Category Archives: Music

Orange Goblin – Album Review

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Orange Goblin – Science, Not Fiction 

Peaceville 

Release date: 19/07/2024 

Running time: 51 minutes approx 

Review by: Alun Jones 

9/10 

Pointless review of the month time!  But why, pray tell, is this review of the new Orange Goblin album “pointless”?  Because, old pal, literally everyone knows that Orange Goblin are a BIG THING.  And they haven’t released an album for seven years.  So this release, surely, will be near the top of everyone’s wish list for 2024.  Especially in the case of our esteemed Ever Metal readers, who as we all know, are a cut above the rest of the uncultured rabble out there. 

Without patronising our dear readership in anyway, a new release from these London doom/stoner/heavy metal scoundrels is, and should be, a BIG THING. 

Anyone who’s already a fan of Orange Goblin can expect more of what has come before, but it’s safe to say, “Science, Not Fiction” is amped up a little more than usual.  The same killer riffs, powerful delivery, ace musicianship, clever style variations are all in place as expected, but tweaked just a little higher.  Right from first listen, it’s obvious that quality control has been merciless on this recording, resulting in a collection of peak songcraft.    

‘The Fire at the Center of the Earth is Mine’ opens the engines in fine form.  After a cacophonous intro marked by belching bass, the riff kicks in and the ride begins.  A furious “death boogie” with a super catchy, uplifting chord structure for the chorus, this is prime Goblin. 

There’s no room for a breather, with second track ‘(Not) Rocket science’ bolting out next – a relentless hell ride that features a killer lead bass break (courtesy of new four stringer Harry Armstrong).  It’s probably my favourite song on the album: Ben Ward’s voice booming and Joe Hoare’s guitar threatening to jump the gate and roar off into the night on its own. 

An epic, mid-seventies Sabbath-doom vibe pervades ‘False Hope Diet’, with its bouncing groove and changes.  ‘Cemetary Rats’ starts with a gloomy, gothic vibe before exploding into something akin to old school thrash a la Testament.  Through all tracks, Chris Turner’s drums are dependably solid and thunderous. 

‘The Justice Knife’ is another fast rocker that benefits from some outer space wah-wah guitar, though generally speaking, the latter half of the album doesn’t quite have the heights of invention that earlier tracks possess.  The last song, ‘End of Transmission’, fields a suitably epic and raucous finale, however – soaring through sections with determined power. 

My only slight gripe with “Science, Not Fiction” is that the bonus track ‘Eye of the Minotaur’ appears to be CD only – which means vinyl fanatics like yours truly will miss out.  Nevermind, this album is a devastating power house of modern metal.  Orange Goblin have created a record that demonstrates all we love them for, and ladled on a good-sized helping of extra sauce to sweeten the deal.  One of THE albums of 2024, “Science, Not Fiction” will be guaranteed a place in my annual Top10.      

Check out Orange Goblin on Facebook, Instagram, Spotify and Bandcamp.

This review is brought to you by Platinum Al in association with Ever Metal. 

Platinum Al’s Top 10 Rock & Metal Albums of 2024

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2024 was a fantastic year for new music. As previous, I was asked to compile my Top 10 of the year for Ever Metal, which wasn’t easy. That list has already been published on the EM website, but I’ve replicated it here for anyone who missed it…

Every year, it’s a struggle to whittle down tons of superb albums to just ten.  This year has been just as difficult (if not more so) and I’ve had to leave off a few great releases that just didn’t make the cut, for one reason or another.  I’m sure I’ll regret leaving a few of those off the final 2024 list, even if it’s just because they’re still very new I’ve not had chance to grow into them yet.   

Anyway, here’s the best of 2024 as it feels right now: 

10. Goat Major – Ritual 

Released in March, this debut from Welsh Occult Doom Metal band Goat Major announced a formidable new talent to the scene.  Building on their love of the classic bands that defined the genre, Goat Major add plenty of their own character to a magnificent album. 

9. Crobot – Obsidian 

Crobot’s latest release certainly has a darker, heavier atmosphere than previous albums, but the unmistakeable groovy riffs are well in place and ready to unleash the Hard Rock mayhem.   

8. Acid Mammoth – Supersonic Megafauna Collision 

Greek Doom-mongers Acid Mammoth delivered another heavy weight slab of fuzzy Stoner Metal, with a variety of moods and hefty groove.  Neolithic Rock with a touch of the ethereal. 

7. Duel – Breakfast with Death 

Amazing album title.  Fantastic cover artwork to compliment said title.  And guess what?  This latest release by Texan Stoner Metal gang Duel is even better than first impressions would suggest: Doomy Stoner Biker Rock from hell! 

6. The Obsessed – Gilded Sorrow 

Wino’s legendary Doom Metal crew returned in early 2024, to remind everyone how it should be done.  Infectious, groovy riffs, heavy as shittery songcraft and head spinning melody collide in a perfect meltdown. 

5. Orange Goblin – Science, Not Fiction 

The definitive Orange Goblin album?  Could be.  This latest OG album demonstrates all of their strengths, welding together the various sounds and genres they’ve mastered over the years.  Bursting with energy and invention. 

4. Torso – Brain Cells 

More exhilarating chainsaw Garage Metal from Torso, this lo-fi masterpiece arrived with all the subtlety of a brick to the forehead.  Less John Carpenter this time, but definitely slasher-splatter death-mosh a go go! 

3. Zombina and the Skeletones – The Call of Zombina 

They’re back!  One of the most wonderful live bands I’ve ever witnessed, Zombina and crew finally returned with a non-stop Horror Punk party, just in time for Halloween.  Long may they continue!   

2. Fu Manchu – The Return of Tomorrow 

The only downside of a new Fu album is waiting for it to be released!  Their first new album in six years was everything I hoped for, a double album split between a first half of fuzzy rockers and a second of slower tempo groovers. RAD! 

1 Sergeant Thunderhoof – The Ghost of Badon Hill 

The ‘Hoofs last album was number 1 in my 2022 Top Ten – and whaddya know, they’ve done it again!  Slightly less bombastic then their previous, but even more engrossing, “The Ghost of Badon Hill” is a mature and thrilling record to get lost in. 

So that’s ten.  Honourable mentions go out to Melvins, Lucifer, Black Tusk, Alunah and Barbarian Hermit amongst many others.   

Here’s hoping 2025 can match this… 

Keep coming back to Ever Metal and Platinum Al’s Virtual Hot Tub for all the best rock and metal reviews!

Nebula/Black Rainbows – Album Review

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Nebula/Black Rainbows – “In Search of the Cosmic Tale: Crossing the Galactic Portal” Split 

Heavy Psych Sounds 

Release date: 28/06/2024 

Running time: 32 minutes 

Review by: Alun Jones 

8.5/10 

What’s that old saying?  Oh yeah, “I get by with a little help from my friends”.  Now neither Nebula or Black Rainbows could possibly fail on their own, so together these cosmic psychonaut supertroopers should absolutely RULE.  These guys aren’t leaning on each other, they’re building each other up to stratospheric heights. 

“In Search of the Cosmic Tale: Crossing the Galactic Portal” is the longest title I’ve ever had to type (thank the gods for copy and paste).  It’s a six-track album split between those two bands, and released by one of the most on-the-money record companies around at the moment, Heavy Psych Sounds.  So the pedigree is off the charts. 

The first three tracks are from our old buddies, the psychedelic warriors, Nebula.  There are three brand new tracks here, of which ‘Acid Drop’ is the pinnacle – a chugging, unstoppable mammoth tune that’s fuzzier than a caveman’s armpits.  ‘Eye pf the Storm’ chills the mood out a bit with an infectious, spaced-out groove that fits perfectly.  Things get a bit weirder with ‘Ceaser XXXIV’, with a lolloping riff that wiggles into your mind. 

Black Rainbows present us with ‘The Secret’, which really shouldn’t be a secret to anyone: it’s a boisterous, Sabbath style good time and probably my favourite track here.  Ah, I shouldn’t pick – but there you go.  The galactic groove continues with ‘Thunder Lights on the Greatest Sky’, another joyous ode to fuzz.  ‘Dogs of War’ wraps things up nicely with a psych wander through the sky that gradually builds to exhilarating levels.   

At just over half an hour long, this mini album/EP or whatever simply isn’t long enough.  The quality of music is fantastic though, as well it should be.  No surprises there.  Both Nebula and Black Rainbows are awesome bands that you can trust to conjure up the goods.  This beauty’s available on several different versions of sexy vinyl too, so worth shelling out for.

Check out Nebula on Facebook, Instagram, Spotify and their own website here.

Check out Black Rainbows on Facebook, Instagram, Spotify, Bandcamp and their own website here.

This review is brought to you by Platinum Al in association with Ever Metal. 

Devil Moon Risen – Album Review

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Devil Moon Risen – Fissures of Men 

Self-released 

Release date: 06/06/2024 

Running time: 36 minutes approx 

Review by: Alun Jones  

7.5/10 

Ready for something a little different?  Something born from the familiar, but tantalisingly different?  Then step right this way, Platinum Al has a musical odyssey that will intrigue you.  We’re talking about the debut album from Devil Moon Risen, a trio out of Phoenix, Arizona, and it’s all kinds of unexpected. 

We’re starting in the realm of desert rock, but Devil Moon Risen have added some spice to their chimichanga with elements of punk, sludge and doom metal.  So, off we go with a thuddingly heavy, groovy chugger in ‘Bad Sketch of a Killer’ that twists into a creepy waltz and back again. 

Like Primus playing QOTSA songs on an album produced by the late great Steve Albini, the songs feature unpredictable, powerful bass and thrashing guitars.  It doesn’t always quite gel, ‘The Rim’ is more of a challenge to get into, but “Fissures of Men” is always surprising and brave.  

When everything falls into place though, the results are superb, as with the full-on rock-out distorted delight that is ‘Shaun Powell’.  Elsewhere, there’s more Frankenstein-like craziness such as ‘D.T.T.B.O.W.T.B.’, which launches like later era Danzig before offering some more laid-back grooves, then morphing to a black metal wail. 

“Fissures of Men” is a journey and then some: Devil Moon Risen have taken the obvious starting point and run off in a totally different direction (or three).  Whether it’s noise rock or some as yet uncharted genre of music, the album is sometimes demanding and always unpredictable.  If – or when – you’re ready, “Fissures of Men” could be just the education you need. 

Check out Devil Moon Risen on Facebook, Instagram, Twitter, Spotify and Bandcamp.

This review is brought to you by Platinum Al and Ever Metal. You’re welcome.

UK Subs – Gig Review

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UK Subs + The Crapsons

Saturday 16th November 2024

The Rockin’ Chair, Wrexham

UK Subs have been around for a while. Their roots go right back to the early days of British punk rock, incorporating dozens of albums and nearly as many band members. They’ve released an album for every letter of the alphabet, A to Z, and have played all over the world. And guess what? Despite being a fan for years, I’ve never seen them live. Time to correct that mistake, with the Subs appearing just up the road from me in Wrexham.

The Rockin’ Chair used to be known to me as Central Station, and I’ve seen a fair few bands there (such as The Damned, twice, if I recall). This was my first visit to the venue in it’s new guise, though happily not much had changed.

Our fearless support was Birkenhead based The Crapsons, who dealt a reliably fun and furious selection of fast punk rock numbers. Most songs are brief and to the point, played well and enthusiastically, with a healthy dollop of tongue in cheek humour. Highlights included ‘Fuck Off’ and its sequel, ‘Fuck Off Again’, but the whole set was energetic and enjoyable.

Yours truly popped off to the bar, where I spotted legendary UK Subs vocalist/visionary Charlie Harper, who was merrily hanging about chatting to fans. I returned after The Crapsons set, picked up a copy of the newly re-issued “Flood of Lies” album, and asked Charlie to sign it. This he gladly did, as well posing for a selfie. Seems like nothing is too much for this true gentleman of punk, Charlie happily agreed to requests with a pleasant “No worries!” What a lovely bloke.

Unfortunately my selfie was not lovely. I’m a total novice at such things, and made the classic mistake of taking the shot from a low angle. Thus, my rock’n’roll claim to fame features a smiling Charlie, but is ruined by me looking like a huge necked gorilla.

The crowd in The Rockin’ Chair had built considerably, and when the UK Subs took to the stage, there was a roar of approval. Straight away the band sent forth a barrage of songs from their vast back catalogue. Sadly, however, the sound for the frist half dozen songs was diabolical. Alvin Gibbs’ bass was phenomenal, rumbling and gliding along, but Steve Straughan’s guitars were totally lost. Thankfully this seemed to improve from ‘Down on the Farm’ onwards, with the sound coming to life.

No problems with the drums, played expertly by Stefan Häublein. And of course, Charlie was superb: a benign punk rock general leading his faithful troops over the top, on a charge into a rock’n’roll no man’s land where we could all party together. ‘Warhead’ was rousingly brilliant, everyone singing along. ‘Stranglehold’ (the first Subs song I ever heard, fact fans!) was still a blast of fresh air, all these years later.

Returning for an encore, I remember ‘CID’ and ‘You Don’t Belong’ received by an audience who really didn’t want it all to end. UK Subs persevered through sound problems with power and professionalism, giving the loyal fans an unforgettable night. Personally, I was stoked to finally hear these songs live and be part of a UK Subs audience. Fingers crossed I’ll get to do it again. Thanks to all for making this happen, it’s amazing to see classic bands of this stature in the local area.

Saltpig – Album Review

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Saltpig – Self Titled 

Heavy Psych Sounds 

Release date: 31/05/2024 

Running time: 39 mins approx 

Review by: Alun Jones 

8.5/10 

Here go with a tasty treat, the wonderfully named Saltpig with their self-titled debut album.  And who are Saltpig?  The band are a duo consisting of drummer Fabio Alessandrini (formerly of Annihilator) and Mitch Davis (formerly of everyone from Mark Lanegan and U2 to Damon Albarn, crazy!) on everything else.  Together they have created this mysterious yet compelling piece of work, released by the ever-reliable Heavy Psych Sounds. 

The musician’s previous experience is superficially surprising, as Saltpig’s album is a rutting beast comprised of doom, stoner, psych and occult rock parts in equal measure.  Filthy, fuzzy riffs and manically clattering drums are what we get, and we get it good – right from the rolling, rollicking menace of ‘Satan’s War’ onwards.    

Gutsy and powerful, not bloated, the next four tracks follow the opener in a similar unforgivingly retro style.  Songs like ‘Demon’ and ‘Burning Water ‘ go unashamedly full throttle, proto metal with bouncy rhythms, aggression and melody.    

‘When You Were Dead’ slows the pace slightly for a classic Sabbath gloom rocker.  ‘Burn the Witch’ has a slinkier, groovier feel and ticks the obscure horror film dialogue box, too.  No idea where that sample is taken from, but I feel I should… 

Finally, this all leads up to a mega epic called ‘1950’, nigh on twenty-minutes of repetitive, fuzz drenched pummelling guitar and distorted vocals that builds slowly, has only subtle variation for the most part and threatens to drive the listener mad.  That may sound like hell to some, but I bloody loved it.  It’s a dark, tormenting, almost religious experience and strangely intriguing. 

Saltpig’s first album is an enigma: heavy as hell, brutal, surprising, hypnotic and fascinating.  I’ve slapped on an easily deserved score of 8.5, but this could go higher over time. 

Anyone fancy a bacon sandwich? 

Check out Saltpig’s website here, or find them on Facebook, Instagram or Bandcamp.

This review is brought to you by Platinum Al and Ever Metal.

The Cult – Gig Review

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The Cult + Jonathan Hultén

Friday 25th October 2024

02 Apollo Manchester

November 25 1991, Manchester G-MEX. That was the last (and first) time I saw The Cult perform live. They were my favourite band and being there to witness them in person was a hell of a thrill, I was barely 19 years old and I’d never been to a gig of that scale before. Years go by, and I’m finally going to see The Cult again, this time at the far more atmospheric Apollo, rather than the cavernous aircraft hanger of the old G-MEX.

Yes indeed, it had been a long time since I saw my old mates Billy and Ian up on a stage. A lot had happened during that time – for all of us – but the music was always there.

Our support act this evening, in a seemingly incongruous move, was Jonathan Hultén. Standing solo on stage, swathed in veils and enigmatic face paint, Hultén was not what many were expecting to open the show. His music was dark, ethereal folk, with acoustic guitar and haunting vocals. At first I was intrigued, as the music continued I became thoroughly engaged. Just a few days before Halloween, this Scandinavian folk horror and gothic bombast was entirely appropriate to open this event.

More surprises, even more pleasant, revealed themselves when The Cult took to the Apollo stage – accompanied by a sample of ‘Ride of the Valkyries’ from Apocalypse Now (a genius move in itself). Launching into an earth-shaking ‘In The Clouds’, followed by ‘Rise’, from the insanely underrated “Beyond Good and Evil” album, this was not what I was expecting at all. Both songs are later entries in the band’s cannon, and sit gloriously at the heavier end of their repertoire. I adore both tracks – this was going to be interesting.

“Electric” album cut ‘Wildflower’ was next. One of my favourite Cult songs, I could’ve left at that point and been satisfied. More hard hitting classics followed with the swagger of ‘Star’ and Charlie Jones’s thudding bass introducing ‘The Witch’. New track ‘Mirror’ slots in seamlessly, then we get another mighty song from “Beyond Good and Evil”, ‘War (The Process’). All well known songs to Cult freaks like me, but not obvious choices by any means.

Billed as “The Cult 8424” – a 40 year anniversary tour – I’d expected a Greatest Hits set, culled mainly from the bands mid 80’s days. Early non-album single ‘Resurrection Joe’ was therefore no surprise, otherwise, this set spanned eras and albums confidently. Next was an acoustic ‘Edie (Ciao Baby)’ – I’ve always preferred this song in stripped down form to the “Sonic Temple” production.

‘Sweet Soul Sister’ was my chance for a quick “comfort break” – I’ve never been a huge fan. Great riff, overblown chorus! Another surprise followed, with ‘Lucifer’ from the “Choice of Weapon” record. The huge, epic riff of this song has made it one of my favourites, so a real bonus to hear live. John Tempesta on drums really powered all these songs home flawlessly, with both groove and power.

The latter part of the set delivered all the big crowd pleasers; an anthemic ‘Firewoman’, a truly captivating ‘Rain’ (surely one of the greatest rock riffs of the era), the tribal beauty of ‘Spiritwalker’. Billy Duffy, playing to a home town crowd, performed guitar magic throughout: from gutsy, gritty riffs to mesmerising yet direct, never fancy melodies. Lightning bolt energy from Ian Astbury galvanised the audience, as he revelled in the role of shamanic leader. And with a final roar through ‘Love Removal Machine’, it’s over.

Except it isn’t! Of course not, we all know The Cult will be back for an encore. But what will it be? Any more surprises?

‘Brother Wolf, Sister Moon’ is a classic track from the wonderful “Love” album, but wasn’t a single and so a very welcome reward. Finally, of course, the legendary ‘She Sells Sanctuary’ rings out and unites the crowd in a euphoric shared moment – Astbury’s air raid siren vocals leading the throng. I swear that man doesn’t need a microphone.

My return visit to The Cult’s sonic temple took a few years longer than anticipated. It was great to see them on such fine form, revelling in the classics and confident in their position as genuine, treasured heroes. What really made the gig for me though, was the sheer joy of hearing a very generous helping of less obvious, but very beloved tracks that I wasn’t expecting. No ‘Lil’ Devil’, but the rest of the set made up for it. I’ll return sooner next time.

PS: we need “Beyond Good and Evil” re-releasing on vinyl, please lads!

Black Tusk – The Way Forward Album Review

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Black Tusk – The Way Forward

Season of Mist

Release date: 26/04/2024

Running time: 35:54

Review by: Alun Jones

9/10

Black Tusk return with their seventh album (no, I can’t believe it, either), which they’ve entitled “The Way Forward”. It’s their first as a four piece, with Andrew Fidler (guitar/vocals) and drummer James May now augmented by guitarist Chris “Scary” Adams and bassist Derek Lynch.

The past few years have been tough for the band members, but their indestructible determination and formidable will has seen them stride onward regardless. It’s this perseverance that provides the album with its title and its unifying theme. Undeniably, the sludge metal sound is there as expected, but with additional guitar parts and a feeling of relentless tenacity.

Lead track ‘Out of Grasp’ and ‘Brushfire’ are both furious samples of big, dirty riffs played with furious conviction. It’s a fast paced set of aggressive yet entertaining energy – as a listener, I was dragged along with the band and could appreciate their steadfast refusal to let the ills of the world conquer them.

Many of the songs are around the three-minute mark, meaning we rarely get chance for a breather. ‘Breath of Life’ and the title track both have the opportunity to expand a little, though neither relinquishes their sheer intensity. The instrumental ‘Ocean of Obsidian’ is the slowest, trippiest number here, featuring a cavernous, cathedral-like sound.

So welcome back, Black Tusk. With “The Way Forward” they’ve dredged the swamp and pulled up a steaming, ruthless slab of metal that sounds unforgiving but positive. Absolutely bloody great!

For more Black Tusk, check out their website, Facebook, Instagram, Twitter, Bandcamp and Spotify.

This review is presented by Platinum Al and Ever Metal.

Don’t Be Cruel – Album Review

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Jamie Spilsbury – Don’t Be Cruel

Self released

Every now and again, some thing lands on my desk that I’m compelled to write about. Something out of the ordinary and different. Unexpected, even. And it doesn’t need to be something from a well known artist, or from a genre I’m familiar with. Sometimes, something arrives completely out of the blue and demands attention.

“Don’t Be Cruel” by Jamie Spilsbury is in that category. Jamie is a man of many interests, though I had no idea that he’d made an album. This album, wrenched from Jamie’s creative impulses and filtered through numerous pop culture references and electronica, can only be a document of his journeys through multiple realities and dimensions…

Some of what you will hear is music, some of it spoken word, dramatisations and skits – but all of it is experimental and different. It’s a journey into the abstract that takes in dozens of reference points. Starting with ‘The Letter M Song’ the listener is taken by surprise with a pleasant little tune that sounds like a long lost Sesame Street excerpt, but backwards. ‘Ballroom Memories’ is a delightful, relaxed big band/swing number that’s like a missing Glenn Miller track.

‘Stayin’ Together’ is a clever tribute to 80’s synth pop movie tunes, it’s Debbie Gibson at the Mall playing arcade games. The best song here is no doubt ‘Voidness’, a quite lovely piece of ambient electronica that’s perfect to chill out to.

Surrounding these musical adventures are the comedic skits, which range from spoof news bulletins to a genuinely creepy spoken word Lovecraft piece. There’s weird science fiction, Pulp Fiction style armed robbery, and Indiana Jones – literally nothing can be predicted here, it’s a startlingly varied mix of influences and ideas.

Jamie spent only a small amount of time putting this album together, in what must have been a fever of activity. And it’s the ingenious assortment of thoughts and concepts that really makes an impact here. I’m not sure I understand everything that’s going on (yet), but the sheer exuberance and commitment to create is very impressive. Strap on your ear goggles and get ready for a crazy adventure. You might be inspired to make your own musical journey…

Follow Jamie on X for more info, and a link to “Don’t Be Cruel”.

Singles Night at the Virtual Hot tub #34

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Here we go with another Singles Night! Just like Kool and the Gang said – no wait, that was “Ladies Night”. Totally different event altogether. Well, don’t let that be any concern for you, good reader – let’s spend an evening of musical fun and adventure anyway!

What, you may well ask, is “Singles Night at the Virtual Hot Tub”? If you know, feel free to skip this bit. Otherwise, I’ll explain.

Singles

In essence, I have a huge stack of 7 inch vinyl singles that I haven’t played yet. And they need to be played before I can add them to my super sophisticated filing system. So on Singles Night, I grab a bunch of these records and play ’em, A side then B side, one after the other, whilst having a wee drinkie or three.

It’s great fun. It rocks. Here’s the latest playlist:

  1. The Rezillos – “I Can’t Stand My baby” / “I Wanna Be Your Man”
  2. The Rezillos – “Top of the Pops” / “20,000 Rezillos Under the Sea”
  3. The Ruts – “Something That I Said” / “Give Youth A Chance”
  4. Sweet Dreams – “Honey Honey” / “I Surrender”
  5. The Steve Gibbons Band – “Tupelo Mississippi Flash” / “Till the Fire Burns Out”
  6. Showaddywaddy – “You Got What It Takes” / “Showboat”
  7. Goombay Dance Band – “Sol de Jamaica” / “Isla de Suenos”
  8. KC & The Sunshine Band – “That’s the Way (I Like It)” / “Ain’t Nothin’ Wrong”
  9. Dollar – “Mirror Mirror” / “Radio”
  10. Siouxsie & The Banshees – “Hong Kong Garden” / “Voices”
  11. Suzi Quatro – “I Go Wild” / “I’m a Rocker”
  12. Rose Tattoo – “Rock’n’Roll is King” / “I Had You First”
  13. Deep Purple – “Black Night” / “Speed King”
  14. Elton John – “Blue Eyes” / “Hey Papa Legba”
  15. Berlin – “Take My Breath Away” / Giorgio Moroder – “Radar Radio”
  16. Motley Crue – “Primal Scream” / “Dancing on Glass”
  17. The Damned – “White Rabbit” / “Rabid (Over You)” / “Seagulls”
  18. Booker T & The MGs – “Green Onions” / “Boot Leg”
  19. Bobby Brown – “On Our Own” / “On Our Own (with Rap)”
  20. De La Soul – “Ring Ring Ring (Ha Ha Hey)” / “Pile and Piles of Demo Tapes Bi-Da Miles”

And there we go, mes amis. A right old concoction and no mistake. But you know what? The odd dud in the playlist only makes the good stuff sweeter. And when you’re having fun, those duds ain’t so bad anyway.

The odd horror from the fabled car boot box of doom still lingering here, but they’re slowly dying off. Instead, a veritable feast of punk rock wonders, from the Rezillos, Ruts, Siouxsie and The Damned. That Damned track is, of course, a cover of the Jefferson Airplane song, and not one of my favourites – though the two songs on the B side are absolutely wonderful.

Plenty of other delights with Rose Tattoo and a double sided banger from Deep Purple, not to mention a Crue song I actually really like.

I hate the film Top Gun – never managed to see it all the way through – and not a huge fan of the Berlin track, but hey, it was a freebie. Likewise, that Bobby Brown song from Ghostbusters II is a huge drop in quality from the Ray Parker Jr classic. Some pop genius from KC & the Sunshine Band and Booker T keeps us on track nicely, though.

All in all, another successful night’s entertainment. Stay tuned for more soon, folks – I’ve got loads of these discs for ya and they’re itching for a spin!