example of their unique sound.

Living in France meant that it was always unlikely that I would make the London gig, but at least this album is available now for all of us strange children.

Buy Here

Author: Martin Chamarette

Mad Juana – ‘Skin Of My Teeth’ (Svart Records)

Mad Juana – ‘Skin Of My Teeth’ (Svart Records)

Well, this is timely. Having just finished reading Sami Yaffa’s excellent autobiography, and whilst waiting for his upcoming second solo album, Svart Records have reissued Mad Juana’s debut album. Originally released in 1997, this project by Sami and Karmen Guy is perhaps better suited to today’s more tolerant musical climate. It certainly had people puzzled on release, as Sami mixed influences from around the world, having spent most of his life on the road.

From ‘6 Inch Ditch’ onwards, with its sparse, Bo Diddley rhythm and percussion, it is a hypnotic ride. If you like The Urban Voodoo Machine, you’ll want hear this. ‘Festival Of Dreams’ introduces fretless bass to the sound, another left-turn; Sami was keen to make music without the boundaries of his past, and this remains one of his proudest moments. With hindsight, you can understand why. Recorded on a shoestring budget between Mallorca and Finland, ably assisted by percussionist Affe Forsman, they successfully merged Hispanic, European and Arabic chords and scales; ‘Stronghand Mo’ creating a mantra-like riff.

The percussion on ‘Flesh’ is reminiscent of ‘Tin Drum’ era Japan, and Karmen has a vocal not unlike P J Harvey on ‘1000 x More’ and ‘No End’, the latter turning up the volume. It demands your attention. ‘Red Sea’ has a more traditional acoustic rhythm that could be The Waterboys, while closer ‘Spell’ is atmospheric enough to be a film soundtrack starring Harry Dean Stanton. If you understand what I’m blathering on about, search this out now. Remastered, and with 5 previously unreleased demos, this showed the world that Sami Yaffa was much more than “just a bassist”. We’re only just catching up with him now.

Buy Here

Author: Martin Chamarette