Railcard & The Corner Laughers at The Betsey Trotwood London, Sunday 9th August 202

 

It’s my third Railcard gig already this year and I’m in danger of repeating myself, after all, there’s only so many ways of saying “I bloody love Railcard!” They are fast becoming our ‘Band of the Year’ and it’s not just us; the wind is undoubtedly in their sails as they cruise towards the release of their ‘proper’ debut album “Two Steps at a Time” in September. So, here we are for a Sunday afternoon matinee show at the Betsey Trotwood in Farringdon, it’s such a cool pub that the landlord is wearing a Felt “Me and a Monkey on the Moon” T-Shirt. There’s some Indie Royalty in the bright sunlit room, Railcard’s vocalist and guitarist Rachel Love’s former Dolly Mixture bandmate Debsey Wykes is there along with her partner Paul Kelly, once of Saint Etienne and Birdie. Jessica Griffin from Would-Be-Goods and Pete Astor of The Loft and The Weather Prophets are also present and correct. Yes, there’s a real buzz around Railcard now, so much so that they have even been acknowledged by British Rail, or whoever it is that runs the railways nowadays, with their very own official Railcard ‘railcards’. Handy for one of the best bits of band merchandise I’ve seen in a long while, the plastic Railcard railcard holder, I never leave home without mine. 

 

In fact, Railcard do have a pretty good imagination when it comes to their merchandise – the T-shirt on sale today sports a print of a mock rail network with the station stops replaced by this year’s tour dates and venue. This comes with a “You Are Here” button badge that you are meant to re-position on the shirt according to the gig you are attending at the time. There are also Rachel’s trademark berets in a variety of colours at the merch desk alongside a very fetching Tote bag and copies of their brilliant self-titled debut compilation album that gathered their previous three E.P.s in one glorious package. Last year they also produced some cool Northern Soul style patches together with the release of the “Northern Soul Dancing” E.P. They really seem to enjoy the creative process of coming up with inspired ideas for merchandise and it got me wondering just what new goodies they are going to dream up around the release of the new LP. 

Today’s set is quite different from their recent and rather splendid show at the Water Rats when they were supporting Brian Bilston & The Catenary Wires alongside Jetstream Pony, which you can read all about here. They included “Revolutionary Calendar” and “Daydream” from the E.P. collection alongside new songs “Foxy”, which features on the excellent Skep Wax Records compilation “Pets Sounds”. There’s the excellent latest single “Unstable Neighbour” with some spaced out Psychedelic trumpet from Allison and the album title track “Two Steps at a Time”, which comes complete with a catchy whistle-along refrain. Drummer and vocalist Ian Button does his best to explain the background behind some of the songs; however, he is often reduced to amusing Robyn Hitchcock style flights of fancy as his bandmates try to interject and put him off. Rachel is all smiles and occasionally she cracks up when she catches Allison’s eye – it’s this wonderful chemistry between the band that warms the heart of even this cynical old gig-goer. They play a great new Peter Momtchiloff penned track called “Paper Thin” and of course, favourites such as “Railcard”, “Northern Soul Dancing” and the set closer, the hypnotic “Disco Loadout” make their appearance. 

However, sadly there’s still no place for my favourite “Born in ‘62” though, which is after all, the song that explains the catalyst behind the band’s formation, fingers crossed that maybe they’ll play it one day. Then it’s all over until, enthusiastically spurred on by Debsey, we all join in to call them back for a well-deserved encore. They don’t take the easy option, deciding to play another new song called “Inspector Sands”, and it is fun watching the band give it a go for the first time. This song Rachel explains, appears on the bonus 7” single that comes with the limited Dinked edition of the new LP. I’d recommend ordering it now, as it appears that some stores have already sold out in advance. Judging on the quality of the recent singles and new songs that I’ve heard them play live, I’m guessing that the new LP is going to be pretty damn good indeed. I’ll be there at The Lexington on Sunday 20th September for the matinee “Two Steps at a Time” launch party, which also features Gina Birch and an Indie-label record fair downstairs. Now, that’s ticking a lot of boxes for yet another very special Railcard event, can't wait!

 

 

Special guests on the day were The Corner Laughers from Redwood City, California, or half of them at least, as we were treated to an acoustic duo version of the band featuring Karla Kane on ukulele and lead vocals and Khoi on guitar and backing vocals. The connection between them and the headliners is that Railcard’s Ian Button released Karla’s debut solo album “King’s Daughters Home for Incurables” on his Gare Du Nord Record label and he invited them to play as they were over in the U.K. It was an inspired choice, as their beautiful pastoral Folk Pop songs and Californian melodies made for the perfect soundtrack to the glorious summer weather outside. Karla has a wonderful warm voice and Khoi’s backing harmonies complement her perfectly and they quickly endear themselves to the audience.

My personal highlights were “Changeling”, “Terra Mia” and two songs which hint towards their appreciation of the U.K. “Victoria Sponge” with handy lyrical recipe included, and the single “Rainbow Cardigan”, which even namechecks the Lake Districts’ Kendal Castle. As Karla explained, on record with the full band, they sound a bit different to today’s stripped back affair, but to be honest, it kind of suited the vibe of such an intimate, sun-drenched afternoon perfectly. I picked up a copy of their latest album “Concerns of Wasp & Willow” and bagged one of the last vinyl copies of “Matilda Effect”, which included a free CD version and left the venue with a very large and contented smile on my face. You can see more videos of both bands by subscribing for free to our Retromanblog65 YouTube channel here.

 

With thanks to Karla and Khoi.

Would-Be-Goods, Helen McCookerybook and Railcard at Water Rats, London - A Bizarro Promotion, February 21st 2026

Even Pete Frame would struggle to compile one of his exhaustive Rock Family Trees about the Indie talent pool surrounding Skep Wax Records and their proprietors Amelia Fletcher and Rob Pursey. Stretching back to the C-86 Twee Student Jangle Indie-Pop scene, or whatever ridiculous genre the music press deemed to patronise the acts with, their band Talulah Gosh was to go on to spawn many and various bands, spin-offs and side projects, not to mention the influence they would have on generations of eager young fans into forming their own bands. Each trademark branch of those intricate Pete Frame diagrams would probably feature guitarist Peter Momtchiloff in some guise or other though, and tonight Amelia and Rob’s former Talulah Gosh and current Heavenly colleague appears in two out of the three acts on show. Hosted by Bizarro Promotions, this sold-out gig at Water Rats in London’s Kings Cross is basically a showcase for two brand new Skep Wax releases – their compilation of Railcard’s first three E.P.’s and the latest excellent album “Tears Before Bedtime” by headliners Would-Be-Goods.

 

Tonight’s gig came at the perfect time for me, an absolute godsend as I must admit I’ve been on a bit of a Dolly Mixture kick recently, ever since reading Debsey Wykes’ fantastic autobiography “Teenage Daydream” and coincidentally bumping into her at two recent unrelated book launch events. I then went along to see Debsey interviewed by Daniel Rachel about her book in conjunction with a rare screening of the excellent Dolly Mixture documentary “Take Three Girls”. So, suddenly I’d get the chance to see another Dolly Mixture, Rachel Love, and her new band Railcard, for the first time. The Water Rats is sold out and there are almost as many musicians in the audience as there would be on stage throughout the night. Here’s just a few that were in the room – Allan Crockford from The Prisoners (who mixed the Railcard recordings), Viv Bonsels from The Galileo 7, Pete Astor from The Loft, Kevin Younger from The High Span, Ian Greensmith from The Dentists and his former bandmate Bob Collins who is now in another Skep Wax act, Swansea Sound. Then there’s Dave Morgan from The Monochrome Set, Jon Klein from Specimen and Siouxsie & The Banshees and even Gaye Black from The Adverts. It would have made for one hell of a supergroup. Oh, and yes, it’s Debsey again, here to support her former Dolly Mixture friend and former bandmate. 

 

Railcard take the stage, Rachel looks amazing and I’m immediately captivated by her cheerful smile and the promise of hearing those wonderful songs live for the first time. The aforementioned Peter Momtchiloff is on bass duties and there’s Ian Button from Heavenly and Penrose Web and Papernut Cambridge (and more!) on drums and vocals with Allison Thomson on trumpet, keyboards and vocals. Ian takes over lead vocals on the brilliant, foot stomping “Northern Soul Dancing” which is my personal highlight of their set with excellent lyrics about getting to the age where you wonder if it’s really too late to try and recapture that abandon and exuberance of youth. Busting out those spins, kicks and flicks on the dancefloor, it’s a classic.

Their songs are catchy and immediate, “Narcissus” is built on a driving military style beat with some biting lyrics and the sublime “Cherry Plum” is one and a half minutes of pure gorgeousness. They don’t play my favourite “Born In 62” though, I love that song with its Sonics “Strychnine” motif, and I was hoping it might make an appearance. The Dolly Mixture movie director, Paul Kelly, told me that song summed up the loose concept behind Railcard, all the original members were born in ‘62. He said that he was in an early incarnation of the band but I can’t remember if he said his role was Off-Peak Railcard, Family Railcard, Student Railcard or Senior Railcard? Talking of which, I was gutted they had sold out of the plastic Railcard railcard holders, a brilliant idea for band merchandise. I’m sure they have now gone on to be much sought-after collector’s items; I shall not rest until I have trawled eBay and spent my life’s savings on one. They play a great cover of Dandy Livingstone’s “Think About That” and close the set with the hypnotic "Disco Loadout" and the warm applause from the crowd fills the room. There’s something totally addictive about Railcard, something uplifting and refreshing – they will leave a smile on your face and a promise to yourself to bust out some Northern Soul shapes as soon as you get home. Well, once you’ve had a sit down and a nice cup of cocoa that is.

Rachel Love of Railcard and her former Dolly Mixture colleague Debsey Wykes

Next up is Helen McCookerybook, formerly of Indie-Pop pioneers The Chefs, who treated us to a thoroughly entertaining set. Starting off alone with the beautifully evocative “London” she is then joined by Robert Rotifer on guitar and vocals and Ruth Tidmarsh on bass and vocals and their harmonies have a real chemistry that ooze warmth. My personal highlight was “Three Cheers For Toytown”. Helen explains at the start “usually we have Terry Edwards playing trumpet but he’s off playing with The Nightingales, so we’re going to hum his parts. “Sixties Man” is another great moment, as is the audience participation on “The Sea”. Helen has an engaging presence, and her voice really draws you in and it’s no wonder she got a fantastic reaction from the crowd.

 

Would-Be-Goods open the set with the brilliant “The Morning After” which has a chorus that reminds me of The Monochrome Set, not surprising as to singer Jessica Griffin’s right stands the always impressively impassive Andy Warren (of Monochrome Set and before that, the original Adam & The Ants) nonchalantly spinning out some superb bass lines on his trademark Rickenbacker. There’s also a big link between the two bands, Bid and Co. were the backing band on Would-Be-Goods early releases and Peter Momtchiloff, now on stage with his guitar, was in Bid’s side project, Scarlet’s Well. On drums and vocals is Debbie Greensmith from Thee Headcoatees and Ye Nuns and that completes a superb line-up. However, similar to Railcard, Would-Be-Goods were also guilty of not playing one of my favourite songs tonight, sadly there’s no “Emmanuelle Beart”, but they are promoting their latest release “Tears Before Bedtime” after all, so some older numbers are bound to be missed out. Anyway, it’s not such a big issue with the new album being so damn good, packed with songs of the quality of “Tears For Leda” with its killer guitar riff intro reminiscent of The Kinks’ “Till The End of The Day”. 

 

Jessica Griffin’s songwriting is something special, she has a knack of transporting you from a summer picnic on the riverbanks of an English university town, punts flowing past and the sound of leather on willow in the background to the cafes and patisseries of Le Marais and the Rive Gauche followed by a stroll past Serge Gainsbourg’s house on Rue de Verneuil. There’s beautifully constructed exotica such as “Madame X” but Jessica can then hit you right in the heart with stripped back, emotionally raw songs like “Heart of Tin” and “Too Old”. They play a good chunk of the new album and despite only listening a few times on-line prior to picking up a vinyl copy on the night, the songs are immediate and you find they are already lodged in your head. “The Gallopers” and “Witch Hazel” are prime example of the wonderful melodies that sound as familiar as most of the old favourites. Talking of which, I moaned about not getting “EB” but the brilliant “Cecil Beaton’s Scrapbook” keeps me quiet and more than makes up for it. “The Camera Loves Me” is another oldie and mighty fine goodie and it’s great to see Debbie singing the backing harmonies with a big smile, glowing with enthusiasm. It was a fantastic set, and I can’t recommend the new album highly enough, it’s an absolute classic. I mentioned this to Andy Warren, and he replied in perfectly deadpan manner, “thanks, yes it’s a cheerful album”. Priceless! 

All photos and videos copyright Retro Man Blog 2026. More videos from the gig can be found at our Retro Man Blog YouTube channel here, please subscribe for free to access our whole archive of original live videos. Here are some useful links, please click to investigate further...

Would-Be-Goods

Railcard

Helen McCookerybook

Skep Wax Records

Heavenly

Bizarro Promotions

The Monochrome Set

Dolly Mixture

Debsey Wykes "Teenage Daydream - We Are The Girls Who Play In A Band" book

 

Debsey Wykes Q&A on her book “Teenage Daydream” and screening of “Take Three Girls The Dolly Mixture Story” at the ICMP London February 19th 2026

I went along to the ICMP Music College in Queen’s Park for the first time for a rare screening of “Take Three Girls – The Dolly Mixture Story” directed by Paul Kelly from Heavenly Films and the partner of Debsey Wykes bassist and vocalist with the band, who met when touring as part of St. Etienne’s live line-up. The screening was followed by a Q&A session with author Daniel Rachel interviewing Debsey about her excellent, critically acclaimed autobiography “Teenage Daydream: We Are The Girls Who Play In a Band”. They discussed various key aspects of both the book and the film along with the process of writing and the background of collating all the information from Debsey’s suitcase full of diaries along with the ‘brutal’ editing process. I think it’s testament to Dolly Mixture and their legacy that they set a template for many an all-girl and female fronted Indie-Pop band for years to come. Not just with their vintage 60’s style look and timeless songs of seemingly wide-eyed innocence but that most crucial of things - the classic song writing and gorgeous vocal harmonies, which still sound as fresh today as they ever did. Unfortunately, it’s a sad fact of musical life that true originators and talent often get commercially overshadowed by the impersonators. For example, take three of my favourite bands, The Prisoners, Shack and That Petrol Emotion, they too never hit the mainstream heights that they deserved but were somewhat crushed in the rush to copy their sounds and for record companies to later cash in on the slipstream. I think Dolly Mixture suffered from this too but I sincerely hope that Debsey’s superb book, along with a wider release of the documentary, might go some way to redressing that balance.

Daniel confronts the sexism that the band were subjected to, from the ‘male obnoxiousness’ of the times to the more ingrained discrimination from the record companies and music press in general. There’s a harrowing tale of the time that Debsey was assaulted on stage by a skinhead at a Bad Manners gig which is quite shocking but it’s a reminder of the gig-going times of the late 70’s and early 80’s. Touring with Bad Manners also opened them up to being spat at and being subjected to outbreaks of sieg-heiling from a hostile audience. Bad Manners as a band were very supportive and protective of Dolly Mixture though but it must have been disheartening for the band to have to endure. Although, the sexism they faced from the male dominated music industry was sadly to be expected in those times, what surprised me most is the antagonism and outright hostility they faced from some of their female peers – most noticeably from The Modettes. They think they are in for some welcome support from a female journalist who then proceeds to complete slag the band off for no apparent reason in print. It’s spiteful and unnecessary and you wonder why this kind of bullying would exist, especially towards a band such as Dolly Mixture, who whatever you thought of their music, were hardly controversial or antagonistic.

They did however receive some unexpected support from Captain Sensible, who along with The Damned’s bassist Paul Gray offered to help them in the studio. He then asked them to back him on his new solo career and they eventually reached Number 1 in the charts together with the single “Happy Talk”.  This led to various appearances on Top of The Pops and despite Captain generously promoting Dolly Mixture in their own right, they still couldn’t seem to break out. Despite the good intentions and success, maybe it was more a curse than a blessing as they were more likely to get labelled as just the Captain’s backing band. More support came from some very unexpected people such as Eric Faulkner of Bay City Rollers, Dave Goodman the sound engineer for the Sex Pistols and Buffin from Mott the Hoople who all helped them out in the studio. They even wrote a comeback single for the child-star Lena Zavaroni. Terry Hall gave them Single of The Week in Melody Maker and invited them to play with The Fun Boy Three. Paul Weller’s Mum, Ann and Dad, John were also extremely supportive and Debsey talks very warmly about Ann in particular, who she wished had been their manager. Paul Weller signed them to his fledgling label Respond but sadly soon lost interest to concentrate on his next protégé. John Peel was also a huge fan but apparently his producer John Walters hated them and they never got their session repeated, which was very rare. The Undertones continue to cement their place in music history as being the nicest guys in Rock ‘n’ Roll as they offer Dolly Mixture a support slot the very next night after the girls hung around with their demo tape outside a gig in Cambridge. Debsey asked for Damian O’Neill’s autograph and he told her he had loved their Peel Session. “Just bring your guitars to Aylesbury Friars tomorrow” they said and this led to a proper tour with The Undertones. So despite these welcome offers of generous help and support it’s even more unbelievable why the band could not break out into the mainstream. There’s also the irony of having U2 support them at the Moonlight Club in West Hampstead, a gig that my Blog colleague Rock photographer Paul Slattery attended, they had no idea at the time that U2 would go on to be such global superstars, sometimes there’s no justice!

The book is a charming collection of diary entries, fan letters and reminiscences about what it’s like to form a band, of playing in bedrooms, swapping instruments and taking those first steps out to play live. Debsey captures those innocent times perfectly, of going up to London with a stash of demo tapes and heading to a phone box to call various record companies plucked from the telephone directory. She also discusses the band’s influences such as Glam Rock, The Monkees, Blondie and Debbie Harry, Patti Smith and Poly Styrene of X-Ray Spex and the Ramones. They also started delving back into the 60’s of Bacharach and David, Motown, The Shangri-La’s and the Ronettes and you can see touches of all these in the Dolly Mixture sound. It’s shocking to think Dolly Mixture didn’t even release an official album until their own self-released “Demonstration Tapes” compilation just a year before they called it a day. Even to this day, it’s quite difficult to track down copies of their records and surely, some proper record label with sense should consider a thorough reissue plan. 

The Long Play Sessions is a series of talks with musicians and music related authors about their current books held at the ICMP campus in Queen’s Park. They have already hosted Daniel Rachel being interviewed by Miranda Sawyer about his latest book “This Ain’t Rock ‘n’ Roll” and have upcoming talks booked in with Lawrence from Felt and Will Hodgkinson about their superb book “Street Level Superstar”, Keith Cameron on his history of Manic Street Preachers and Melissa Auf Der Maur from Hole and Smashing Pumpkins discussing her forthcoming autobiography. It’s a great venue and Paul Wilson seems to be doing an excellent job in attracting some top names to his sessions and being a music college, of course they have good access to enthusiastic staff and top audio/visual facilities.

For more on Daniel Rachel's books including the superb "Too Much Too Young: The 2 Tone Records Story", please check out his website here. 

Retrosonic Podcast Episode 47 "This Is No Audition" with Special Guest, Rock Photographer Paul Slattery

Ronnie Mayor of The Tours/Da Biz - Photo by Paul Slattery

 

Welcome to Retrosonic Podcast Episode 47 where Steve is joined by Rock Photographer Paul Slattery to discuss "Retrospectively Yours", the excellent new compilation from Ronnie Mayor of The Tours, the criminally underrated, short-lived Power Pop/New Wave band who Paul first photographed and championed way back in 1979. There's a special feature on the album which highlights Ronnie's songwriting skills with The Tours and Da Biz and we pick a selection of songs from both bands. Steve talks about another great night of conversation at The Exchange in Twickenham hosted by Gary Crowley with his special guests Debsey Wykes from Dolly Mixture and Mick Talbot from The Style Council and we play a classic Dolly Mixture song. Then we have brand new releases from former bandmates in The Prisoners, Graham Day and Allan Crockford, Graham with his debut solo single and Allan with Sounds Incarcerated, the lockdown cover version project with Viv Bonsels. Then there's Autoramas, our favourite Space Age Garage Rockers from Brazil, some perfectly crafted modern day French Ye-Ye from Monsieur Paul et Les Solutions, there's the melodic Glasgow sound of Neil Sturgeon & The Infomaniacs and some blistering tuneful Punk Rock from Suzi Moon. Subscribe for free at Spotify, iTunes, Amazon music, MixCloud or direct from our SoundCloud site below:

 

Retrosonic Podcast · Episode 47 "This Is No Audition" with Rock Photographer Paul Slattery

 

Also in this episode, Paul tells us of the time he was kissed by Ronnie Spector and we have the photographic evidence to prove it as you can see below! Then he picks three of his favourite local bands from his time living in Boston including The J. Geils Band, Lyres and Duke & The Drivers. 

 

Paul in front of two of his iconic Smiths photos.

Paul also talks about a recent trip to Manchester and Stockport to see exhibitions featuring some of his iconic photos and picks a track by his favourite Mancunians, Howard Devoto and Magazine. "There's my Joy Division photos at The Stockport Museum where you can also see sound equipment used in the making of Joy Division's records. Here's some photos from the exhibition of Manchester Rock bands "There Is Light That Never Goes Out" which can be seen in the The Market, University Place, Manchester University, 176 Oxford Rd, Manchester M13 9QQ. In the photo of me with my two Oasis images there's also The Stone Roses by Kevin Cummins and Electronic by Steve Double."
 

 

 

Here Paul explains the early impact of Rock 'n' Roll on his life. "It must have been 1956 or '57. I was six but my neighbour Joe was a rocker and ten years older than me. He'd just got a new Dansette and he stacked up a load of his Elvis records for me to listen to. I'll never forget "Blue Moon of Kentucky" and after listening to that I knew somehow that rock and roll would play a major part in my life although at the time I didn't know actually quite how much that would be. It took me another couple of years before I bought my first Elvis record "Hound Dog" from saving my pocket money and doing odd jobs for neighbours and I bought records regularly after that. There was no pop music on the BBC and you had to listen to Radio Luxembourg if you wanted to hear anything that wasn't your mum and dad's era. My dad helped me string up an outside radio aerial so we could get a better Luxembourg signal. By 1960 we were listening to Elvis, the Shadows, Cliff Richard, Adam Faith, Duane Eddy and my favourite of the year must have been Johnny Preston's "Running Bear" the beat was just amazing. 1961 and '62 were more of the same although Billy Fury who I thought was so cool had crept in by then. So had the Everly Brothers, Chubby Checker, Ray Charles. My fave of 61 was John Leyton's "Johnny Remember Me" recorded in a bathroom by Joe Meek and my fave of '62 was Little Eva and "The Locomotion". 1963 though everything changed."

 

Ronnie Spector photographed by Paul Slattery

"For me it wasn't just The Beatles, I was just blown away by The Crystals. They were amazing cool black American girls with fantastic harmonies and a shimmy that was out of this world. "Da Doo Ron Ron" and "Then He Kissed Me" were scorchers. I was thirteen and thought these were the most amazing records I'd ever heard. I went straight down to the record shop and bought them. One early Saturday night in the autumn I was watching "Juke Box Jury" with the family on the telly, there was always a couple of good records played every week but when "Be My Baby" came on I was just blown away. I went out and bought the record the next day and played it over and over and over again. I couldn't get enough of it, I must have worn the stylus out playing that record. I noticed the same name on the record as on The Crystals records but Phil Spector wouldn't mean anything to me until I got a bit older. I saw the Ronettes later on the TV and loved them, and that record eventually became my favourite pop record of all time. A few years after I started my rock photography career I found out that Ronnie Spector was going to play a gig at the Venue in Victoria London so I just had to go and take pictures of Ronnie. Halfway through the gig I noticed Ronnie was looking right at me, she crouched down right next to me and let me take a photo of her and the next thing planted her lips firmly against mine with the tenderest of kisses. I couldn't believe it but it was recorded on film by fellow rock photographer David Corio, who got this amazing shot of me and Ronnie."

Ronnie Spector & Paul Slattery photographed by David Corio

"I was so sad when I heard about Ronnie's death recently as memories of  me first hearing "Be My Baby" and that gig at The Venue flooded back. There is a great Wiki article on "Be My Baby" here, I didn't know that The Beach Boys' Brian Wilson also loved this song, as you can read in this article he was obsessed with it. I always knew Brian Wilson and myself would be soul brothers!" Ronnie Spector images. One by me and the one of me and Ronnie kindly donated by David Corio. For more info on David Corio's  photography please check out his official web-site or Instagram.

 

Tracklisting 

(Please Click on the highlighted links for info on how you can buy the featured music)

Tracks 1-6 from "Retrospectively Yours" by Ronnie Mayor

1. Da Biz "Can't Wait Till The Summer Comes"

2. The Tours "Language School"

3. Da Biz "This Is No Audition"

4. The Tours "Foreign Girls"

5. The Tours "Imagination"

6. Da Biz "Driven To Tears"

7. Graham Day "You Lied To Me"

8. Autoramas "Sem Tempo"

9. Neil Sturgeon & The Infomaniacs "I Just Wasn't Being Myself" 

10. Sounds Incarcerated "The Real Thing"

11. J. Geils Band "First I Look At The Purse"

12. Duke & The Drivers "What You Got"

13. Lyres "How Do You Know?"

14. Dolly Mixture "How Come You're Such a Hit With The Boys, Jane?"

15. Suzi Moon "Gold Record Autograph"

16. Monsieur Paul et Les Solutions "Pourquoi, Pourquoi"

17. Magazine "The Light Pours Out of Me"

18. The Ronettes "Be My Baby"

With many thanks to Paul Slattery and David Corio for the excellent photographs, copyright as stated. Retrosonic Podcast has a valid PRS Licence. Subscribe for free at Spotify, MixCloud, Apple Podcasts, iTunes or SoundCloud. You can also follow Retro Man Blog on Facebook & Instagram