As a session guitarist who looks like the son of most of the acts he plays with (Peter Bruntnell, the Pretenders, the Pogues, the Pernice Brothers), it's hard not to notice Walbourne if you're lucky enough to have caught him live.
Produced by John Leckie, recorded at Abbey Road. Whatever next?
Richard Strange's avant-garde Cabaret Futura altered the landscape of Eighties clubland. Elisa Bray welcomes its return
As before, Alabama 3 play fast and loose here with the imagery of religious belief, opening Revolver Soul with the humid, stifling menace of "Oh Christ" and romantic baptism of "She Blessed Me", before hitting the dark side of the street to hymn the "downtown queen" hooker "Jacqueline".
An exuberant, good-timey return by the Galway accordion virtuoso.
Length-and-line, blokeish, Irish pop-rock, with a whiff of Muswell Hill in Mundy's use of language and melody.
Andy Warhol would have loved Pam Hogg. Resplendent in fringed ivory wool bolero jacket, zip-fronted black Spandex top with gleaming gold lightning stripes, and skin-tight optic-print leggings, all topped off with her trademark candyfloss pink curls, she herself is clearly among her greatest creations. With her opalescent green eyes, preternaturally pale powdered skin and full mouth painted a violent red there is more than a little of the living doll about her. Not that this should be misread as sugar-sweet: Hogg's throaty Glaswegian delivery and raucous explosions of laughter – not to mention a crucifix tattooed from wrist-bone to knuckles on her left hand – give the lie to that.
'Dark End of the Street' is a six-track EP of cover versions which didn't fit on to this year's 'Jukebox', recorded in Cat Power's trademark lugubrious style.