Yet another massive coup for the good ol’ Tiv! The Tivoli Venue in Buckley, North Wales is a legendary spot and has attracted some amazing, big names over the years. The latest to pay a visit and astonish us with their prowess were alt-rock icons Living Colour. This was, indeed, a big deal. I bought my ticket as soon as it was announced.
No surprise, the Tiv was packed to the rafters on this Saturday evening. It was a good atmosphere from the start, a feeling of warm anticipation in the air. I caught up with several friends old and new, but that meant I didn’t get much experience of support band Red Zephyr. What I did hear, they seemed to be a supremely capable and enjoyable hard rock band – one to investigate further in the future.
Now me and Living Colour go back some way. I still have an old 7 inch vinyl Sounds EP featuring the band that a friend gave me in 1988, which is where my fandom began. I’ve never seen them live though (ah, if only I’d been able to go to Lollapalooza 1991!), so this gig was really something to look forward to.
Opening with their infectious track “Middle Man” before launching into playing their “Stain” album in full, it was immediately obvious that Living Colour were still at the top of their game and playing exceptionally well. It was also nice to be reminded just how many great songs – and of varying styles and grooves – this band have in their repertoire. Crunchy metal provided by guitar maestro Vernon Reid on “Go Away” nestles up comfortably with the sublime pop of “Nothingness”. On all tracks, the Haribo fuelled voice of Corey Glover roared majestically and crooned sweetly.
Post “Stain” run-through saw a jigsaw of originals and covers, the highlight being a 50 years of Hip-Hop medley featuring “White Lines” and “The Message”. Doug Wimbish, the king of bass, shone here, although his skills dazzled all night. And drum master Will Calhoun gets a well deserved solo spot: he ably showed both relentless power and effortless grace throughout.
Of course, two of the big crowd pleasers are “Love Rears It’s Ugly Head” – which is uncannily well played – and the crushing, monster riff of “Cult of Personality”. All the songs sound great, with Corey’s vocals in particular sounding like they came direct off the vinyl.
Well done to all at the Tiv for making this happen, and huge thanks to Living Colour for turning up and playing their hearts out. They had the musical skills, they were vibrant and entertaining on stage – Living Colour absolutely ruled one of the best Tiv nights in a long, long time.
A weekend of full on metal and hard rock, Pentre Fest is a highlight of my musical calendar. Held at McLean’s pub in Pentre, Deeside, North Wales over two days, the event always showcases some of the best bands from around a vast area of the UK.
This year I missed Friday’s gig as I was otherwise engaged. However, I was raring to go for Day 2, and a whole load of awesome music. Here’s my review for Ever Metal, covering everything I could of that day’s entertainment.
Day 2
Day 2 at Pentre fest – you could say I was a bit excited to get going. The ever-reliable Edd Case was performing in the marquee outside as I arrived, so I missed a chunk of his set sadly, as I paid my hard earned coin to get in and neck my first ale. Luckily, Edd did another slot of his excellent acoustic performance later on, so I got to catch him then. I think he was filling in for some band called Trashatouille, who couldn’t be arsed to turn up and attempt to play their own acoustic effort.
First band on the indoor main stage was Scarfoot, and they made a hell of an impression. A three-piece band, they add an extra edge to their already formidable musicianship with the use of a 12 string guitar or a Dobro. This gives the band a huge, Zep-epic and individual sound. They all play with a convincing passion and were absolutely enthralling. I’d never seen them before, but had caught singer/guitarist Oliver Carins last year doing a solo acoustic set. Next time, these guys need to be higher up the bill! Scarfoot also blazed all over the acoustic stage later on, with a similarly massive sounding set, even without the drums.
Frank Williams
Next on the second stage: a World Exclusive Live Debut! Frank Williams in his first official live gig, though sadly not billed asVictim of Damp. Frank is a Pentre Fest die hard, an unsung hero who has supported the event and pitched in with Fozzie and Beany from the beginning. This afternoon, Frank graced us with some acoustic covers (nice bit of Floyd) and banter, then introduced some comrades to help with humorous originals such as ‘Beany’s Car is Full of Shit’. Excellent crowd participation helped Frank’s set gallop home as a pedigree winner.
It really wouldn’t be Pentre Fest without these guys. With a line-up change – or should I say, addition – in the shape of new vocalist, Gaz (who used to be the drummer. Come on, keep up!). This latest incarnation of Lullaby for a Unicorn was a refreshed and fun stallion, rather than a lame pony. There’s a little work to do to settle the new line-up in, but it was the same boisterous energy as ever as the Unicorn boys turned Pentre into a beautiful, rainbow adorned meadow. Or blood-soaked battle field of metal mayhem, you choose.
Scarfoot was next on the second stage. I’ve already covered that, go back and read it again.
Despite a tech issue with the bass throwing a wangler with the first song, The Human Condition kept their shit together and provided another surprise. I had done no research whatsoever and didn’t know what to expect. By Odin’s beard, The Human Condition are a megalithic, doom metal colossus! Doom in the vein of Candlemass, or think Geoff Tate screaming for Trouble. Riffs are drip fed, leaving the audience begging for each new note. Add the most powerful live vocals I’ve heard in eons, and you have a force of biblical proportions. I bought a CD. You should check them out NOW.
Back to the Second stage for an acoustic Pelugion set – but we’ll get to them later.
A melodic deathcore band from Manchester way, Portrayal of Ruinn isn’t quite my thing on paper, but fucking awesome live. Possibly the most energetic band on stage at Pentre Fest all day, their combination of gutsy, nasty metal and bouncy, yet ferocious vocals proved a winner. They also know how to pace their set brilliantly – a few mellow sections lull the crowd into a comfy security blanket, only to have it ripped maliciously away. It’s the audio equivalent of a Video Nasty psycho killer – you’re never safe, Portrayal of Ruinn will never stop – and they will get you in the end!
Reading back my notes here, and I can’t make a thing out of them. All I can fathom is that I REALLY liked this band: “Syncolima = great!” is about all I’ve got. They were excellent. Some kind of biker/stoner super heavy rock, they have groove aplenty and massive fuzzed out riffs. This three-piece from Mansfield, Notts were unmissable. New album “Wavelengths” is out soon, you’d be wise to watch out for it.
Wait a minute – it’s that bloke from Bad Earth doing an acoustic set! Yes, it’s Steve from one of Pentre Fest’s favourite bands, backed with the other two ‘orrible ‘erberts, Karl and Ben (so semi acoustic, then?). The Bad Earth songs translate surprisingly well to the stripped-down sound, though they can’t compare to the full force fury of the full trio amped up and going for it. But then, what could? A great set that also included some cruel (ie hilarious) comedy signage behind Steve’s head, it also delivered a much needed bongo workout that was otherwise sadly lacking this year.
Mind. Blown. Thank the trident of Posiedon, King Kraken travelled up from South Wales (a right old trek) to play Pentre Fest, and I’m so glad they did. The Kraken are a huge, boisterous metal machine with crushing riffs and awash with an almost psychedelic lead guitar. My favourite band of the day, despite fierce competition – I made off with some booty from the merch desk and toasted their performance with a tankard of ale. Please check this band out, you will not regret it. Magnificent!
Last year, one man electronica fiend Leatherback was first on the Pentre Fest main stage. This year, it’s a second stage headlining slot, which worked well. Nine Inch Nails comparisons are obvious, but relevant when there’s a cover of a Reznor classic included. Leatherback ripped through a roaring set that went down extremely well with the lively crowd, even though it was freezing outside – receiving a well-deserved, enthusiastic reception.
Pelugion had performed an excellent acoustic set on the second stage earlier, which seems to have been a great way for them to warm up for their main stage appearance. I’ve seen these guys before at Pentre Fest and they never disappoint. Skull smashing mega riffs, born from Sabbath and with a dose of Alice in Chains and early Soundgarden – a stoner/alt metal monster – is what you can expect. These guys are super professional, but with grit and determination that keeps the performance compelling.
Headliners on the final day of Pentre Fest, The K*nts drove over five hours from down Essex way to entertain us. With hits such as that Christmas favourite ‘Boris Johnson is a F*cking C*nt’ and ‘F*ck the Tories’, we knew we were in for a treat. Hilariously, the Green Room reserved for the bands had been double booked with a meeting for a local Masonic Lodge. I wonder how The K*nts and this bunch of blazer-and-badge wearing eighty-year-olds got along back stage. Honestly, you can’t make this shit up. It’s like Phoenix Nights on crack.
A strange choice to headline a metal festival for some, never the less The K*nts put on a top show and had the audience on their side before the first song was even finished. Delightfully obscene, but with a political edge that helps retain a tiny bit of highbrow cred too, it’s like Sham 69 with Tourette’s. Most of the song titles are unrepeatable for a family website like Ever Metal, but let’s just say that The K*nts and their filthy brand of punk rock and humour were a mad but genius way to finish Pentre Fest off. And it probably will be finished off, if those old Masonic dudes have anything to say about it.
Oh, and yeah – Fuck the Tories.
It was my absolute pleasure to cover Pentre Fest for Ever Metal again this year. Huge thanks to the bands, the audience, and the staff at McLean’s for putting this on. And finally, thanks to Fozzy and Beany for daring to dream it up and make it happen.
I just wish Pentre Fest could be every weekend. Or once a month, at least.
Stockholm, Sweden: sometime in the early 1990s. At this point in their career, legendary doom metal instigators Trouble were signed to Def American records and starting to shift a few extra units. The Chicago band were invited to play in Sweden by fellow pioneers Candlemass, and it’s this gig that provides the music for this double LP live extravaganza.
The release covers the never before available, complete set from that evening. Fully remastered by Erwin Hermsen at Toneshed Studio , it’s now unleashed as a double album on seductive, alluring vinyl.
Track wise, the PR blurb casts this as a “greatest hits” set, and rightly so. Of course, there’s a healthy selection from the Def American albums, such as a blistering ’Come Touch the Sky’, the brilliant ‘Memory’s Garden’ and a crushing ‘End of My Days’. Older tracks also get a fair showcase too, with ‘Psalm 9’ and ‘The Skull’, amongst others, proving how this band achieved their legendary status.
So, this live collection is a great overview of Trouble’s music at this point int time. What’s also encouraging is that the sound really is impressive, the remastering has done a fine job of polishing these tracks. Unlike many live offerings, this album has a reassuringly clear – yet still live and raw – finish. ‘The Misery Shows (Act II) is a great example – the mellower parts shimmer, though the crunch is still present when needed.
“Live in Stockholm” is indeed a good place to dive in for anyone who wants to sample Trouble’s catalogue. For the long-term fans, the performance and sound both offer a worthwhile addition to the collection. Personally, there’s nothing new, song wise, here for me – so I really can’t mark this release any higher – but a solid release nonetheless.
You might think that characters like Ozzy, Tommy Lee or Lemmy would’ve been terrible for getting me in trouble in the past, but they were all sweethearts really. The person who got me in more trouble with crazy antics than anyone was actually, believe it or not, new wave pop princess Belinda Carlisle. She was a total deviant. Scary. I can’t tell you any more because she still thinks I died of an overdose in a Tijuana brothel in 1985. And quite frankly, I’m scared of her.
Please check out Trouble’s website, their Facebook and Bandcamp – buy their stuff and make them famous.
This review has been brought to you by Platinum Al and Ever Metal.
All Souls/Fatso Jetson – Live from Total Annihilation
Ripple Music
Release date: 19/08/2022
Running time: TBC
Review by: Alun Jones
8.5/10
Well, bloody flipping heck – this is pretty good, innit? A split album, recorded during the pandemic in L.A.’s Total Annihilation Studios, light on the production and heavy on the creative purpose. We have, for your enjoyment, a collection of songs from alt rockers All Souls and desert rock pioneers Fatso Jetson.
All Souls deliver five songs here (that’s all of Side A to the connoisseur), all of which offer a dark yet epic character. ‘Who Holds the Answer’ is a mid-tempo, infectious rocker and ‘You Can’t Win’ has a melancholy start that grows into a moody, Spaghetti Western tinged piece. The American Gothic vibe is showcased further on ‘Winds’, again utilising a sparse, melodic approach to generate a cinematic soundscape. The final two tracks, ‘Sentimental Rehash’ and ‘Timebomb’ are both faster paced and more abrasive, with robot like, post punk riffs – but both still have menace.
Side B belongs to Fatso Jetson, and their first song ‘Drifting off to Storybook Deth’ is my personal favourite of this entire recording. It welds the gloomy heaviness of the Melvins with the atmosphere of classic Soundgarden into an ominous monster of a track. ‘Monoxide Dreams’ takes a hypnotic trip off into a windswept, barren horizon. The repetitive, mesmeric ‘Dream Homes’ is a robot riff instrumental like Sabbath jamming Devo tunes, whilst ‘Long Deep Breaths’, the final track, is an exploration of dark psychedelia.
Further proving that “desert rock” has more than one style, both of the bands here are adept at taking that expected template and weaving other influences and ideas into their songs. Both dark and beautiful, All Souls and Fatso Jetson’s efforts are all fascinating. “Live from Total Annihilation” is ideal music for watching the sun fade and the night creep in.
As I write this, we’re sweltering in a record-breaking heatwave. North Wales, which is where I’m based – and also where the nerve centre of Ever Metal can be found – has had some of the highest temperatures in the whole of the UK. It’s crazy. And so, a new album from desert rock titans Nebula seems extremely apt right now. “Transmissions from Mother Ship Earth” has arrived at exactly the right time.
And it arrives with a welcome burst of fuzz drenched psych rock, exactly as expected, in first track, ‘Highwired’. Big fat riff, dashes of space rock and a whiff of herbal cigarettes: classic Nebula, really. Up next is the title track, which adds some nice, sixties secret agent vibes to the melting pot, together with a punishingly heavy section.
‘Wilted Flowers’ begins with a mellow guitar section before exploding into a thunderous head tripper. There’s a feel of Mudhoney and the Stooges with Nebula’s best work, as evidenced here and with ‘Melt Your Head’. Other tracks like ‘Warzone Speedwulf’ and “The Four Horseman’ sound like early Monster Magnet dripped in acid fried Steppenwolf and left to dry in a Tarantino desert landscape.
No surprises then with this latest Nebula release, and with titles like ‘I Got So High’ you can guess exactly what to expect. But who cares? “Transmissions from Mothership Earth” is a solid album of pounding rhythms and spaced-out fuzz rock. It’s bound to make my end of year best of list, and right now it’s the perfect soundtrack for summer. Enjoy, fellow explorers – it’s gonna piss it down with rain tomorrow.
Talking about nebula and space and galaxies and all that, did I tell you about the great telescope trick we played on Bill Ward once? It was at Brian May’s house, and he’s well into all that astrology business. Bri’s got this huge telescope for star gazing. So Tony, Ozzy, Geezer and me persuaded Bill to take a look. What he didn’t know was that Brian had put black paint inside the lens, so Bill ended up with a great big, black monocle on his face. Bill didn’t realise, and walked round like that all night – extremely paranoid as to why all the guests were laughing at him. Great fun!
OK: so for once, I’m kinda stuck for words. How do I tackle this album, the new offering from Sergeant Thunderhoof? I mean, we can go through a song-by-song overview; try to describe the listening experience for the reader, make comparisons to other bands in a lame attempt to get the message across. But what I really need – or want – to do, is SELL it. Because I care about you, Ever Metal readers, and I don’t want you to miss out. “This Sceptred Veil” is a fantastic record.
Our opening song ‘You’ve Stolen the Words’ lays Sergeant Thunderhoof’s wares out on the table from the off. A mammoth, heavy riff erupts from the speakers and drags the listener along like a tin can in a hurricane. This is a big sound. Mark Sayers guitars are momentous, epic on a biblical scale. Comparisons to Soundgarden are obvious but apt, particularly considering the Olympian vocals of Daniel Flitcroft, soaring on every song.
If I was gonna make more lazy comparisons, there’s a hint of spacey Monster Magnet raunch on ‘King Beyond the Gates’ and maybe even some Maiden gallop on ‘Show Don’t Tell’. Both tracks testify that the rhythm section – Jim Camp on bass and Darren Ashman on drums – have the skills to rev the engine as well as groove along on the more cerebral tracks.
Speaking of the cerebral, it’s the lengthy prog work outs that differentiate Thunderhoof from other similar artists. As much as I love the rockin’ numbers (shout out too for ‘Devil’s Daughter’), these guys are extremely comfortable wandering into the realms where Mastodon rule. Witness ‘Avon and Avalon’ Parts I and II: two tracks that, whilst not exactly mellow, certainly take their time to explore and build a musical soundscape. It’s thrilling.
Running at around the 69-minute mark, there is a lot to discover here. You’re going to need to devote some time to this baby, but don’t fret – you’ll be massively rewarded if you do. So please forgive the hard sell. I only mention similar bands in an attempt to reach out to fans who I know will dig this, too. Sergeant Thunderhoof have created a superb album in “This Sceptred Veil” – one of the best of the year, so far. Don’t miss it.
Recap time: regular readers may remember that yours truly recently reviewed the re-issue of “Work in Progress” by punk veterans UK Subs. You may also recall that that album covered the letter W in the bands ongoing mission to release an album for every letter of the alphabet. Well, the good news is that Captain Oi/Cherry Red Records are also releasing the next two instalments in the series – that’s the letters X and Y (but you knew that).
Working through chronologically, we have “XXIV” – which the lovely record company peeps have released on drool-worthy double 10” vinyl, one green, one clear. Yummy. Our first song is an absolute belter: the full-on turbo romp ‘Implosion 77’. Hold on tight and buckle up! There’s plenty more fast’n’nasty thrills on offer too: ‘Speed’ has a merciless UK82 vibe; ‘Monkeys’ has a classic Subs singalong chorus; ‘Garden of Good & Evil’ is another pogo-till-your-pants-fall-off rocker.
There’s some well-placed variety too, with the harmonica adorned political thrust of ‘Coalition Government Blues’; and Bo Diddley swagger of ‘Wreckin’ Ball’ – both showing hints of the bands R’n’B origins (like as in, what R’n’B used to be). Lyrically there are plenty of targets for Charlie to attack, both politically and socially. ‘Memento Mori’ finishes the album off with one most aggressive tunes on offer, leaving us with a great album of 14 adrenaline infused songs.
“Yellow Leader” follows in a similar fashion, featuring 18 songs (whereas the original vinyl was cut to just 14 due to running times). To be released on slinky, divine double 10” vinyl (one red, one turquoise here), it’ll be a feast for the eyes and ears. Again, the album is crammed with more relentless punk rock shenanigans like ‘Sick Velveteen’, ‘Chemical’ and ‘Heathens’, all of which will have you jumping around the room like a monkey on a lava stream.
As the previous record, there’s plenty of other sounds and ideas here: single ‘Sin City Blues’ has a killer rockabilly feel; and ‘Rebellion Song’ breaks out the acoustic guitar. The only mis-step is ‘Archaeology’, a strange post -punk/goth style experiment that while not awful, isn’t a total success. All in all, the quality of music is impressively high and the recordings sound excellent.
And there you go, music lovers: not one, but TWO albums of mighty UK Subs songs, lovingly compiled and curated by those nice folks at Captain Oi/Cherry Red Records. You lucky people. Pick ‘em up while you can, nobody is this fortunate twice.
Well, that’s it, it’s over – I thought to myself on first perusing this latest entry in the Brown Acid series. The well has finally run dry. The RidingEasy Records archaeologists have eventually reached the end of their previously rich vein of rare, obscure and undiscovered proto-metal and vintage hard rock. How had I arrived at this conclusion? There are only eight songs, compared to the usual ten; with a running time of just 26 minutes.
Then I realised that the final track, an 8-minute-long number by a band called Raven, was missing from the press review download I had. So that extra track would even things out nicely, with a decent longer running time. Though I wouldn’t be able to review every song, at least the existential crisis of NO MORE ROCK had been avoided!
Volume 14 starts of with the great ‘Fever Games’ by The Legends: it’s a rampant, rollicking late 60’s ode to Blue Cheer, Hendrix and Cream. Despite aping Jimi a little too closely, this song is a lively opener. Next up is Mijal & White with ‘I’ve Been You’. This track sounds like the Monkees cutting a particularly noisy song by The Who, which should encourage you to definitely give it a whirl on your gramophone.
I don’t know who Henry is, but thanks to the chunky blues rock of Liquid Blue, I know that ‘Henry Can’t Drive’. This is a more traditional heavy rock number, and as an album highlight it keeps the engine speeding along on a straight track. There’s a fast rock’n’roll MC5 vibe to ‘Signs’ by San Francisco Trolly Co. This energetic song is followed by Blue Creed’s ‘Need a Friend’, a raw and rough brawler. It’s a contrast to ‘Play It Cool’ by Transfer, which reminds me of a revved-up surf track.
‘You’re Not the Only Girl (I’m Out to Get)’ by Appletree finally ushers in some much-needed cowbell. Reminiscent of Grand Funk Railroad and – gasp – even early Kiss, it’s another quality highlight. Ideal for playing in an old, rusty’n’trusty Camaro.
Cox’s Army gives us another Hendrix inspired number with ‘I’m Tired’, which bops along in a true groovy manner. And that, for me, is my last track on my version of “Brown Acid: The Fourteenth Trip”, though as mentioned above, there is another song called
Ladies and gentlemen: the UK Subs. A fine collective of upstanding, noble samurai and no mistake. Led by the indomitable Charlie Harper, the band have roots stretching right back to the origin of the London punk scene (and actually, a fair bit further than that). The band are still touring and recording all this time later, albeit with changing line ups throughout the years, so their integrity and passion should never be in any doubt.
Casual observers may not be aware that the UK Subs have released an album for every letter of the alphabet (plus more). That’s no mean feat. What is somewhat daunting, is that’s a lot for any new fans who want to collect everyone of those releases! Yet fear not, music lovers: Cherry Red records have been gracious enough to re-release the 2011 album “Work in Progress”, on sexy double 10” gold and silver vinyl. For anyone struggling to keep up, that means the punters have no excuse to at least have the letter W from the list in the bag.
And what will discerning music fans find within this sumptuous collection? Why, fourteen songs of the finest punk rock vintage, of course. That means a blitzkrieg of blinding rockers like ‘Creation’, ‘Radio Unfriendly’ and the brilliantly titled ‘Hell is Other People’. Some bloke called Lars Frederickson, from a band called Rancid, co-wrote ‘This Chaos’ – another brain melter – and you can even bang your head to ‘Children of the Flood’, if you want to.
Punk rock unbelievers, I say unto thee: these songs do not all sound the same. They are not simply constructed, amateur-hour noise. All the tracks are full of energy and have their own identity. There’s a hint of rockabilly on ‘Eighteen Wheels’, R&B garage rock on the bouncy Sonics cover ‘Strychnine’ and ‘All Blurs into One’ has an almost psychedelic sheen.
The only potential misfires are ‘Tokyo Rose’, which at first sounds a bit too Hollywood Sunset Strip (but redeems itself after a few listens) and ‘Rock’n’Roll Whore’, which could be a bit – well, dated lyrically.
This UK Subs album admirably highlights a classic band who are still fighting on, taking their music to the world. It shows the roots of the band in R&B, whilst also providing a link from the Ramones to US hardcore bands like Circle Jerks and Descendents, and ever onwards. After all these years, the UK Subs are still a “Work in Progress” and show no signs of stopping.
Right, see you later. I’m off to hang around in a graveyard with my old mate Dave Vanian. Captain and Rat, you can only come if you promise to stop setting fire to mattresses.
Now, your first question may well be: “How did Platinum Al manage to slip a Toyah review onto a Rock/Metal website?” Well, dear reader, let me tell you a story. The first time I ever saw Toyah live was at a local club, where the dynamic lady herself was backed by the mighty Girlschool. All of these fearsome females put on an explosive show, comprising of ultra-rocked-up originals from both artists and classic rock covers. So yes, Toyah is more rock’n’roll than you (or I) will ever be.
To be fair, despite her pop pedigree, Toyah Willcox has always been more Bowie than Kylie. And on this reissue of the 1980 live album, Cherry Red have presented us with a vibrant – even, dare I say it, rocking – bunch of post punk songs that show Toyah and her band in full flight. The expanded deluxe CD set is packaged with a DVD featuring a contemporary documentary. For this review though, we’re focussing purely on the music.
Happily, the production is top notch. Remastered by Nick Watson from the original master tapes, the sound is formidable. The instruments come through crisp and clear, and the vocals are excellent, as shown on ‘Victims of the Riddle’ where keyboards maintain a steady melody while lead guitar erupts with energy. Likewise, bass and drums shine on ‘Love Me’ – it’s particularly impressive considering we’re dealing with a 40-year-old live album.
Highlights on “Toyah! Toyah! Toyah!” include ‘Bird in Flight’, ‘Danced’ (which reminded me of the Skids) and the occult war chant of ‘Ieya’. Never truly dark enough to be goth, the songs here are more “Scary Monsters” with a generous helping of Hawkwind space rock, especially on ‘Race Through Space’.
Through it all, Toyah’s one-of-a-kind voice soars. Toyah has never stopped writing and performing music, acting, presenting and so on; these days she’s famous for her lockdown YouTube videos performing kitchen-based rock covers with husband, King Crimson legend, Robert Fripp. It’s great to hear “Toyah! Toyah! Toyah!” remastered and in pristine condition. Even speaking as a vinyl purist, it looks like my ancient vinyl copy has had its day.
Platinum Al's Virtual Hot Tub 