The Prize – ‘Wrong Side Of Town’ (Anti Fade Records) The Prize is Melbourne’s hottest new addition, Forming in early 2021 and figuring out a way to jam and write songs in between rules and restrictions, The Prize landed on a blend of power pop and rock and roll that’s equal parts the finest melodies of the likes of The Boys and Buzzcocks and the muscle of hard rockers like Thin Lizzy mashed up with some Ramones for good measure.  This five-piece brings three guitars and five voices that harmonise together for a fuller sound than you’d imagine but the melodies are sumptuous and the music roars. Fantastic introduction to what looks like being Australia’s next big thing.

Buy Here

The Hi Ends – ‘Scene Queen’ (Rum Bar Records) There’s a big heavy chunk of DC running through this bad boy, especially on the understated solo. It’s a smoldering slab of rock n roll. IT’s nonsense-free, ego-free, bullshit-free, loud overdriven Rock n Roll kids and thats got to be championed. Name your price digital singles never ever sounded so good but then it is on Rum Bar so with the seal of quality I shouldn’t have tell you to get on the link and turn it up! pick it up Here

Jesse Malin – ‘Keep On Burning’ (Wicked Cool Records) Malin just gets better and better no matter what he does be it acoustic troubadour or rock n rolla or something in between. ‘Keep On Burning’ is radio-friendly mid-paced with some superb musicianship and arrangments and I guess the high quality you’ve come to expect theres even a cameo from his old mentor and colleague Ryan Adams. Flip it over and you have a sumptuous cover of ‘Oh Oh I Love Her So’ sure Malin being a Noo Yawker just gets it and can spin it however he likes it, punk it up or turn it on its head and countrify it. Single of the week? Too right it is. Buy Here

Demonio – ‘Black Dawn’ (Self Release) Some things can’t be unseen and can’t be ignored so hey look at that artwork – Zero Fucks Given right there. The song is born in a haze of early Sabbath meets some licking of a certain lizard back or is it a toad? Who knows but these guys are far out and the epic tune goes on for eternity if you’re off your tits as it hits a breakdown and then gets the fuzz out. Garage Fuzzed Rock n Roll is indeed the ‘Eye Of Evil’ the fuzz continues, as ‘Bring You Down’ is mega overdriven fuzz on another level. but hey hold on the third offering is a seven-minute fuzz-out that would give Hendrix and Cream a run for their money and I’m sure no illegal substances were used in the writing or recording of this beast. Get on it even if your name isn’t Cheech or Chong or Jimi. They’ve got a fuzzbox and Wah and by golly, they’re going to use it! Buy Here

Dub War – ‘Art Of War’ (Earache Records) Pre order the album that Art Of War is lifted from here

Spirit In The Room- ‘Flamingo’ (Housecore Records) Spirit In The Room will fuck with your head. In 2022 whilst the world wakes up from itcoma of the past few years a band releases an EP that embraces the edges of electronic music like a throbing dark NiN and throws in some sharp electric guitars over a whole headfuck of time changes and melodies.

It’s like some heaving Depeche Mode mixed with 80s Bowie as the opening tune will testify ‘If You Must’. ‘Body’ is an altogether more punky spikey slice of Fuck You attitude. What a raging banger of a tune. Sure there are parallels to NiN especially on ‘The Bird Of Paradise’ but theres more going on here it’s the sound of a headful of ideas just spilling over and capturing whatever comes out. The final track on this EP is the headfuck of ‘I Used To Be A Machine’ which sounds like your worst nightmare captured using the most brutal instrument attack possible, It’s blunt forced trauma with distorted guitars and a twisted melody.

I like it a lot and the more I played it the better it sounded it was causing tenstion at the same time it was calming like listeing to david Sylvian in one speaker and Mutation in the other with Depeche Mode in the background for good measure. A real cathartic experience palet cleaning using the medium of music. Perfect. Buy SITR Here

The Chats – ‘I’ve Been Drunk In Every Pub In Brisbane’ (Bargain Bin Records) Lifted from the new album ‘Get Fucked’ out in August. The Chats go from strength to strength but of course it wouldn’t be fair if they didn’t hydrate properly so fill yer boots ya fuckin bellends and go knock yourself out to this banger.

Andy Guttercat – ‘UTurn’ (Self Release)  the third Solo Single from Andy is Available on all Streaming and Digital services 29/7/22. It’s again recorded by Dave Draper and sees Andy pen his best song to date. Andy calls in some mates to record this slice of power pop yob rock. It’s like a collision between early Tigertailz and The Babysiitters but then again I might change my mind. Had this been the late 80s or early 90s and came on in the Hippodrome Leicester Sq or the Marquee club the beer would have been everywhere. Good effort

Rowsie – ‘Searching’ (Ivy Records) Radio friendly Rock n Roll is whats on offer here. ‘Searching For A Home’ is the lead track and its a sprightly tune with its crisp guitar break over some well blended harmonies. ‘Love So Clear’ is a well worked beat holding down some tasty guitar parts that is a song that has equal parts latter day Dylan and some Tom Petty with a good duet of the male/female vocals makes for a really decet tune.

‘Gaslight’ sees the band look back at Jan 6th and what went down on capitol hill and a reflective mid paced song builds nicely to reach an excellent lead guitar break. Wrapping up this EP is something of a countrified ballad with a chiming lead break that sets the song on fire. For more information visit:

The Right Here – ‘Reckless Kind’ (i94 Recordings) New single from Minneapolis’ The Right Here out on the Detroit label I-94 Recordings. “Reckless Kind” is an uptempo song that harks back to the roots of Minneapolis rockers The Replacements and some of the spirit of Husker Du as well as subtle shades of Green On Red when they cut loose. This is the 4th installment in the “B” side Detroit covers series. They put their spin on the ’90s classic“Molly” (Sixteen Candles Down the Drain) from Sponge. In a thoroughly enjoyable slab of foot stomping heartfelt honest to God rock n roll. what’s better? Not a lot when it’s played with this much gusto and spirit, excellent tunes.

Noo Yawk City mutherfuckers! via Old London Town. Mala Vista has released their debut long-playing platter that matters and it’s a slab of Lo-Fi Punk Rock n Roll that’s as much The Boys as it is The HEartbreakers and a whole lotta snot besides. IT’s thirteen grizzly slices of all the meats pizza the action and they’ve nailed that attitude-soaked punk n roll from the lo-fi production that is every bit their identity as the melodies that cut through the airwaves when the needle drops.

From the opening speaker cone splitting treble of ‘Baby So Wasted’ the chaos begins with the cool as fuck guitar breaks that pierce the sound levels and punctuate a rapid slice of Punk n Roll to the Buzzcocks inspired ‘Nowhere To Go’ this album is crammed full of top tunes that ebb and flow very nicely spitting out sweaty salty Punk Rock.

The chest-beating riff-a-rama of ‘Nuclear’ that swiftly goes pogo tastic or the infectious ‘NY Groove’ Mala Vista has got the chops and it’s no wonder they captured the interest of No Front Teeth Records because it’s a perfect collision of like-minded souls.

‘Relegated Lover’ started off like the bastard son of Rebel Rebel with the needle in the red before breaking out into a stonking thumping chest beater. ‘Ole Blue Eyes’ is like one of those magic tunes that drops when you hit the random button on a Wurlitzer in some dive bar far from home, It’ll put a smile on your face and have you raising a glass to the magic of a great tune. ‘Western Beef’ is like the runaway speed train with Chuck Berry at the steering wheel. The album is relentless as ‘Echo’ kicks into ‘Mouth Breeder’ which then spills into ‘Criminal’ with all its wonderful snotty melody it could be a kissing cousin of Los Pepe.

‘Summer Weekend’ is a banger that sounds familiar because it’s got the hallmarks of what’s gone before it from the melody to the chorus – great stuff. ITs a rapid over with in the blink of an eye, punk rock that fuses a whole bunch of top-notch influences together in a bunch of perfectly formed songs from the Ramones to the Boys to Buzzcocks to The HEartbreaers and a whole bunch in between Mala Vista has delivered a banger of a debut album and I suggest you check it out – Pronto!

Buy Here


Author: Dom Daley

SLADE“All The World Is A Stage’’ box set includes 5 live albums, 

three of which have never been released before 

Available 9th  September

Pre Order Here

On 9th September Slade and BMG are proud to present their new smash hit live boxset ‘All The World Is A Stage’, shining a light on Slade as a phenomenal live band. This unique five-album set serves as documentation of why Slade became pretty much unbeatable as a live attraction, 
Slade were unstoppable throughout the seventies becoming one of Europe’s biggest bands, releasing 6 smash hit albums, including three UK No-1’s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era. This new live boxset includes three never previously released live sets from across Slade’s expansive live era and will become a key component of the Slade catalogue for years to come.

The three previously unreleased live shows featured on ‘All The World Is A Stage’ are –

Live At The New Victoria recorded on April 24, 1975, captures the band before they went around the UK to promote their feature film, In Flame. Heard officially for the first time, it now presents a fitting snapshot of the group’s powerful live performances. 

Live At The Hucknall Miner’s Welfare Club recorded on June 26 1980, shows the band unwilling to trade exclusively on their past with songs featured from their new studio album at the time ‘We’ll Bring The House Down’, along with classics ‘Take Me Bak ’Ome’, ‘Gudbuy T’Jane’, ‘Everyday’ and the perennial ‘Mercy Xmas Everybody’.

Alive! At Reading the third unreleased full live set, captures the band delivering a sensational live performance to over 80,000 people. As last-minute replacements for Ozzy Osbourne, few knew they were going to be performing but their sensational set was the highlight of the festival and led to Slade enjoying a renaissance in the eighties.
Completing this raw and epic new live box set is previously available;  ‘Slade Alive!’ considered one of the greatest live albums of all time, “Sounds better, the louder you play it” – Los Angeles Times, and 1982’s Slade On Stage.  
‘All The World Is A Stage’ will be a collector’s item for years to come. Exploring the shows that paved Slade’s journey to their legendary live status within the rock community.

There’s been more than the odd occasion recently where I’ve found myself “getting something in my eye” as I’ve been whisked away on some kind of H.G. Wells inspired time travel moment back to my teenage years, all thanks to the power of rock ‘n’ roll. Midnight most certainly had me laying down my soul to the god’s rock ‘n’ roll when I saw them live a few weeks back, and only last week the new album by Then Comes Silence had me up on a mate’s shoulders chicken dancing like an idiot (well, in my head at least). Step forward then the latest mob to have this effect on me, and have me two-stepping all over the living room, namely US hardcore punk (super)group Beach Rats.

Initially the brainchild of Pete Steinkopf and Bryan Kienlen from the Bouncing Souls, following a memorial concert for Vision frontman Dave Franklin where the duo teamed up with Ari Katz from Lifetime, and had one of those magic lightbulb moments in process. The whole thing finally came together when Brian Baker of Minor Threat, Dag Nasty, Bad Religion, and Junkyard fame relocated to Asbury Park, New Jersey, looking, as he always seems to be, for yet another band to play with, and then by adding in Danny Windas, AKA ‘Dubs’ on drums, the Beach Rats were finally born.

Having subsequently signed with Epitaph Records, (I wonder how that happened eh?) Beach Rats are perhaps the band Baker’s other Epitaph side project Fake Names should have been, as I must admit that (given the musicians involved) I was fully expecting to love that record, yet it all kind of left me cold. Thankfully then, ‘Rat Beat’ is hotter than the UK’s annual couple of days of sunshine that we like to call summer. With just two of the album’s dozen tracks passing the two-minute mark, this is fast and furious punk rock, very much honed in the style of the early eighties’ crossover scene BUT (and this is a huge but) the songs also possess a much more contemporary edge (largely thanks to the vocals of Katz) which means there’s also the odd insanely catchy number in here too.

So, whist ‘Dress For Sick Sesh’ and album closer ‘Fuck You Dad’ might have me thinking of reaching for my copies of Cryptic Slaughter’s ‘Convicted’ or Crumbsuckers’ ‘Life Of Dreams’ for a long overdue spin, it’s the groovy as hell ‘Summers End’, the anthemic ‘Words’ and the more introspective ‘Clorox Boys’ where the melodies really cut through, and Beach Rats sound absolutely essential.

Look, if you’re a fan of any of Beach Rats’ associated bands then it goes without saying that you need a copy of ‘Rat Beat’ in your collection, but in saying this, if you are also a fan of the likes of Aerial Salad, Incisions, or Pizzatramp, you do also really do need to start saving your beer tokens and snap up a copy of this record when its released (on LP. CD and download) on July 29th.

The ‘Rat Beat’ is groovy as fuck. Now, go flip your baseball cap peak up and get ready to (slam) dance like a teenager all over again.

Buy Here


Author: Johnny Hayward

Phillidelphias Chained Bliss first came to our attention back in 2019 with their ‘Stained Red’ cassette EP. This full length album sees the band back on the radar sounding ready for action and up for the fight.

Punk Rock with Melodic guitar lines jaring power chords, while frantic choruses. ITs got plenty of bite and roar as well and is set to get your pulse rate up.

Chained Bliss come from a base of garage rock, skateboards, and a scene we relate to the likes of a lot of So Cal punks. There is clearly a love of thrashing around making noise and living for the moment. From the thump of the bass line on opener ‘Nonfiction’ there’s confidence happening here and I like it! ‘Devils Laughter’ is more of the same with a great tempo that helps ramp up the vibes. It also contains a smart breakdown in tempo that is welcome.

It’s not all banger after banger mind, however, the cool opening on ‘Creative Seizure’ reminds me of prime-time Fugazi and if they’re channeling that kind of smarts then the future is bright, very bright. ‘Pillars of Abuse’ starts with a cool groove that helps catch your breath but you can feel the tempo rising as the drums get louder we’re barely a minute in when the circle pit opens up and you can’t wait to throw your carcass in for more brain banging punk rock but it does ebb and flow like the best of the Banshees used to.

‘Inner Citadel’ bumps into the excellent ‘Ominous Life’ and the party continues. hit after hit of energy washes over you. It’s basically ten tracks of the very highest standard punk rock you could wish for. Some great melodies and breakdowns all add to the thrill of what an LP should sound like.

This is a band and an album that should be taken into the hearts of punk rock kids everywhere it’s a great LP and one that deserves to be cherished long and hard everywhere. they’re probably too modest to say it but I’m not – this record is all killer and no filler and banger after banger in the youfs language get out there and check em out! before they blow up and you’ll be too cool to listen. They saved the best til last as well with the final three offerings being the best tracks on this album ‘Drifter’, ‘Mirrors’ and ‘Stained Red’ – bloody great stuff!

Buy Here

Author: Dom Daley

Following on from the success of last year’s “I’m A Believer” CD single, which reached the Top 10 of the UK Heritage Chart, Finnish label Woimasointu will release a new double “A” side 7-inch vinyl single from The Boys. The single will come in three different versions including two Special Limited Editions.

Version One: “SHE’S THE REASON” c/w “(There Ain’t No) Just One Beer” & “I’m A Believer”.
Green vinyl with free Boys sew-on patch and new picture sleeve individually numbered 1-100.


Version Two: “I’M A BELIEVER” c/w “She’s The Reason” & “(There Ain’t No) Just One Beer”.

Blue vinyl individually numbered 1-100.

Version Three: “I’M A BELIEVER” c/w “She’s The Reason” & “(There Ain’t No) Just One Beer”.

Regular black vinyl issue.

Black vinyl copies are available from The Boys. BUY HERE

Please VOTE for “SHE’S THE REASON” at No. 45 in the UK Heritage Chart: VOTE HERE

You can also stream the single Here

A single launch show next Friday 15th July Camden Assembly with Healthy Junkies/Kyran Thrax/DJ Pete Fox.

No More Good News’  was written after hearing that Tom Petty had died. David Bowie was lost the year before…two of the band’s  musical heroes. ‘We lost many before them, and of course, there was to be more after them.’ Tom Petty’s Album & Song ‘Wild Flowers’ is referenced in the song.

A single launch show will be held at the Camden Assembly on the 15th of July with special guests Healthy Junkies. The band are currently collaborating with Eater main man Andy Blade, after meeting at a recent Wasted Youth gig. A London show on the 26th October in celebration of Cleopatra records 30th anniversary has just been announced where the band will be Andy’s back up band playing ‘Ant’ in its entirety. Also on the bill Jah Wobble, who will be playing ‘Metal Box’ in dub for the fist time & 999.

New rock outfit UMBILICUS have released their first single, called “Hello Future”, from their debut album “Path of 1000 Suns”.  The group is made up of CANNIBAL CORPSE drummer/lyricist Paul Mazurkiewicz, guitarist Taylor Nordberg (DEICIDE, INHUMAN CONDITION), bassist Vernon Blake (ANARCHUS, NAPALM DEATH-live), and vocalist Brian Stephenson (FORE, OLD JAMES). Though the band members are active in the metal community, the quartet put their love of 60’s and 70’s rock into an album of hard rock, drawing influences ranging from GRAND FUNK RAILROAD, AEROSMITH, LUCIFER’S FRIEND, SCORPIONS, LED ZEPPELIN.

Album incoming in September Here

‘The Hunger’ is a Tony Scott directed cult underground vampire flick from the eighties starring Catherine Deneuve, David Bowie, and Susan Sarandon with a plotline centred around the seduction of a doctor who specializes in sleep and aging research (Sarandon) by a vampire couple (Deneuve and Bowie). I reference this simply because, this, the sixth album from Swedish postpunk doomsters Then Comes Silence, could very easily have not only fallen out of that same era but also provided the perfect soundtrack for said film, weaving as it does a darkly erotic web of intrigue within its eleven tracks.

Since the heady days of Uber Rock (through which I first discovered the band via their album ‘NYCTOPHILIAN’) I’ve had nothing but absolute admiration for what Alex Svenson and his bandmates do in the name of goth, and most recently back in 2020 (right here on RPM) I rather cheekily stated that their ‘Machine’ album track ‘Apocalypse Flare’ was possibly the best Mission song The Mission have never actually written. Fast forward to 2022 then, and it’s not just me singing those praises, because, who else but Mission frontman Wayne Hussey has just popped up on social media to declare his own love for his potential blood brothers by proclaiming Then Comes Silence to be “everything a band should be”.

So, if you’ve still not listened to our rave reviews and still not checked out Then Comes Silence, this really is your best chance to finally set the record straight, as ‘Hunger’ is without doubt the band’s most complete sounding record to date. Granted, its maybe not as immediate as their Nuclear Blast 2017 released ‘Blood’ album, but just like the aforementioned ‘Machine’ record from 2020, what this one does is get under your skin, you just need to let it in…(see what I did there vampire fans?)

Whilst it’s not the first track on the album ‘Rise To The Bait’, the first video from ‘Hunger’, is probably the best place to start with this record if you’ve never heard the band before, as this tune would have been a sure fire hit for the band here in the UK had it been released back in the mid eighties and would have had arms flapping aplenty on the packed dancefloors of the likes of the Batcave.

Then after that when I go back to the gloriously pompous opener ‘Ticket To Funerals’ it’s the slightly more prominent use of keyboards, and an almost Killing Joke circa Night Time chime to Mattias Ruejas Jonson’s guitar, that strikes me first about the band’s 2022 sound.

By track three ‘Cold From Inside’ I’m starting to think just how much this actually reminds me of the latter day Mark Lanegan Band albums in structure and tone, perfectly blending electronica with sombre vocal undertones, and the melody lines cutting through like shards of daylight in an otherwise dimly lit smoke filled room. It’s all VERY atmospheric and dark, but then again, when haven’t Then Comes Silence been either of those things?

The likes of ‘Worm’, ‘Chain’ and ‘Weird Gets Strange’ continue very much in the band’s already established songwriting template, with nods to the Mission meeting up with Nephilim/Cure/LOTNC and The Cult and a subtle hint of Ghost Dance thrown in for good measure. It’s those aforementioned extra added dynamics though, especially in the guitar tone department, that had me checking to see if Youth had actually got a production credit on this record. (He hasn’t, the sonics were captured by Svenson and mixed by Tom Van Heesch).

As with every Then Comes Silence album I own there’s once again strength in depth within the songwriting and if at all possible, this record actually gets better as it progresses with a particular later highlight being ‘Pretty Creatures’, the best Banshees track the Banshees never wrote (sorry, I just couldn’t resist that).

If you like the sound of all of this, then I implore you to check out ‘Hunger’ – it’s an epic celebration of everything great about independent music here in 2022 and whilst it’s steeped in the history of goth (and hence my references above) it also takes the genre off into an all-new glorious dawn (of the undead), and that, boils and ghouls, is what has always excited me most about Then Comes Silence. 

‘Hunger’ is a sonic stake through your cold heart, go grab your copy via the links below.

Buy Here


Author: Johnny ‘Nosferatu’ Hayward

Become Like They Are is the latest offering from Horned Wolf. Hailing from the US, they have been described as ‘progressive sludge metal’. I’m not sure what that is, they just sound like ‘metal’ to me…. The band have been around since 2015 and this is their first release with vocalist Sav.

If you like shouty, growly vocals, down tuned guitars, Sabbath and Alice in Chains style riffing, as well as some powerhouse drumming, Horned Wolf will be right up your street. I have to say that I’m not a huge fan of Sav’s vocal style, but I can certainly appreciate the talent it takes to be able to sustain that kind of delivery.

Opening track ‘You’re Boring’ kicks off with a mid-paced chug along, some tasty drumming from David Zey really helps to elevate the track. There are plenty of twists and turns to keep you interested at this stage.  ‘Bloodlines’ has a Kyuss kind of sludgy feel to it, nice and doomy. ‘Charnel House’ highlights some clean vocals from Sav, I much prefer this to the Evil Dead-style shouting that goes on for most of the time.

Drag the Bayou’ is another mid paced number with some cool riffing and twin lead work from guitarists Don Bailey and Justin Mullin. It is all a little on the generic side though and the tracks do tend to blend into each other. The title track gives us more of the same, by the time I’ve got to this stage of the album, I’m bored and don’t really want to listen to anymore. Not that Horned Wolf aren’t good at what they do, they are. It just doesn’t resonate with me, not enough melody, no real earworms to speak of and it just becomes background noise.

As I previously stated, Horned Wolf are good at what they do, it’s just not my bag. Best of luck to them, I’m sure in their genre they will be appreciated. The album artwork is pretty cool too.



Author: Kenny Kendrick


Streaming on Spotify now

Manic Street Preachers have posted the second in a series of career spanning Spotify playlists specially curated by the band. 

Sleep Next To Plastic focuses on the cover versions Manic Street Preachers have performed over the years. It includes new/lost recordings, B-sides and album tracks. Fifteen of the covers have previously been unavailable officially through streaming services; the version of Madonna’s Borderline was recorded in the band’s Door To The River especially for this playlist. 
Covers have away been central to Manic Street Preachers ethos, whether playing raw versions of Happy Mondays or Clash songs at early gigs or adding inspirational classics written by Guns N’Roses or Echo and the Bunnymen to recent live shows. 
Manic Street Preachers on Sleep Next To Plastic: “Cover version have always offered us  a chance to pay direct, public tribute to records we grew up obsessing over, be that C86 bands or artists as diverse as Madonna, John Cale and Paul Robeson. Collectively, these covers are a heartfelt musical tribute to our formative influences.”

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That tracklisting in full: 

1. Borderline (Madonna, new recording) 

2. Take The Skinheads Bowling (Camper Van Beethoven)

3. Red Sleeping Beauty (McCarthy)

4. Jean’s Not Happening [featuring Finlay George] (The Pale Fountains, lost recording)

5. The Endless Plain of Fortune (John Cale – new to Spotify)

6. Feels Like Heaven (Fiction Factory – new to Spotify)

7. Umbrella (Rihanna)

8. Out Of Time (The Rolling Stones)

9. Train in Vain (The Clash)

10. Pennyroyal Tea (Nirvana, recorded live at the BBC – new to Spotify)

11. Let’s Stay Together (Al Green, recorded live at the BBC – new to Spotify)

12. Theme From M*A*S*H [Suicide Is Painless] (Johnny Mandel/Michael Altman/The Ron Hicklin Singers)

13. Vision Blurred (The Horrors – new to Spotify)

14. Working Class Hero (John Lennon)

15. Wake Up Alone (Amy Winehouse – new to Spotify)

16. Bright Eyes (Art Garfunkel, previously unreleased full band version) 

17. Been A Son (Nirvana)

18. Foggy Eyes (Beat Happening)

19. This Is The Day (The The)

20. Inbetween Days (The Cure, recorded live at the BBC – new to Spotify)

21. Sweet Child O’ Mine (Guns N’Roses, live recording – new to Spotify) 

22. All Or Nothing (The Small Faces recorded live at the BBC – new to Spotify)

23. Didn’t My Lord Deliver Daniel (Paul Robeson)

24. Can’t Take My Eyes Off You (Andy Williams)

25. Bring On The Dancing Horses (Echo & the Bunnymen, recorded live at the BBC – new to Spotify) 

26. Wrote For Luck (Happy Mondays)

27. What’s My Name (The Clash)

28. We Are All Bourgeois Now (McCarthy)

29. Under My Wheels (Alice Cooper, recorded live at the BBC – new to Spotify)

30. Rock’n’Roll Music (Chuck Berry)

31. Damn Dog (Sleaze Sisters)

32. Velocity Girl (Primal Scream)

33. The Instrumental (The June Brides – new to Spotify)

34. Summer Wind (Frank Sinatra – new to Spotify)

35. Last Christmas (Wham!)

36. Raindrops Keep Fallin’ On My Head (B.J. Thomas)

37. Primitive Painters (Felt – new to Spotify)