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Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Motley Crue's Dr. Feelgood, celebrating its 35th anniversary with a special reissue on red and white splattered vinyl, stands as a pivotal moment in the band's career. Released in 1989, the album marked a fresh direction, with the band newly sober and working under the meticulous production of Bob Rock. His attention to detail elevated their sound, pushing them to refine their performances and embrace a more polished, melodic approach. The result is a powerful fusion of hard rock and commercial appeal, highlighted by iconic tracks like 'Dr. Feelgood' and 'Kickstart My Heart'. Mick Mars' razor-sharp guitar riffs, Nikki Sixx's prominent bass, and Tommy Lee's pounding drums all contribute to the album's electrifying energy. Vince Neil delivers some of his most dynamic vocal performances, particularly on the ballad 'Without You' and the infectious 'Don't Go Away Mad (Just Go Away)'. Lyrically, Dr. Feelgood shows the band's newfound maturity, with songs like 'Time for Change' revealing a more introspective side. Yet, they don't stray far from their trademark themes of sex and rebellion, seen in tracks like 'Rattlesnake Shake' and 'She Goes Down'. The album solidified Motley Crue's status, topping charts and proving they could evolve without losing their edge. Dr. Feelgood remains a defining work in their legacy.

Review: Over three decades since it first landed like a glitter-covered brick on 90s dancefloors, Haddaway's 'What Is Love' returns in a newly remastered edition i and it still hits like heartbreak in a club bathroom at 2am. Originally released by the Trinidad-born, Germany-based singer in 1993, the track remains an unmatched high watermark of eurodance: emotionally grand, melodically undeniable and rhythmically bulletproof. The remaster elevates the sound without overcooking it, keeping the bass taut and the synths sharper than ever. This new 10" release pairs the remastered 7" and 12" mixes with three more Haddaway essentials. 'Rock My Heart' is all turbocharged joy, while 'I Miss You' slows things down into something softer, almost wistful. 'Sing About Love', a lesser-known cut, benefits most from the fresh polish i suddenly blooming into full pop spectacle. It's a brand new release with one foot in club history and the other in now, reintroducing Haddaway's iconic anthem to a new generation while giving long-time fans the sonic upgrade they didn't know they needed. There's sincerity here that still feels bracing i love hurts, sure, but it also bangs. Put simply: if this is what nostalgia sounds like, we're fully on board.

Review: Originally released in 1982, Upstairs At Eric's marked the arrival of a duo as timeless as they were era defining, capable of capturing the very essence of an emerging, tech-driven music scene while also writing tracks that still sound incredible today. Many of which have been repurposed, sampled and remixed to the ends of the Earth and we're still not bored. Produced by the two band members, Alison Moyet and Vince Clarke, alongside Daniel Miller, boss of Mute Records, the legendary British label that first carried this, we shouldn't need to namedrop tracks here - Upstairs At Eric's is, frankly, the landmark synth-pop record. Just in case, though, think 'Don't Go', 'Goodbye 70s', and 'Only You'. And that's before we get into the lesser radio-played gems.

Review: There's something timeless about the way this veteran UK singer carries himself and this 2010 album, now reissued on striking red vinyl, makes that all the more clear. It feels like a continuation of the Roxy Music legacy in spirit, mood and style, with that familiar air of suave detachment and immaculate detail, with a production styler that's lush and forward-thinking, bridging classic lounge-pop stylings with modern textures that still sound fresh over a decade later. The sleekness is no accident - every element is meticulously placed, from the glossy synths to the hushed guitars and orchestral flourishes. 'Shameless' is one of the more adventurous tracks, pulling in electronic flourishes courtesy of Roots Manuva. It's a bold move that actually works, blending suave vocals with a beat-driven framework that never feels forced. The real surprise, though, is the version of 'Song to the Siren' - a haunting, fragile take on the track made famous by Tim Buckley and This Mortal Coil alike, that shows just how much weight his voice can carry with minimal backing. Easily one of the most affecting covers in his catalogue. 'Tender Is The Night' rounds out the highlights with a melodic, romantic glow. There's an added layer of interest with Brian Eno - a Roxy member in its early days - contributing, creating a sense of full-circle collaboration. The sound of a seasoned artist evolving gracefully, without losing the qualities that made him magnetic in the first place.

Review: Now reissued on vinyl, this 1999 album from veteran solo crooner and former Roxy Music frontman sees him in full command of his cabaret croon and vintage sensibilities, diving headlong into a collection of pop standards from the 1930s and 40s. Known for reshaping rock and pop songs in his own image, Ferry here takes a more classical routeinot to reinvent, but to evoke, with renditions rendered with delicate, period-authentic arrangements: intimate string sections, lilting piano and subdued brass, as Ferry's famously tremulous voice drifts like perfume through the arrangements. He approaches standards like 'Lover Come Back To Me', 'I'm In The Mood For Love,' and 'You Do Something To Me' with characterstic effortlessness, and rather than sounding like a museum piece, As Time Goes By feels lived-in and cinematic. A smooth, sepia-toned reverie.

Review: Led by Edinburgh-born Los Angeles-based 90s superstar Shirley Manson, Garbage have emerged from dark, troubling times to present a new album. The follow up to 2021's No God No Masters was originally intended for release in 2023, but got put back, reportedly due to Manson's surgeries, writer's block and the death of her pet dog. Those who've kept patient, however, are in for a treat: it's a life-affirming record that stands tall in the transatlantic group's storied oeuvre. Ever the sharp critical thinker, the lyrics to lead single 'There's No Future In Optimism' remind us to grab life by the horns and feel unburned by darkness for a moment - it's a message we need from our popstars and it's a nice respite from the cranky punk music that's saturated our radio waves over the past few years.

Review: This is the first album in four years from Scot-fronted Los Angeles band Garbage and their eighth studio album total. The previous album, No Gods No Masters, delved into some heavy sociopolitical themes, which were given a lot of attention because it came out amid Covid. With this album, as the title gives away, there is a shift towards more positive thinking, even if some seriousness remains. The single 'There's No Future In Optimism' reminds us to grab life by the horns and feel unburned by darkness for a moment - Shirley Manson clearly remembering the joy of pop and the hope it can bring, despite geopolitical uncertainties. Sonically, they've crafted very powerful electronica-tinged rock, with a brilliant emphasis on rhythm, the joys of a well constructed beat and some gritty bass.