Tag Archives: music review

Imperial State Electric – Anywhere Loud album review

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Another album review wot I wrote has appeared on the excellent EVER METAL website.  Please go take a look at the website, it’s awesome!  My review is reproduced here for your pleasure:  

Imperial State Electric – Anywhere Loud

Psychout Records

Release date: 16/02/2018

Running Time:

Review by: Alun Jones

7/10

Live albums, eh?  I’m not a huge fan.  A lot of the time they’re just cynical exercises in fleecing fans, getting them to pay again for songs they’ve already got.  And usually poorer quality, due to being in a “live” setting.

There are exceptions to the rule, of course.  Back in my days with KISS, the boys were struggling to step up to the mega bucks level after their first few albums.  I proposed that they record a live album, in order to try and capture their incredible live show.  That was what they were good at, see?  The studio albums were good, but live – wow, those kids could rock.  So eventually the four prima donnas came round to my suggestion, released “KISS – Alive” – and their super star status was assured.  Bang!  Mega platinum seller, through the roof, KISS had arrived.

Thanks to me.

Which brings me to this live release from Imperial State Electric.  Although it’s called “Anywhere Loud”, it could’ve been another KISS live album.  It’s big, bold and brash in a very Seventies Rock kinda way.  It’s almost like we’ve stepped into a time machine and arrived back in 1976.  Not that I’m complaining – these guys are all about fun, over the top rock’n’roll – just how it used to be.

A whopping 23 songs, the album certainly doesn’t scrimp on the tunes.  There are plenty of them, and the sound is reassuringly good throughout.  Snippets of audience noise and banter, applause and well performed improvisations help keep the energy – and authenticity – pushing the meters to overload.

Outstanding tracks in this collection include the catchy riffs of “Apologize”, “Reptile Brain” and “Uh Huh” – plus there’s a hint of their punkier side with a blinding version of The Dead Boys’ “Sonic Reducer”.  If you’re a fan of KISS, Cheap Trick and Blue Oyster Cult then “Anywhere Loud” is for you.  If, however, you’re not a worshipper of Seventies Rock like those aforementioned bands, this release probably won’t change your mind.

Which brings me back to KISS.  Of course the masks were my idea.  Though originally, I’d planned on Peter, the drummer, wearing a samurai style number.  So, you’d have had the Star Child, the Demon, the Space Ace and the Samurai.  Pretty good, yeah?  Except Peter changed his mind last minute and decided to be a cat, for fuck’s sake.  And just look how that worked out.

Visit the Ever Metal website here.

1968 – Ballads of the Godless album review

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My review of the new 1968 album, “Ballads of the Godless”, has just appeared on EVER METAL.  Here’s the review again, just because:

 

1968 – Ballads of the Godless 

Release date: 06/07/2018

Running Time: 38:24

8/10

Sometimes, without warning, it all comes flooding back and I’m thrust into the nightmare of that jungle.  Thirty days on patrol with no chopper cover.  The heat, unbearable; sweat running in rivers down my spine.  Cradling my M16 like a good luck charm, praying under my breath that there ain’t no VC gonna unload a torrent of lead at me and my buddies.  Trudging on, hour after hour, waiting to get back to the LZ for evac.  Chukka-chukka-chukka, the Hueys overhead and the rush of wind from the blades.

Maybe these guys from 1968 were in Nam too.  Maybe this debut album, “Ballads of the Godless” is actually a lost relic from those days that’s just been unearthed.  Maybe 1968 invented heavy, psychedelic rock after hearing Hendrix and Cream and some of those old blues guys.  Certainly seems crazy enough to be true.

Opening with “Devilswine”, 1968 lay out their ground plan confidently.  It’s a mighty power groove that makes your head nod, setting the tone for the whole album.  “Screaming Sun” follows and adds a more psychedelic shine, Jimi Coppack’s vocals soaring while the riffs hammer.  “Temple of the Acid Wolf” adds further intricate detail, with shades of vintage Soundgarden.  1968 set about laying waste to all in it’s sights like Ozzy manning the Air Cav machine gun on a strafing run.

It’s not all Ride of the Valkyries mayhem however.  Last track on Side 1 (vinyl lovers!), “S.J.D.” is an instrumental that provides a more reflective tone.  Acoustic guitar and piano feature, in a stylistically fine salute to the classics of the genre.

This bleeds nicely into Side 2, track 1 – “Chemtrail Blues”, where guitarist Sam Orr gets chance to unleash Hendrixian guitar flourishes over a bluesy beat.  It’s like that time me and my buddy chewed acid in a fox hole while under fire.  The rocket traces in the sky lit up like God’s neon veins.

“McQueen” opens with some infectious bass, before melting out of a mellow vibe and into a crushing chorus.  The bottom end is nice and heavy throughout, The Bear delivering pummelling yet warm playing.

Rhythms are also tight and show a groove more contagious than jungle malaria.  Dan Amati on drums shines on “The Hunted” in particular.  Final track “Mother of God” brings on a deceptively laid back, acid dripping feel as we finally get some R’n’R in Saigon.

“Ballads of the Godless” reveals more and more depth, thought and intricacy with each listen.  On this first album, the band make good on a lifetime studying from the past masters.  My only question is how will 1968 continue to evolve and add to their sound?  I can’t wait to find out.

For now, it’s back to reality.  No more choppers overhead, cries in the jungle and that oppressive, relentless heat.  Until I spin “Ballads of the Godless” again…

 

You can read more about all things metal at the Ever Metal site.

Hollywood Vampires – Gig Review

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Hollywood Vampires + The Darkness + The Damned

Sunday 17th June 2017

Manchester Arena

It was a rare, but welcome night out for Mrs Platinum Al and myself in good old Manchester.  Tickets were booked and we were off to see the big rock show.  It promised to be an exciting evening, but I was unsure whether our expectations would be met.

First off the bat, our old chums The Damned!  This was a real bonus for me, though the handbrake is also a fan after all these years of putting up with me playing their records.  However I was a tad nervous, wondering how these esteemed gentlemen would go down with what appeared to be a more traditional rock crowd.  And in such a huge venue.

Now I know I’m biased, but we were both impressed by The Damned’s performance.  The band didn’t shy away from the large stage; they actually looked quite comfortable up there.  I was quite a way away, mind – I think our seats were in Stockport.

Opener “Street of Dreams” was a moody yet raucous number that’s become a bit of a live favourite of mine over the years.  Follow that with classic “Neat Neat Neat” and you’re off to a hell blazing start.  Just as the stars align and every single person in the huge arena is going “Oooh, they’re quite good, aren’t they?” we get a minor mishap with Captain Sensible’s guitar packing in and the moment seems lost…

Not to worry, before you can say “is he the bloke  who sang Shaddup You Face?” the band, old troopers that they are, are back in the game.  Dave Vanian steers the ship over stormy waters and is in fine, confident voice all through.

The Damned
The Damned

The icing on the cake – for me, at least – is the return of Paul Gray, a sight I’ve not witnessed since Sheffield, 1991!  Paul’s bass rumbles and sounds triumphant, particularly in the “Love Song” intro.  Fantastic.  There’s just a drop in volume during “Ignite”, other than that, Paul is a ninja master.

Pinch’s drums are perfect, you can hear Monty (and see him bouncing about); so other than a couple of technical issues The Damned performed superbly.  The set is far too short of course, but I was relieved that they seemed to go down well.  From where I was sat, the arena seemed mostly full, so they didn’t suffer from support-band-empty-hall syndrome either.

I felt like I was watching my child in the school play; happily no-one forgot  their lines and The Damned get a gold star.

You can certainly say that I got value for money for this gig, what with three bands on.  However I was feeling a little short changed after The Darkness performed.  Admittedly, I am biased in favour of The Damned.  Yet I’ve seen The Darkness before, at Download festival a couple of years ago, and was much more impressed.

Not that the Hawkins boys don’t give it a fair shot; a short tight set is delivered in inimitable style with splurges of Justin’s trademark wit and swagger.  Perhaps it’s just that the set is lacking some bigger numbers in the first half; following “Growing On Me” with “Love is Only a Feeling” as the third song is too much of a comedown so early on.

The Darkness
The Darkness

The crowd don’t seem to mind though, it all goes down very well.  Let’s be honest, most of ’em are happy because they’ve heard of The Darkness and haven’t got a clue who The Damned are.  Or, shock horror, don’t like punk rock.  For me, with no “Black Shuck” in the set, and a mediocre version of “Barbarians”, it’s good but not great from the Darkness.

I still can’t bring myself to dislike ’em, regardless.  At least The Darkness tried to bring loud, exuberant British guitar rock into the 21st century, and aren’t a wanky indie band.

There followed some musical chairs for Mrs Platinum Al and me, as we secured seats much nearer the front.  This pleased the other half immensely, she would now have a much better view of the headliners (or one of them, at any rate).

And so the Hollywood Vampires took the stage, and the Big Rock Show was in it’s final phase.  The air of tense expectation was only mildly subdued by the band’s arrival, as the audience were keen to experience what they could serve up.  Would this be a vanity project for ageing rock stars and their pirate actor buddy?  Or could they deliver something tangibly worth their collective prowess?

Led by the preposterously cool Mr Alice Cooper, the Vamps rattle through a few of their own original numbers at first, as if to prove a point.  Yes, they can play – and they can write, too.  It’s super confident and great fun – every song gets a chance to shine on it’s own merits.

Hollywood Vampires
HV
Yes, that Johnny Depp

The bulk of the set is a succession of expertly reproduced cover songs, each dedicated with respect to a fallen rock comrade.  Songs range from The Doors, to Motorhead, to AC/DC – with my favourite being a great version of The Who’s “Baba O’Riley”.

Joe Perry delivers a spine tingling “Sweet Emotion” complete with the extended intro that builds magnificently.  It’s a master class in rock star awesomeness, though Joe seems very much enjoying himself in a humble manner.

Despite the attention thrust upon him by a vast number of fans in attendance, Johnny Depp manages to not only look the embodiment of cool, but actually performs brilliantly.  He appears very much in his element as part of this massive spectacle, indeed his rendition of Bowie’s “Heroes” is one of the highlights of the night.

It’s one of several moments that manages to evoke the ghosts of heroes past, as  accompanying images are shown on the screen onstage.  It’s not altogether subtle, but rock’n’roll rarely is.  Instead the audience cheer their appreciation and nod sagely as our heroes are exhumed for us to behold.

Finally, Alice declares “School’s Out” yet again, as the whole show reaches it’s climax.  Cooper is an absolute delight, the demented circus master and ring leader of this crazy gang.  He is unbelievably cool and amazing at what he does: a true legend.

In the end, despite any doubts, it’s been a hell of a ride.  Despite whatever misgivings anyone may have had regarding authenticity, the Hollywood Vampires delivered an excellent, well performed show that was pure fun.  It was so much more than just athe world’s biggest covers band.  Abandon your cynicism, this was rock’n’roll for the sheer joy of it.  Which is what it’s all about, right?

The Men That Will Not Be Blamed for Nothing – Gig Review

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The Men That Will Not Be Blamed for Nothing + IDestroy

Tuesday 20th March 2018

Live Rooms, Chester

Please do accept my humble apologies for the delay, good sirs and ladies – one has had a considerable amount of business to attend to before this esteemed review of the above musical personages could be completed.  I’ve been drinking gin, mostly.

Way back in March, I was indeed fortunate enough to witness a spectacle unlike any other in this historic town of Chester.  The Live Rooms: performance theatre hall, proprietor unknown, was the establishment in question; wherein I did encounter a motley band of anarchists known as The Men That Will Not Be Blamed For Nothing.

And what an encounter I did experience, dear reader.  Not since that time the circus arrived through town parading an ungodly assortment of freaks and oddities (a Mr Merrick included, no less) have I seen such debauchery.

First of all, the audience and I were entertained by three young ladies, though unlike any other maidens one could classify as such; the wonderful IDestroy.  They were excellent purveyors of the art form known as “punk rock”, wielding mighty instruments that wrought tuneage both aggressive yet delightful.  

I am sure that these estimable young ladies will not begrudge an old fool such as myself in proclaiming that they could not, or indeed should not, be considered “wall flowers”.  IDestroy possessed astonishing songs that proved highly enjoyable; energetic and confidently performed.

A most invigorating start to the evening’s proceedings; one can only ponder: “Why is there not more of this sort of thing readily available”?  Good show, indeed.

And so, our humble headline act claimed the theatre stage, and began a relentless musical bombardment that would be heard across the distant lands of the Empire’s colonies.  The Men That Will Not Be Blamed For Nothing were indeed a sight and sound to behold.

Modern listeners may be forgiven for assuming they have witnessed a grown up edition of successful children’s entertainment Horrible Histories, yet with added ferocious guitars.  Though the message within the music is not hidden, the glorious racket TMTWNBBFN portray is fine entertainment, even for those straight into the workhouse with no pretension of education.

The band had mischievousness in abundance; so whilst regaling the gathered revellers with mirth were able to determine their stage presence in a manner unlike any other I have before encountered. 

This, dear reader, is what I believe has been classified as “steampunk” – and what a jolly riot it was.  A cacophony of history, politics and humour accompanied by pulverising rock music – the perfect soundtrack to a evening on the gin in a Whitechapel boozer.

Afterward I departed for my carriage, grinning like a buffoon and clutching a new “record” to play on my phonograph.

With sincere thanks to all concerned, etc. etc.

Find out more about The Men That Will Not Be Blamed For Nothing here.

Find out more about IDestroy here.

The Live Rooms website is here.

Thanks to Lynda Rowlands for the brilliant live photos!

Pentre Fest 2018

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Pentre Fest

Friday 23rd – Saturday 24th February 2018

McClean’s Pub, Pentre, Deeside

And lo, the marauding hordes converged once more, reconvening from their travels far and wide.  In the Great Hall they would gather, trading tales of daring and adventure, as they caroused with rebellious abandon.  Much ale would be drunk, for tomorrow many a skull would be split asunder.

So began the revelry of Pentre Fest, wherein the brave and mighty warriors celebrated their many victories and remembered comrades long fallen.

The first of the tribes to address the throng were The Forgotten Age, young but mighty in their conviction.  Hailing from the Western Shores of Bangor, their stories were exciting yet accomplished, embellished with some fine melodies.  An exceptional and heartening start to the evening’s merriment.

Next to command the stage were Obey, who were indeed a revelation to behold.  Their immense riffs were sheer brutality, heeding no compromise as they delivered tales of destruction.  Obey were champions of the event to my ears; voraciously did I consume their merchandise (CD and patch!).  May the wind fill their sails and carry them to successful conquests aplenty.

Our next heroes were Torqued, a merciless crew who had engaged in a gruelling voyage from the far kingdom of Devon to regale us with their musical fables.  The clash of metal was devastating, the battle cries rousing.  A superb performance.  Safe voyage home, brothers – for ye shall be missed for now and welcomed warmly again.

The night’s final victors were the relentless, uncompromising Foetal Juice.  Looming over all with a malevolent thunder, the band decimated all in their path.  With grim intent they vanquished the unworthy, leaving only the gratefully redeemed in their wake.

Thus was the first part of Pentre Fest concluded.  Sadly I would embark on a personal quest of my own the next day; therefore being unable to rejoin the ceremony.

Regardless, though our warriors’ hearts were sated, for yet more metal majesty do we crave.  Till the next Pentre Fest, my brothers (and sisters) – stay strong and may your adventures be praised in Valhalla.

The McClean’s Pub Live FB page is here. 

Classic Albums #3

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It’s been a long time since I wrote a Classic Albums post.  Nearly four years, sadly.  But now it’s time to get back to the heart of what this blog was supposed to be all about in the first place.

Ladies and gentlemen, welcome to my Classic Albums.

3. Metallica – Master of Puppets

Metallica’s third album, released in 1986, has long been regarded as the probably the best recording the band ever made.  Not only that, but one of the greatest metal albums of all time.  “Master of Puppets” is a monolithic album with an immense scope; hugely varied and still surprisingly experimental.

At the time I first heard this record, around 1987, I was listening to bands like Van Halen, Queen and Def Leppard.  A friend lent me a cassette of “Master of Puppets”; I was keen to try it out as there was such a buzz about this band.

Every time I hear the opening guitars of “Battery”, I’m transported back to that first listen.  And I remember how extreme it sounded to me at the time – I’d never heard anything this brutal before.

Following that was the title track, which was the most complex heavy composition I’d experienced.  A melodic instrumental section lulled me into a false sense of security before the relentless riff attack recommenced.

It was third track, “The Thing That Should Not Be”, that opened my eyes though.  A massive, monstrous riff that hooked me straight away.  That song was heavy and eerie all at once; it became a favourite that I still love and slowly, yet with growing confidence, I began to explore this album.

“Welcome Home (Sanitarium)” begins with a mellower introduction and as such it’s one of the easier songs to appreciate on first listen.  Repeated plays over the years has dulled the impact of this track, for me personally – though it surprises me how good it actually is when revisited. 

Side Two of the album Kicks off with “Disposable Heroes”, is an anti war song that is intense and powerful.  One of my favourite tracks.  Then there’s “Leper Messiah”, a monster riff that incorporates faster sections as it proceeds.

The absolute highlight of the album is “Orion”, a fantastic prog-metal instrumental spanning over eight minutes.  This epic track proves beyond all others just why Metallica were – and still are – light years ahead of other thrash bands.

Finally, the last track – “Damage, Inc.” – is a violent berzerker of a song that might just take your face off.

With “Master of Puppets”, Metallica challenged themselves and their fans, as they expanded their sound and manifesto further than ever before.  If you want fast thrash, you’ve got it here.  Want heavy, down-tuned Sabbath riffs?  You’ve got that too.  There are even melodic sections that are actually enjoyable – and still uncompromising.

Metallica were utterly fearless in writing and recording this album, unafraid to try new ideas and never rest on past glories.  It’s not as heavy to my ears as it was on first listen thirty years ago, but every new spin of this record still has the power to thrill.

“Master of Puppets” is a timeless metal masterpiece.  It’s one of the essential records in my collection; it’s status a massively influential rock album – metal or otherwise – is assured for all time.

Metallica – Master of Puppets (1986)

  1. Battery
  2. Master of Puppets
  3. The Thing That Should Not Be
  4. Welcome Home (Sanitarium)
  5. Disposable Heroes
  6. Leper Messiah
  7. Orion
  8. Damage, Inc.

Best tracks: The Thing That Should Not Be, Orion, Battery, Master of Puppets, Disposable Heroes.

Other cool points: seriously great cover – you also need the t-shirt.

1968 – Gig Review

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1968

Friday 12th May 2017

Telfords Warehouse, Chester

The road to Telfords Warehouse was littered with walking corpses, stumbling clumsily with clothes falling from their limbs.  The zombified masses were yet again evacuating Chester Races, bumbling along in a drunken stupor.  I was on my way to Telfords to witness something far more intriguing – local band 1968 playing live, in a safe haven away from the riders of the apocalypse outside.

Telfords Warehouse is always a great place to visit, though it’s not famed for showcasing music like we were looking forward to tonight.  I’ve enjoyed music from other genres at the venue, but it was good to be expecting some noisy rock.  I met up with old buddy Dan and waited for the sonic attack to begin.

As you’d expect with a name like 1968, this band has Sabbath, Mountain, Blue Cheer and others of that ilk in their DNA.  It’s heavy, stoner rock with a reverence for the originals, proudly worn on their sleeves like old sewn on patches.  The bass chugs, the drums pound, the guitars wail and the vocals soar – all classic stuff.

It’s not just about the originators in this sonic stew though.  I could hear hints of epic Soundgarden, crunchy Kyuss riffs and even some COC style southern groove.

Enough of the band comparisons.  1968 are taking their influences and weaving new landscapes, using their own talents to create something energetic and new.  The band present a crushing presence on stage, performing their material with a killer confidence.

There’s even a progressive, experimental edge to some songs, with short instrumental sections lowering the volume and creating a mellower vibe.  If anything, I’d like to hear more of this develop in the songs – if only to provide a psychedlic contrast before the guitars thunder in again.

Any race goers who had wandered into Telfords soon left, slain by the merciless onslaught of 1968.  A superb band, I can’t wait to see them live again.  They have the riffs, the power and the vision to take them far.

It’s 1968.  The revolution is now.

Visit the 1968 Bandcamp page and download their awesome “Fortuna Havana” EP here.

1968 are on Facebook here.

The Telfords Warehouse website is here. 

Black Sabbath – The End

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bs

Black Sabbath + Rival Sons

Saturday 4th February 2017

Genting Arena Birmingham

The mighty Black Sabbath.  They created down tuned, dirty, doom laden heavy metal aeons ago.  Wrote songs that defined an entire genre and inspired millions of people.  Lived the rock’n’roll lifestyle to legendary excess, managing to survive through some miraculous method or other.  Black Sabbath are musical titans.

And this was The End – their last ever gig.  At least as far as we know at this point in time, and taking into consideration the band members current situations.

This was The End – Black Sabbath’s last live performance, ever – in their home city of Birmingham.

Through a result of pure luck I was able to blag myself on a trip to witness the event.  Sabbath are one of those bands that I’ve long been obsessed with, going on nearly thirty years now.  They’ve created fantastic albums that I’ve listened to again and again, so it was great to be able to catch this gig, before it was all over.

The support band were Rival Sons, a younger band that’s regarded very positively by fans and press alike.  I’m only familiar with one album or so worth of songs, but can safely say that they put on a very impressive performance.  Their music is rooted in the classic rock of yore, so it was an apt choice to support.  I didn’t recognise any of the material, but then Rival Sons are a band that definitely require some homework on my part.

A confident and popular support act, Rival Sons coped with the huge arena well.  They merit further investigation – I’m sure that classic song to get me hooked is tucked away on an album somewhere.

And so to the headliners, the incredible but sadly not immortal, Black Sabbath.  Of course they opened with the legendary “Black Sabbath” – what else? – the eerie three note, devil’s tritone that heralded the birth of metal years since.  A perfect start to the evening, Black Sabbath then proceeded to entertain with two hours of solid classics.

From my vantage point, standing in the massive arena hall near the sound desk, I couldn’t see great deal.  In fact, I could see more of Kelly and Sharon Osbourne, in the nearby VIP area,  than I could of Ozzy.  The sound however was superb and the set loaded with classics.  Plus I don’t think Ozzy (or Tony or Geezer) did much running around the stage anyway. bs1

Most of the songs were from the first four albums, which was cool by me.  Highlights were “Into the Void”, “Snowblind”, “Children of the Grave” and an unexpected showing of “Hand of Doom”.  Brilliant bass from Geezer Butler on “N.I.B.” too.

My absolute favourite Sabbath track, “Supernaut”, was unfortunately relegated to being sandwiched in as part of a medley (along with “Sabbath Bloody Sabbath”, another fave) – and therefore sadly under exposed.  A shame that, I went mental when the opening riff started.  No “Sweet Leaf” either.

“Supernaut” should have been in the set, certainly it was preferable to “Dirty Women” which was hauled out of the cellar and into the light one more time.  Although not their best material, this song did give Tony Iommi a chance to shine, the final guitar solo was absolutely explosive.

There were sadly no extra special moments, such as famous guests getting up to join in – maybe that would’ve diluted the spotlight on Sabbath.  It was nice to let them have their final moment of glory.  I think we were all hoping Bill Ward would make an appearance behind the drum kit for one last time though.

And finally, it was all over – with one last rendition of the genius song that is “Paranoid”.

Their final  gig was set to be emotional, set in their hometown for one last time.  In fact it was a hugely uplifting experience, rather than sombre – hundreds of the faithful showing their respect for all the music we love.  Not just Sabbath, but every metal band that’s followed in their sepulchral wake.

Black Sabbath – their legacy lives on.  They are the ultimate metal band and they leave us with a back catalogue beyond compare.  It’s never really The End.

The full setlist is here.

The Best of 2016

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Well we’re now a couple of weeks deep into 2017 – how’s it going for you?  Well, I hope.

2017 at Platinum Al’s Virtual Hot Tub promises to bring you more of the great features you love, plus (hopefully) more in the year ahead.  But before I get all carried away and storm straight into new adventures, let’s take a moment to reflect.

Last year was a hell of a crazy ride.  But what Virtual Hot Tub blogs got you steaming hot?  Let’s take a look at the top ten most popular posts in 2016, in reverse order…

10. Skateboard Museum: Variflex Joker

The tenth most popular post in 2016 was this golden oldie from 2013, featuring one of my old 1980’s skateboards.  Skate nostalgia is obviously popular stuff, with internet searches keeping this article in view.

9. Wales Comic Con Strikes Back – Part 2

Up next was the second part of my report from Wales Comic Con in Wrexham from May, with loads of cool cosplay photos.

8. Tragedy – Gig Review

In March 2016 I went to see Heavy Metal Bee Gees tribute act Tragedy, at the Live Rooms in Chester.  It was pretty popular read (even the band liked it).

7. Sci-Fi Weekender 2015 – The Director’s Cut

Back in February 2016, I posted some photos I had left over from the previous Sci-Fi Weekender in March 2015.  Again, loads of interesting cosplay pics – plus a bit of comedy.  This was a warm up for the 2016 event.

6. Santa Cruz Snowskate

The next most read post was this blog about my snowskate, made by Santa Cruz skateboards, originally posted in winter 2014.  Internet searches kept this this one popular again this year.

5. Food Quest: To Koutouki, Chester

This write up of the excellent Greek taverna in Chester, posted in May 2016, has been very popular.  The most read food post all year by far, I hope it helps bring them some business, because they deserve it!

4. Wales Comic Con Strikes Back – Part 1

The first part of my report from Wrexham Comic Con was far more popular than the first, which came in at number 10 (above).  I don’t know why this part was better received, as it features the same style of cosplay pics.  Perhaps it was the pic of yours truly as Tony Stark that did it…?

3. Santa Cruz Street Creep

Another skateboard blog, this July piece featured text and photos of another 1980’s classic, in this case my Santa Cruz Street Creep reissue.  Rad.

2. Sci-Fi Weekender 2016 – Part 1

The second most read article on my blog in 2016 was the first part of my report from Sci-Fi Weekender.  The cosplay pics made it successful.

So what was the most popular blog post, with the most views, at Platinum Al’s Virtual Hot Tub in 2016?

It can only be…

Sci-Fi Weekender 2016 – Part 2

Yes, the final episode of our adventure at this years Sci-Fi Weekender convention was the most popular blog of the year.  Loads of photos of fantastic cosplayers having fun won the day, and not even my terrible photographic skills could ruin it!  No idea why Part 2 beat Part 1 though.

Thanks again to all the great folks who attended Sci-Fi Weekender, hope you enjoyed the photos!

Thanks to YOU too, for choosing Platinum Al’s Virtual Hot Tub.  Your feedback and is always appreciated.  Here’s to another year of fun – all the best!

Bring Your Own Vinyl Night #9

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Bring Your Own Vinyl Night

Queen’s Head, Mold

Friday 4th November 2016

It was great to be back in Mold for another Bring Your Own Vinyl Night.  It’s been a long time since the last evening in the Queen’s Head, with summer holidays and whatnot getting in the way – so it was good to see the familiar faces and crank out some tunes.

The usual rules applied: each person got 15 minutes on the decks to play whatever they liked, genre free – vinyl only!

Adam went for it first, here’s an over view of his varied and very enjoyable set:

  • Voice of the Beehive – I Think I Love You
  • Grandmaster Flash – Whitelines
  • Queen – One Vision
  • Willie Nelson – On the Road Again

I am so jealous of that Willie Nelson single!

Halloween had just been and gone a few days earlier, so I was still in a spooky mood.  This time, my set went like this:

Monster Magnet – See You in Hell

One of the many stand out tracks from Monster Magnet’s classic “Powertrip” album, this is acid drenched stoner rock at its finest.  The retro sound is augmented by a churning organ that whirls around as the bass chugs.  Psychedelic wonderment from Monster Magnet that sounds like a forgotten late 60’s gem.  I’ve owned the “Powertrip” album for many years on CD, but recently acquired the new vinyl re-issue.  Money well spent.  A truly great, under appreciated band.

Donovan – Season of the Witch

This fantastic song was featured in the Tim Burton movie Dark Shadows, a film I’m a huge fan of (though it appears not many other people are).  Whilst the previous song sounds like something from the sixties, this one is.  It’s a mellow groover that manages to wander out of hippy territory and sound somewhat sinister… Love this track, I felt it was a suitable jam for a Halloween inspired set.

The Damned – Plan 9 Channel 7

Ah, the Damned!  Where would a Halloween themed set be, without a tune from these punk rock proto-Goths?  One of my favourite bands, one of my favourite songs – from the indispensable “Machine Gun Etiquette” album.  Every home should own this!  The song is, of course, written about a viewing of Ed Wood‘s infamous “worst film ever made” – Plan 9 From Outer Space – on American horror channel 9.  Vampira, James Dean, Hollywood after dark – it’s all here in a perfect slice of rampaging pop punk.

The Misfits – American Nightmare

Finally, more horror punk from the masters themselves – the one and only Misfits.  On this track, Danzig and pals abandon the usual Ramones inspired turbo punk and offer up a ridiculously catchy rockabilly number.  Complete with handclaps and Danzig crooning more like Elvis than ever, this track sounds like a lost piece of 50’s nostalgia.  Classic stuff.

There we have it ladies and gentlemen – another great night in Mold!  Thanks to the guys from Halcyon Dreams and VOD music – and Dylan who helped out with an extra turntable!  More soon…

The Halcyon Dreams blogspot is here.

The Halcyon Dreams mixcloud page is here.

The Halcyon Dreams Facebook page is here.

The VOD music website is here.