Latest News

New Album 

Hi, guys currently working on new album. There are 19 songs written for it, but they will be culled a little and the best ones will be used. 

Band Bio

In 1858, four intrepid people decided they would build a rocket and be the first humans to land upon the moon. The crew were, Miss Ruby Snow, Sir Matthew Cogsmith, Sgt Mungo Stoker and The Red Gentleman. 

They thought that fame would be just ahead of them and to this end they used only the finest English mahogany to build the rocket with and then coated it with twenty layers of varnish to ensure the safety of this magnificent project. Then they equipped it with the grandest steam engine that ever was made  the north of England's premiere factories. 

For provisions they brought on board a wide range of tea .For as any good explorer knows, when trouble raises its head the only solution for those times is a jolly good cup of tea.....and biscuits of course. 

But alas soon after launching the rocket, it was discovered that there was a shortage of oxygen high in the Earths atmosphere that was not taken into account, and the engine stalled. The rocket tall and proud, slowly at first, came hurtling back to Earth and landed with an almighty crash amid the deep snows of the Antarctic. 

There, the crew lay frozen for over 150 years. They were eventually discovered years later by a group of modern day scientists who were checking the effects of global warming on the Ice caps. 

After being brought back to life and questioned about their travails, they were quietly taken to live in North Queensland, Australia. There they soon realized  that they had no skills to live in this modern world. So they did the only thing they could to survive. 

They became musicians and formed a band. 

The Littmus Steampunk Band.

History of Richard Ryall. aka The Red Gentleman. 


He was born on The Isle of Sheppey in Kent, England and now lives in North Queensland, Australia. He took up playing music in his mid forties, a rather late starter. It all began when he discovered an Irish band and one of them was playing a Bodhran. He thought to himself that this looked easy and seemingly it was. After a short period he realised that this was a dead end as no-one would book him to play 3 hours on the Bodhran. So moving on to something else he decided that the mandolin looked interesting. This was a pleasant surprise as his little fat fingers fitted the instrument perfectly. At this stage he wrote his very first song called " Barleycorn Wine ". A little bouncy ditty in the folk tradition. Joining up with some friends he formed the Irish band " The Syrup Of Figs"  after hearing a recording by the late Ramblin Syd Rumpole who said, If music be the food of Gods then we are the Syrup Of Figs ( a good spoonful clears the old constipation problem). After getting bored playing cover songs etc. He bought on Acoustic Guitar and taught himself the basics using some of the fingering techniques he learnt from the mandolin. He has tried to do them properly but decided, bugger it. After writing some songs which he finds rather easy to do and doesn't comprehend why other people can't do it, he set off on his latest journey. Forming Littmus he wrote 5 albums which are now out of print as he decided they were just practising for better ones. 



It was then that he discovered on the Internet " Steampunk ". His eyes lit up like the fireworks on Sydney Harbour Bridge on New Years Eve. This is what he was wanting all along in his songs. So immediatly he began work on the new project called " Littmus Steampunk Band " ( later changed to Littmus Steam Band as people thought he was a punk band that spits on people). Thirteen albums were quickly produced, two of which are compilations and he has not looked back ever since. Currently he has written somewhere between 350 and 400 songs. He hopes to record most of them eventually.

Review " Grand Hotel "

Cap Nathaniel Tennyson Skirmish 



Come on in, my friends - you’re just in time to catch another edition of WAXING ABOUT… where this week we shall be enjoying the aural delights of GRAND HOTEL by Littmus Steampunk Band. So settle in, pour yourself a nice cold gin, and listen in to Townsville, Queensland’s finest. This “band of castoffs, let go from around the world” as they put it, started life as a folk group; that much is evident from the phrasing of the songs and the gently refined musical styles herein. And that’s not to say that they can’t rock, because, boy, they can rock! The line-up of the group has changed over the course of their history (nine albums and two best-of compilations,) but the anchor is singer and songwriter Richard Ryall, who plays guitar, mandolin and synth in the band. I’m lucky enough to be in possession of six of their albums, and when I tell you that this one, the earliest I have, is from 2016, you can see how prolific they are. Furthermore, the quality and consistency does not drop across the spread, which is far from the norm for even most well established chart bands. Proceedings kick off with ‘The Grand Guignol Hotel’ where a spoken word intro is followed swiftly by Ryall’s mellifluous vocals. A suitably spooky tone is given to the song by the chorus of ethereal ‘ooh-oohs’ and echoed vocals, and the musicianship is exemplary. ‘We Launched Our Rocket,’ for which you may have seen the video on these very pages, is hot on the heels. A languorous build up worthy of Tom Waits lasts for over a minute before the rocket blasts off, and from there we’re bopping all the way to the stars in the steam-powered vessel. Next up is ‘Gaslight Man,’ which I’m reliably informed they now perform live in a reggae style, and I can totally see how that would work; it has an offbeat not dissimilar to Marley’s ‘Three Little Birds.’ One to sway to, and a lovely little tale in a glorious song. We get a bit mystical now with ‘Silver Occulus,’ as acoustic guitar leads us into an introduction by a cod cockney barker, extolling the virtues of a wondrous device. But beware, it’s a scam! That gadget is decidedly iffy! The song is in waltz time, with a military drum pattern as it closes suggesting the infantry are marching towards this dodgy trader to close the scoundrel down. Magnificent stuff. ‘Harbottle Grimstone’ has a late eighties flavour reminiscent of The Lightning Seeds or The Lilac Time, with a wonderful brass and mandolin motif. The song is told from the perspective of Harbottle’s family, as they wait for the errant explorer to return from afar and tell tales of his travels, derring-do and deeds. A poignant little tale next, and I’m reminded of both Pinocchio and the android figure in the film ‘Hugo’ with ‘When I Was A Boy.’ It’s a very short track with a clever ending as the boy breaks down. ‘When We Dream Of Steam’ has steam engine effects, and pines for an age that might not have existed quite as we’d imagined … or did it? Or indeed will it? Steampunk is yesterday’s future today. A thing of the past to look forward to. The track builds to a suitably confused/confusing crescending. Marvellous. The story of a fearsome giant octopus from the deep is told next in ‘Ronnoc / Ten Thousand Feet Below,’ an evocatively charged number with a nautical theme, and a taste of shanty band. We’re lead straight into ‘Have You Ever Been To War?’ after our encounter with the octopus, as marching drums head out into a smoggy battlefield. You can almost taste the cordite fumes as the sunlight peers tentatively over the horizon and highlights the devastation left by marauding pirates. ‘The Watchmaker’ is the story of a talented young horologist, with fitting chiming bells throughout, and concerns the exploits of Matthew, the titular artist, who creates a timepiece of golden cogs to impress his employer, who then berates him for using such an expensive metal, too soft a metal to keep time accurately. The cruel master dies in circumstances unknown, and Matthew inherits the shop he was promised but never dared to own. Did Matthew have a hand in his master’s demise? We may never know. A real singalong crowd pleaser closes the album. ‘Say Goodbye To Steampunk (I Don’t Think So)’ reminded me of the old graffito “Punk’s not dead” (which was sometimes added to with “it just smells funny” written beneath it on the wall.) Steampunk might be a thing of the past, but Littmus Steampunk Band will do their damnedest to ensure it has a bright future. The next chapter is already being written … so keep watching this space! 

You can find the album at the link below:

Review of "Burlesque"

Cap Nathaniel Tennyson Skirmish 



Today for WAXING ABOUT… I’m taking a return trip to a favourite band of mine. Previously they were called Littmus Steampunk Band, and while their style and ethic haven’t changed, they’ve dropped the ‘punk’ part to become simply LITTMUS STEAM BAND. This is apparently to stop puzzled looks and repeated explanations of what Steampunk is to their fellow Australian citizens! Led by Richard Ryall, aka The Red Gentleman, the band have a somewhat drifting and casual line-up, and for today’s review of their 2022 release BURLESQUE that line up is simply Richard on guitar, keyboards, samples, loops and vocals and with the addition of Meighan Williams, also on vocals, on tracks three and four. 

BURLESQUE is a narrative, or concept, album, and follows the story of Natasha, a Burlesque Dancer from East Germany on the nineteen eighties, after the borders and the Berlin wall come down. From here she moves to London, and with the help of a ne’er-do-well manager, attempts to make it big in a new city. The scene is set. Enter ‘Natasha’. Fiddle and brass dive right in and give a sound fittingly somewhere between gypsy and oompah band as the sweet vocal tones of Mr. Ryall blend mellifluously and introduce us to the girl who just wants to dance. This short track nicely sets out the stall for the tale to be told as ‘Boris The Sleep’ arrives, a well-crafted piece with a gruffer vocal for Boris, and a sense of twirling through dingy streets, always aware, as jangling bells cascade and tumble all over the auction. Twanging bass lines open ‘I’m So Excited (London Town)’ and the wonderful vibrato of Meighan as Natasha draws you in to the start of her story in a new town. ‘Look At Me’ continues in Natasha’s voice as she beckons us to join her. Skimming and skirting the streets and the issues as she cajoles, cavorts, carouses and exhorts us to get carried along or carried away; our ears are ringing, is that an exultation of angelic voices or the calls of sirens we almost think we can hear? And so we’re on to ‘He Said Dance’ with the opener of lush strings, and Richard as narrator, watching Natasha dance and spin under the command of Boris, as it becomes clear that maybe our little Natasha is no longer living her own life. Will she become a puppet? A plaything? An automaton? ‘Stay (Sam’s Story)’ has a laid-back two-tone feel to it with lusciously lazy trumpets and an off-beat The Specials would kill for. Sam implores Natasha to stay, though he knows she’s fading, falling and failing, but he’s a constant, and maybe he’s come to know her better than she knows herself. A mockney cockney doorman at the dive, sorry, Burlesque revue where Natasha dances is calling out to the punters, touting for business for the club now in ‘Entertaining Ladies’ and we’re down in old Soho, or somewhere maybe off-Soho. Tatty banjo abounds! Oi-Oi! ‘I Don’t Believe You Anymore’ is a lush ballad that could grace the charts of any given year from the heyday of Scott Walker to the here and now of Elbow, each of whose form it resembles in some way. It contrasts completely with the dance feel of ‘For A Time’ which blends modern club with a sixties swing, as the story moves on and our heroine is existing rather than living, a grubby little life, seemingly destitute or on the verge of. Electro next, and industrial feel, as we head into ‘Goodbye’ where after verse and chorus it leads us into a post-grunge burst in keeping with a tragic demise. ‘It’s A Red Light’ starts with a full-on swing band feel and a vocal to match, with a catchy chorus which belies the overall seediness to the lyric, and an almost stride piano motif. Magnificent stuff. Whispering shimmering eighties-style keyboards sweep across the atmosphere now, as a plaintive vocal intones ‘She Can’t Dance Tonight’ and Natasha slips further away from being the dancer she dreamed she’d be, for the city has not been kind to her. It’s used her, and abandoned her. She ain’t clean, but she’s all washed up. A tragic tale indeed. But time marches on, and somehow there’s someone to pick up the pieces in ‘Your Hands In Mine’. This track has a gospel-like exuberance, a hope to it, and a great chant-worthy chorus to reinforce that all may not be doom and despair. It’s a short piece which leads to the denouement that is ‘Give Her Peace’ and it’s a rip-roaring stomper of a song with our narrator summing up the saga of Natasha’s trials and tribulations in burlesque and human bondage. 

It’s an album that will bear repeated listens, and like all output from LSB will never disappoint. I’ve heard at least seven of their albums now, and have yet to hear a track that’s anywhere close to being even slightly below par. Invest some time and get to know the Littmus Steam Band. In the words of that club doorman: “Won’t you take some time and enter – it’ll be a laugh.” 

BURLESQUE is available to download now from the new website (where you can also find lyrics as well as lots more albums)