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Articles by Johnny Restall

Ain’t Nothing But A House Party: ’60s And Early ’70s Club Soul Classics

30 November 2022 Johnny Restall 0

❉ A relentless collection of dynamite floor-fillers, taken from the vaults of legendary labels like Stax, Chess, and Motown, writes Johnny Restall.

Deep In The Woods: Pastoral Psychedelia And Funky Folk 1968-1975

21 November 2022 Johnny Restall 0

❉ As an overview of a hugely varied scene this arboreal archive cannot be faulted, writes Johnny Restall.

In Memoriam: Mimi Parker of Low

11 November 2022 Johnny Restall 0

❉ A small selection of some of Mimi Parker of much-loved indie heroes Low’s finest musical moments, highlighting an unassuming but remarkable talent sadly lost.

Cheap Makeup and Big Ideas: ‘Music for New Romantics’

31 October 2022 Johnny Restall 0

❉ The majority of the music assembled here still sounds brilliantly fresh and strange after all these years, writes Johnny Restall.

Multi-Genre Madness! ‘Maniacal Mayhem’

18 October 2022 Johnny Restall 0

❉ Johnny Restall on a new two-disc set of vintage chillers starring horror legend Boris Karloff.

A Cryptful of Creature Features: ‘Three Monster Tales’ Blu-ray

17 September 2022 Johnny Restall 0

❉ Eureka’s recent two-disc Blu-ray set unearths three neglected genre creations from the Universal vaults, writes Jonny Restall.

The Day it Will Abide: ‘#1 Record’ by Big Star at 50

15 June 2022 Johnny Restall 0

❉ Johnny Restall looks back on Big Star’s debut album #1 Record, released fifty years ago.

The Sins of the Fathers: ‘La Llorona’ (1933)

16 March 2022 Johnny Restall 0

❉ The first horror film made with sound in Mexico deserves to be seen for its historical significance alone, writes Johnny Restall.

Fiends Reunited: ‘House of the Long Shadows’ (1983)

9 March 2022 Johnny Restall 0

❉ Vincent Price, Peter Cushing and Christopher Lee  steal every scene in Peter Walker’s potboiler, writes Johnny Restall.

The Unbearable Absence of Being: Bartleby (1970)

24 February 2022 Johnny Restall 0

❉ Johnny Restall finds much to admire in Anthony Friedman’s 1970 film with a score by Roger Webb.

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