Live review: Slade at White Rock Theatre, Hastings 28/11/25

Glam rock, Hastings music scene, Live reviews, Rock music, Uncategorized, , , , , , , ,

I was lucky enough to see the original line-up of Slade on one of their annual Christmas tours a couple of times back in the early 1980s. Then, after Dave Hill reformed the band with Don Powell in the early 1990s, seeing Slade every Christmas pretty much became an annual tradition. Health issues meant that Hill, now the only original remaining member, had to miss a couple of years in recent times. But now he’s back on the road for a ten-date UK tour. As he approaches his 80th birthday next April this has been advertised as the final ever Slade Christmas tour. They are not giving up playing live altogether, Hill reassures us all later on. There will still be the odd show, just not these big tours.

Yes, there’s no Noddy and Jim, the ones who actually wrote all of those Holder/Lea hits being blasted out tonight. Don departed some years ago amidst a certain amount of acrimony and so Dave with his ever-flamboyant stage-attire is the last man standing. But it’s a chance to see a bonafide ‘70s legend less than a mile from my front door and, most importantly, a chance to celebrate all those hits with as much communal stomping, swaying, singing and clapping as all of us can muster. I wouldn’t miss it for the world.

Looking forward to getting crazee with Slade!

It’s not exactly an unfamiliar set-list, either for long-time Slade fans or, indeed, almost anyone who had more than a passing acquaintance with the chart music of the 1970s and early ‘80s. Only three of the songs being played tonight came in below the Top Five in the UK singles charts! And the only things that may even slightly resemble anything like a ‘deep cut’ are ‘Lock Up Your Daughters’, a minor hit for the band the year after their post-Reading comeback; and ‘My Baby Left Me’, another minor hit recorded as a tribute to Elvis following the King’s death in 1977. Familiarity is what’s it’s all about tonight and kicking off with ‘Take Me Bak ‘Ome’ the big hits come thick and fast.

The classic Slade live format of lead guitar, rhythm guitar, bass and drums has been tampered with in recent years and rather than someone taking on Noddy Holder’s old role on second guitar, you now have Russell Keefe on keyboards. This works surprisingly well, especially given the prominence of the keyboards in so many of Slade’s mellower numbers, like ‘Everyday’, ‘My Friend Stan’ and ‘My Oh My’. What works less well is when Keefe takes lead vocal on several songs. Holder’s voice was gravelly but it was never gruff. In Slade’s glory days, Holder could yell louder than any of them but Tom Waites he was not.

Without trying to mimic Holder, Hill’s long-time bass-player, John Berry, does a much more sympathetic job on the songs where he sings lead. The other new-boy, Alex Bines, pounds away on drums as the audience clap and stomp along, and the soon-to-be-octogenarian Hill nails all those familiar, classic, guitar solos.

An impassioned Dave Hill imploring the crowd to look to the future

It’s the first night of the tour and towards the end Hill seems genuinely moved by the rabble-rousing response from the audience tonight. After a suitably crazy ‘Mama Weer All Crazee Now’ the band exit the stage but soon they are back for an encore with an epic singalong rendition of ‘My Oh My’, followed by a wonderfully raucous ‘Cum On Feel The Noize’.

But wait, it’s nearly December, it’s the start of the Slade Christmas tour and there’s obviously one song left to do. The roadies are on hand to distribute Santa hats, Dave Hill gives an impassioned plea about looking to the future, even though times might be right now, and soon we’re all yelling along to Merry Xmas Everybody’ at the top of our voices and leaving with a real spring in our step ready to face 2026.

Setlist:

Take Me Bak ‘Ome
Lock Up Your Daughters
Look Wot You Dun
Everyday
Coz I Luv You
Run Runaway
My Friend Stan
Far Far Away
The Bangin’ Man
My Baby Left Me
Gudbuy T’Jane
Mama Weer All Crazee Now
My Oh My
Cum On Feel the Noize
Merry Xmas Everybody

Related posts:

Book: ‘Slade In The 1970s’ by Darren Johnson

Let there be drums! interview with Slade legend Don Powell

Interview with former Slade legend Jim Lea

Jim Lea at the Robin 2, Bilston 2017

Before glam: the debut 60s singles of Bowie, Bolan, Slade, Mud and Sweet

Slade, strikes and the three-day week: the story of the greatest Christmas record ever made

Slade at Donnington 1981

Slade at White Rock Theatre, Hastings 2015

Giants of Rock, Minehead 26-29 January 2018

Slade at Brighton 2019

‘Steeleye Span 1970-1989 On Track: Every Album, Every Song’ – Book reviews round-up

Book reviews, Folk music, Music culture & history, Rock music, , , , , , , ,

Following my ‘glam rock trilogy’ on Slade, Sweet and Suzi Quatro, my fourth book for Sonicbond Publishing came out in August 2025: Steeleye Span 1970-1989 On Track: Every Album, Every Song. I’ve been really heartened by the enthusiastic responses from readers so far (reaching Number 2 on Amazon’s Music Encyclopaedias Chart) and the many kind words from reviewers.

Darren Johnson

“Both satisfying and engrossing, what should’ve been a simple task to read and comment on, became a series of rabbit holes, as songs and entire albums had to be revisited or indeed investigated. Both for the purposes of research and pure enjoyment, as well as a degree of nostalgia.” Folk North West (read full review here)

“Darren Johnson has done a remarkable job in squeezing the details of fourteen albums into this slim volume” “Johnson’s research is thorough” RnR magazine

“I hadn’t heard some of these records for a very long time, but this deep dive into the band, their music and indeed the history behind some of the traditional songs they performed, caused me to listen again with fresh ears. Check it out if ‘The Span’ or indeed folk rock in general are your thing.” The Afterword (read full review here)

“The book though is very fair in recognizing it’s sources. It brings together a lot of info into a well written book – definitely recommended!” A Celebration of Steeleye Span  (read full review here)

Steeleye Span 1970-1989 On Track can be purchased via Amazon here as well as most other major book-sellers. And via the publisher’s own online shop at Burning Shed here

Related posts:

Reviews: ‘Slade in the 1970s’ reviews round-up

Reviews: ‘Suzi Quatro in the 1970s’ – reviews round-up

Reviews: ‘The Sweet in the 1970s’ reviews round-up

This week’s featured artist: original Rock and Roll / Americana from Sufferin’ Fools

Album reviews, americana, Rock music, , , , , ,

Assembled as a showcase for the songwriting of North Carolina-based Cameron Thomas, songs that “share the humble joys, struggles and mysteries of Southern life”, the North Carolina-based four-piece Sufferin’ Fools  recently released their second EP.

Sufferin’ Fools are singer/songwriter and guitarist, Cameron Thomas (who played and toured with The Delta Drift and The Corduroy Road); lead guitarist/pedal steel man, Andrew Wagley (a former member of Po Boyz); bass-player, Christopher (a former sound engineer); and drummer, Pete Schreiner (ex- Songs: Ohia/Magnolia Electric Co.)

Following an excellent debut (the four-track EP Bound To Get Burned, released in 2024) a five-track follow-up Forest for the Trees, came out in September this year.

Announcing the release of Forest for the Trees, Thomas said: “Even the best memories fade. Art, and music specifically, is a way to capture moments, preserve emotions good and bad, and memorialise life’s victories and failures – because they tell a story of who we are.”

Indeed, Forest for the Trees doesn’t shy away from the times when life hits you hard and the hard-learned lessons that stem from that. Most of the songs were written in the months preceding Hurricane Helene which caused catastrophic damage and numerous fatalities across the Southeastern United States, then promptly recorded in the aftermath of the storm.

“Musicians’ feelings can’t help but come out through soundwaves,” reflected Schreiner. “We were lucky to have a place to channel our emotions.”

“One of the greatest pleasures of this project for me,” added Thomas, “is being accompanied by an authentic and experienced group of musicians who perform as if the stories are their own to tell. I think they make my voice as a songwriter stronger, more real and far more effective.”

Rootsy and gutsy but deliciously laid-back, with gorgeous pedal steel and heartfelt vocals addressing everyman themes, whether you’re in the rugged mountain regions of North Carolina or here on the south-coast of England, what you’ll find in Forest for the Trees is warm, honest rock and roll Americana, for the heart and for the soul.

Released: 26 September 2025 https://sufferinfools.live/home

This week’s featured artists: The Metagama Ensemble – new album ‘Metagama: An Atlantic Odyssey’

Album reviews, Folk music, , , , , , ,

The exotically-titled Metagama Ensemble take their name from the SS Metagama, a ship whose voyage across the Atlantic in the 1920s, marked the beginning of a mass emigration scheme from the Hebrides to Canada.

The Metagama Ensemble explain the aim of Metagama: An Atlantic Odyssey as follows:

“Movingly commemorating and celebrating the lives of the young emigrants, from the heartache of homesickness and separation, the emotional poignancy of tragedy and loss, to the lively fun of cèilidh tunes on the dance floors of North America, this album gives voice to the experiences of those who left and those who were left behind, telling the story of an important but little-known period in Hebridean history, the devastating impact of which is still felt in the islands today.”

Originally conceived as a live show, Atlantic Odyssey began life as a Creative Scotland-supported tour of the Highlands and Islands in 2023. Since then, the Metagama Ensemble project has grown exponentially. Interest in the project and the stories around the mass emigration, has been widespread, with capacity audiences throughout the tour, followed by a sell-out show at Celtic Connections in 2024.

Countless requests for a recording of the concert prompted the Ensemble to release an album. It was recorded in Black Bay Studio on Great Bernera and in The Wee Studio on the Isle of Lewis, while also including several live tracks from Celtic Connections and Eden Court Theatre.

Across thirty-six tracks, a mixture of traditional Gaelic songs, brand-new songs performed by the ensemble in English, original instrumental pieces and spoken-word segments, the album features writer and poet, Donald S Murray; pianist/singer-songwriter, Liza Mulholland; Gaelic actor and 7:84 Theatre Company co-founding performer, Dolina MacLennan; Gaelic singer and piper, Calum Alex Macmillan; fiddler, Charlie Mackerron; singer-songwriter, Willie Campbell; and cellist Christine Hanson.

Poignantly commemorating the lives of the Hebridean migrants and of those left behind, Metagama: An Atlantic Odyssey is a gripping collection of beautifully-performed music and compelling storytelling.

Released: 19th July 2025

https://metagamaensemble.bandcamp.com/album/metagama-an-atlantic-odyssey

Folk/bluegrass: album review – Damien O’Kane & Ron Block ‘Banjovial’

Album reviews, Folk music, , , , , ,

Dubbed a ‘banjo bromance’ following two highly successful albums, Damien O’Kane and Ron Block are now back with a third.

The pair’s USP is all about fusing the equally distinctive sounds of the five-string banjo (that highly rhythmic sound prominent in American bluegrass) and the tenor banjo (heard in countless renditions of traditional Irish jigs and reels).

Northern-Ireland born Damien O’Kane (with an enviable CV as a musician working in the traditional sphere and husband of folk singer Kate Rusby) plays the latter; while California-born Ron Block (with a slew of Grammy awards and best known for his work with Alison Kraus & Union Station) plays the former.

As with the previous Banjophonics album released in 2022 (reviewed here), Banjovial is a mainly instrumental album that showcases their unique and highly infectious style across an array of equally inventive tunes.

The duo don’t write together. Each of the tunes on the album are written by one or the other but the individual labours of each are often paired together in some imaginative tune-sets. Block’s beautifully mellow ‘Shabby and Cookie’, for example, (inspired by a couple of easy-going black cats who showed up when his children were young) is coupled with O’Kane’s much more frenetic ‘St. Patrick’s Day’ (so titled because he wrote it on St. Patrick’s Day).

Both Block and O’Kane also contribute a song a piece, with Block taking lead vocal on the genuinely lovely ‘Love Is Like That’ – written as a tribute to his mother; and O’Kane taking the lead on ‘The Loudest Word’ – a charming paean to the power of music and kindness.

As with its two predecessors, Banjovial showcases stunningly adept musicianship, both from the two main protagonists with their respective banjos, and from the talented cast of long-time collaborators and special guests. Yet again, they take us on a captivating journey across a range of musical styles, moods and tempos, proving once more that the humble banjo continues to attain new heights of cool in the hands of these two.  

Released: 3rd October 2025 https://damienokane.co.uk/band/

Related posts:

Folk/bluegrass: album review – Damien O’Kane & Ron Block ‘Banjophonics’

Eagles / Robert Plant & Alison Krauss at Hyde Park 2022

Live review: X Generation X at the Brunswick, Hove 9/11/25

Live reviews, Rock music, , , , , , , , ,

I’ve been to several memorable gigs at the excellent dedicated live venue adjoining the Brunswick pub in Hove but until I turned up on Sunday afternoon I’d never even realised they also had a downstairs cellar bar venue. It was here in this small, sweaty cellar that the recently-formed X Generation X played their debut gig. As the tour’s official warm-up gig we were treated to a short but explosive set, followed by an equally lively band Q&A and some impassioned reflections from some of the old punks in the audience recalling those heady days of the birth of punk.

Read my interview with X Generation X’s Mark Laff here

A few hours later we’re back in that same tightly-packed, low-ceilinged venue for a full-length gig and an even more explosive performance. Assembled to mark the coming 50th anniversary of punk and to celebrate the music of Generation X, the band features Generation X’s own  Mark Laff  on drums, Spandau Ballet’s Steve Norman on guitar, Westworld’s Elizabeth Westwood on vocals,  Vice Squad’s Michael Giaquinto on bass and, as a late addition, James Stevenson from the final Gen X line-up also on guitar.

Mark Laff shares memories with fans during the Q&A

Kicking off with punk anthem ‘Ready Steady Go’ and with Norman and Stevenson cranking out those fast and furious riffs, it’s the perfect opener and Westwood immediately proves herself to be an inspired choice to front this project. She’s not trying to be Billy Idol, of course, as Laff himself noted when I interviewed him ahead of the tour. But she truly inhabits the spirit of these songs with energy and verve.

Elizabeth Westwood

The earlier part of the set is heavily dominated by songs from the first Generation X album and a thunderously tight Laff and his bandmates more than do justice to old favourites like ‘Promises Promises’, ‘One Hundred Punks’ and ‘Kiss Me Deadly’. There’s a couple of songs from the second album, Valley of the Dolls, thrown in as well though: the title track and ‘King Rocker’, introduced by Laff as his “biggest hit” – the only Generation X single to almost make the Top Ten. Throw in the essential early singles, ‘Wild Youth’ and ‘Your Generation’, a couple of deep cuts in the form of a cover of John Lennon’s ‘Gimme Some Truth’ (originally recorded as a B-side) and Gary Glitter’s ‘Rock On’ (originally recorded for a Peel session) and you’ve got the perfectly-curated Generation X set-list.

As things begin to draw to a close there’s one song left that we’re all expecting and we’re not disappointed. The band launch into a wonderfully raw and frenetic version of ‘Dancing With Myself’, from the third album and the album that Stevenson recorded with the band before the song went on to develop a more familiar life of its own outside of the confines of Gen X.

Steve Norman and James Stevenson

We’re then treated to an encore of Westood’s own “biggest hit”, Westworld’s ‘Sonic Boom Boy’, along with a cover of Norman’s debut hit with Spandau Ballet ‘To Cut a Long Story Short’ and a cover of the Skids ‘Into The Valley’. It’s an unforgettable gig and an energy-packed night to kick off the X Generation X tour in style.

Making light of the seeming incongruity of launching a UK tour on a Sunday, Westwood asked the happy but clearly refreshed crowd at one point if they all had to be up in the morning. “No!!” the crowd yelled back in unison. “They’re all retired!” quipped Steve Norman. That’s as maybe but for 75 glorious minutes it was 1976 all over again and here in this sweaty cellar bar the spirit of punk was recaptured in all of its incendiary glory.

Setlist for the evening gig

Tickets and tour dates via: https://www.xgenerationx.com/

Related posts:

Interview with Mark Laff

Generation Sex at Crystal Palace 2023

This week’s featured artist: Scottish folk musician and singer-songwriter Donald WG Lindsay

Album reviews, Folk music, , , , ,

Two Boats Under the Moon is the solo song debut of Scottish musician and musical instrument inventor and builder, Donald WG Lindsay.

Writing in the accompanying album notes, the Scottish folk musician Alasdair Roberts observes:

“Donald WG Lindsay is rightly renowned as a piper of considerable skill, and many will be aware of his innovative work as the inventor of the novel extended-range chanter system which bears his name. However what many piping aficionados (as well as more general listeners) might not know is that he is also a very fine singer, guitarist and writer of songs.”

“It might seem confounding that it’s taken Donald until now, in his late forties, to release his first full-length album of songs (following the 2003 Album of pipe tunes To the Drum of the Sea). But he’s a careful, patient man; one surmises that he’s been quietly and diligently serving out a very thorough apprenticeship, emerging when he feels the time is right as a fully-formed master craftsman. And, as if making up for lost time, he’s generously bestowed upon the world a long-awaited double album, spanning some ninety-one minutes over fourteen tracks.”

Two Boats Under the Moon is a two-disc collection of 14 live-in-the-studio recordings, made during December 2024 at Watercolour Music in Ardgour, in the Scottish Highlands.Lindsay sings, plays guitar, and plays on his own Lindsay System Scottish smallpipes. Roo Geddes plays fiddle, and on three numbers, piano.

The first disc is themed as a disc of original songs, including ‘Casuarina’ inspired by the casuarina trees Lindsay encountered during his three-year stay on Ascension Island in the South Atlantic. They are also known as the whistling tree, after the distinctive shushing or whispering sound made by its pines when even a light breeze blows through them. The title track ‘Two Boats Under the Moon‘ is another song Lindsay wrote during his stay on Ascension Island. This first disc also includes a setting of a Scots poem by Vale of Leven poet Hugh Caldwell to an original tune he wrote a few years ago, and a rendition of a little-sung number by Allan Ramsay ‘An Thou Were My Ain Thing’.

The second disc is themed as a disc of traditional, mainly Scots, songs from a variety of sources and directions. These are songs that have held their seat in Lindsay’s repertoire for many years – in most cases for many decades. This second disc also includes two instrumental sets, pairing Roo’s fiddle with Donald’s Bb Lindsay System Scottish smallpipes.

Released back in May, the album has received numerous plaudits from reviewers as well as attracting warm reactions from fellow musicians as diverse as singer-songwriter, Tom Brosseau; piper and composer, Matthew Welch; and rock and roll legend, Iggy Pop.

With a voice rich in character, poignant songwriting and inspired interpretations of traditional material, Donald WG Lindsay’s Two Boats Under The Moon is a delightful album with beautifully-evocative musical accompaniment.

Released: 2 May 2025 https://www.donaldwglindsay.com/

Folk: album review – Ninebarrow ‘The Hour of the Blackbird’

Album reviews, Folk music, , , , , , ,

After twelve years performing together and five extremely well-received studio albums, the folk duo Ninebarrow revisit some favourite songs with reworkings of material from their back catalogue. All of the key components you would expect from a Ninebarrow release are present and correct here: the lovely vocal harmonies of Jon Whitley and Jay LaBouchardiere, the intuitive connection to the natural world around us and the innovative adaptation of traditional material combined with compelling original songwriting.

However, the extra magical ingredient that is sprinkled throughout this collection are the stunning choral accompaniments, with Whitley’s and LaBouchardiere’s own harmony vocals joined by over forty others, courtesy of two locally-based choirs: Hart Voices from Hampshire and Chantry Singers from Surrey.

The genesis of the project can be traced back to the Covid lockdown, when the moratorium on live performances gave rise to a plethora of online concerts, Zoom choirs and sundry charity fundraising singles, the latter ranging in quality from the genuinely breath-taking to the frankly bizarre. But while we can safely assume that few people now sit at home listening to Captain Tom’s rendition of ‘You’ll Never Walk Alone’, Ninebarrow’s own charity single for MIND, ‘The Hour of the Blackbird’, certainly does stand  up artistically. What’s more, it convinced the duo that there was further mileage yet in such an approach.

Jay LaBouchardiere: “The response to that blew us away with people making donations from all over the world and we thought if one song can sound this good recorded through phones and laptops imagine what a studio collaboration could sound like.”

The result is simply stunning, with the thirteen tracks on The Hour of the Blackbird showcasing some truly spellbinding choral arrangements which take Ninebarrow’s elegant, understated, trademark magic to new heights. From the ethereal qualities of ‘Names In The Sky’ to the heart-warming optimism of the title track to the jaunty defiance of live favourite ‘The Weeds’, to the fresh take on folk perennial ‘John Barleycorn’, there’s plenty to marvel at here. A wonderfully uplifting album.

Released: 3 October 2025 https://www.ninebarrow.co.uk/

Related posts:

Album review: Ninebarrow – The Colour of Night

Album review – Ninebarrow ‘A Pocket Full of Acorns’

This week’s featured artist: singer-songwriter Jim Borrows – debut album ‘Carry Me Back to My Old Front Door’

Album reviews, Folk music, Rock music, , , , , , , , , ,

Jim Borrows will not be a name many people will have heard of but back in July, after a lifetime of playing piano primarily for his own amusement, he fulfilled a long-held ambition of releasing his debut album. Of course, many musicians have trodden a similar path and while many aspects of the modern-day music industry may be broken, technology has made it easier than ever for emerging artists to record and release new music these days.

What immediately marks Borrows’ venture out from many others, however, is the friends he’s been able to call upon to bring his dream to fruition. Firstly, it’s produced by experienced multi-instrumentalist and highly talented producer, James Wood, who also contributes guitars, keyboards, percussion and backing vocals to the album.

James wood, Jim Borrows and Dave Pegg

Moreover, and of particular interest to any fans of folk rock legends Fairport Convention, it features the band’s veteran bass-player, Dave Pegg, who contributes bass, mandolin and electric guitar. And just to underline the Fairport connections even further, the album also features an additional guest appearance from the band’s fiddle supremo, Ric Sanders, who contributes electric violin on one track, a cover of Dylan’s ‘Seven Days’.

As Sanders recollects in this summer’s Cropredy festival programme, Borrows’ and Fairport’s paths first crossed when the band were doing some of their European riverboat cruises and they performed various themed karaoke nights together. “Jim was without doubt the star performer,” noted Sanders. “Not only a great singer but also a fine pianist.”

Anyone who has seen Fairport on stage with guest artists will know that Peggy and co. can turn their hand to a whole panoply of musical styles, far beyond the folk rock canon with which they are most closely associated. Carry Me Back To My Old Front Door is no exception.

Featuring seven of Borrows’ own compositions and alongside six Bob Dylan covers and a couple of further covers of Neil Young and Sandy Denny songs, it’s an entertaining album. Borrows own compositions are highly personal chronicles of a range of his experiences and thoughts on themes including time, life and love; and they reflect his multiple influences, including The Beatles and Bob Dylan. Sleeve notes and lyrics for the self-penned compositions are contained in the detailed twelve-page CD liner notes.

With Borrows’ piano and vocals front and centre, ably assisted by the hugely talented Pegg and Wood, Carry Me Back To My Old Front Door creates a jazzy, bluesy singer-song-writer vibe with some compelling rock elements. It’s well worth checking out.

As Fairport Convention’s own Chris Leslie sums it up: “A lovely album with some fab song writing from Jim.”

Released: 18 July 2025 – Available to stream and download from all major platforms. For CDs, contact jimborrows@yahoo.co.uk

Related posts:

Interview with Fairport Convention’s Dave Pegg

Interview with Fairport Convention’s Ric Sanders

Live review: Fairport’s Cropredy Convention August 2025

‘Not Good Enough’ – the ‘glamtastic’ new song featuring late Glitter Band founder, John Rossall

Glam rock, Music news, Rock music, , , , , ,

Five years on from the release of his critically-acclaimed glam comeback album, The Last Glam in Town, and four years on from his tragic passing, new music from Glitter Band founder, John Rossall, has recently been hitting the airwaves.

The stream of glowing reviews for Last Glam in Town were a surprise even to Rossall. When I interviewed him back in 2020, he told me: “It’s like I’ve written them myself almost! It’s a surprise. The reviews everywhere – it’s been beyond my wildest dreams really.”

What people may not know, however, is that before he died John Rossall recorded a follow-up album to Last Glam In Town. John’s close friend and former PR, Anne Street, has worked tirelessly to get that final album released and made available to fans. While that wish so far remains unfulfilled, a track from the album and an accompanying video has been officially launched via You-Tube and has also been picking up enthusiastic airplay on Heritage Chart Radio and many other stations, including Kim Smith’s show on Radio Northwich and Jan Bjerrum’s show on Sunshine Radio.

The single ‘Not Good Enough’ is a collaboration between John Rossall, David Philp and Mark Standley. The video celebrates John’s Blackpool heritage – with colour and black and white segments marking a nod to both his 1970s Glitter Band heyday and his 1960s early career in the Boston Show Band. The video was created by Dave Forward of Manchester band, The Cathodes, who posted the video to his own YouTube channel.

Anne Street explained the background to both the single and the unreleased final album in a recent announcement on Facebook:

“When John was diagnosed with Stage 4 cancer in March 2021 he set about spending all his remaining time writing and recording a final glam album. He hoped to see it released before he died, but his record label procrastinated over the final mixes and this delay has continued. A renowned Dutch DJ and  producer more recently offered to do the final mix free and for the benefit of John’s family, but record label would only agree if paid!

Meanwhile, John had collaborated with David Philp on one track, and Mark Standley was credited too. David as co-writer was eventually allowed to bring out his final mix which John had approved in 2021.

I met up with David at his home in Beverly Hills, L.A., June 2024, and we discussed the importance of getting this song out for John’s fans and as a tribute to John’s memory. It features both John Rossall and David Philp. However, David  had to overcome all sorts of publishing hurdles and it’s finally ready.”

While the song is yet to receive an official release so that fans are able to purchase it through the main digital platforms, Anne Street remains hopeful that this can happen in the near future.

“It’s a fab, glamtastic song and hoping you’ll enjoy it,” she added.

The track entered Mike Read’s Heritage Chart Radio in the Top 40 following release. Currently at No. 38, it is expected to rise higher. The You-Tube video is also featured on Mike’s Heritage Chart TV Show for Talking Pictures.

Voting link here: www.heritagechart.co.uk

The track is also No 9 in Pete Seaton’s Chart of Gold Hot 100 on www.appleradio.co.uk

Album review: Rossall – The Last Glam In Town

Glitter, glam and Blackpool rock: interview with glam rock legend John Rossall

Tribute to John Rossall: Glitter Band founder passes away peacefully following cancer battle