Boots For Dancing - The Undisco Kidds

The phrase “better late than never” couldn’t be more apt when it comes to describing the debut album from Scottish funk-punk ensemble Boots for Dancing. Having first formed in 1979, the band built up a fervent following while supporting acts such as U2 and Talking Heads. Several singles ensued, but ultimately they decided to go their separate ways when 1982 rolled around. Now, nearly four decades later, Athens of the North Records finally released their first full length outing, The Undisco Kidds.

It opens with the fun and funky feel of “Salt in the Ocean”, which proceeds to dart through vigorous vocals and characterful guitars, drums and pianos. “The Pleasure Chant” maintains the momentum via fast-paced riffs and percussion that fly frantically forward alongside an urgent melody. It’s a pressing but pleasant piece, before the brisk beat of “(Let’s All) Hesitate” takes over and pounces into more mad music and expressive singing. “Get Up” is another quirky composition, featuring a restrained but riveting riff that’s a lot more arresting than those of its predecessors. A spirited serenade follows, adding to the airy atmosphere of the proceedings. “Style in Full Swing” succeeds it by speeding off upon some biting bass amid a laid-back but brisk harmony. It’s a warm and reserved offering that still develops determinedly. “Timeless Tonight” sounds simultaneously serious and sanguine due to industrious instrumentation that carries a light-hearted undertone. “(Somewhere) in the South Pacific” is a long and alluring anthem afterwards, made up of purposeful percussion and absorbing riffs which steal the spotlight away from the soft singing. “Just the Ticket” exhibits a cheeky tone in its wake as it skips off across brash bass and gleeful guitars, while a resonant refrain echoes in the background. “Wild Jazz Summers” follows as a more forceful affair that enthrals on the way to the enthusiastic instrumentation of “Shadows on Stone”. A heartfelt harmony joins in to add an adamant attitude, ahead of the upbeat bass that begins “Oh’ Bop Sh Bam”. This is a song that doesn’t take itself too seriously as it sails toward the lazy music and melody of “Money (Is this on the Ground)”. “Stand” is speedy and stirring next, charging thrillingly to “Bend an Elbow, Lend an Ear”, which serves as a festive finish.

Boots for Dancing have crafted a curious combination of punk and funk that keeps fairly compelling throughout. There’s a sense that it would have gone down well had it been released when it was recorded back in the early eighties, which in one respect is a shame when you consider what could have been. At the same time though, it’s good to see such a unique assortment of anthems finally getting their moment to make an impact.

Dave Simpson

Pete Shelley - Heaven & The Sea

Released in 1986, Heaven and the Sea finds Pete Shelley leaning fully into a polished, high-gloss synth-pop sound under the direction of producer Stephen Hague. Reviews generally describe the album as a more mature and sophisticated effort than his earlier solo work, though some critics argue that the slick production occasionally stifles the nervous energy and melodic bite Shelley was known for in the Buzzcocks. While tracks like "No Moon" are praised for their rhythmic texture, the album is often viewed as a solid, if slightly routine, electro-pop collection that serves as a "pleasant diversion" rather than a groundbreaking statement.

Pete Shelley - I Surrender 12''

Pete Shelley's 12-inch release of "I Surrender" is a standout example of his transition from the raw energy of the Buzzcocks to a more polished, electronic-tinged pop sound. While the track is grounded in guitar-driven melodies, the extended 12-inch version benefits from David Jacob’s digital editing, giving it a more sophisticated, atmospheric layers compared to the standard 7-inch mix. The inclusion of "Need A Minit" on the 12-inch and 7-inch releases offers a contrast to the slicker A-side, harking back to the stripped-back "post-punk" sound of his XL-1 period. Critics describe it as a more "throwaway and lighter" track that retains Shelley's knack for simple, effective hooks. The 12-inch release (catalogue MERX 234) typically rounds out with a "Dub Version" of the title track, which leans into heavy bongos and rota toms specifically designed for club play.

Pete Shelley - On Your Own 12''

Released in 1986 as a precursor to his album Heaven And The Sea, the "On Your Own" 12-inch is a quintessential piece of Pete Shelley’s high-tech synth-pop era. Produced by Martin Rushent, the track strips away the frantic guitars of the Buzzcocks in favour of polished, dance-floor-ready electronics and a driving LinnDrum beat. Critics often highlight the single for its seamless blend of Shelley’s signature "pop-punk" melodic sensibility with the sleek, cold-wave textures of the early 80s. The 12-inch version is particularly prized for its extended arrangement, which allows the shimmering synthesizer layers and Shelley's yearning vocals more room to breathe than the standard radio edit.

Pete Shelley - Waiting For Love 12''

Released in 1986, Pete Shelley's "Waiting for Love" 12-inch represents a polished shift into sophisti-pop and lush synthesizer textures, moving away from the jagged edges of his earlier solo work. Taken from the Heaven & The Sea album, the track is characterized by a mature, slightly melancholic yearning paired with high-gloss production typical of the mid-80s. While it lacks the raw, subversive energy of "Homosapien," critics often highlight its strong melodic craft and Shelley's unmistakable vocal vulnerability. The 12-inch format is particularly noted for its extended mixes, which allow the track's intricate electronic layers and rhythmic drive more room to breathe, making it a cult favourite for fans of the era's transition from new wave to synth-pop.

Pete Shelley - Never Again 12''

Pete Shelley’s 1984 12-inch single "Never Again" serves as a fascinating bridge between his pioneering synth-pop work on Homosapien and the more polished production of his later solo career. Released on Immaculate Records, the track features a driving, rhythmic urgency layered with Shelley's signature earnest vocals and sharp electronic textures. The 12-inch version is particularly notable for its B-sides, including the experimental instrumental "One One One" and "Give It To Me," which showcase his willingness to drift away from traditional pop structures into more avant-garde territory. While the title track was later remixed for his 1986 album Heaven & the Sea, this original 12-inch pressing remains a prized artifact for collectors, capturing Shelley in a transitional, highly creative phase of post-punk electronic exploration.

The Sisters Of Mercy - Under The Gun

The Final Sisters post, until they release some more music (or I dig out some bootlegs) for a while. I suppose it's kinda fitting to close on their last release.

"Under the Gun" (1993) serves as a slick, high-gloss finale to The Sisters of Mercy’s studio output, famously featuring Terri Nunn of Berlin. While it captures the band's transition into a more commercial, "goth-pop" sound with its polished production and melodic hooks, it remains one of their most divisive tracks. Die-hard fans often criticise it as a "cheesy" departure from the grit of Floodland, yet others defend it as a soaring, atmospheric power ballad that expertly blends Andrew Eldritch’s baritone with Nunn’s provocative energy.

The Sisters Of Mercy - A Slight Case of Overbombing

A Slight Case of Overbombing serves as a definitive, high-octane summary of The Sisters of Mercy’s evolution from underground goth icons to masters of the "over-the-top" industrial anthem. Arranged in reverse chronological order, the compilation highlights Andrew Eldritch’s shift toward a polished, cinematic sound, anchored by the bombastic Jim Steinman-produced tracks like "This Corrosion" and the 1992 re-recording of "Temple of Love." While purists sometimes miss the raw, murky atmosphere of their earliest EPs, the album is widely praised as an essential gateway for new listeners, capturing the band’s signature blend of deep vocals, relentless drum machines, and dark, epic grandeur.

The Sisters Of Mercy - Some Boys Wander By Mistake (Bootleg)

The Some Boys Wander By Mistake bootleg is a highly regarded unofficial compilation that serves as the "missing piece" to the band's official 1992 collection, Some Girls Wander By Mistake. It is prized by fans for gathering elusive early B-sides, single versions, and rarities like "Afterhours" that were left off the official release, effectively completing the archive of the band’s raw, gothic era. Reviewers frequently note that the audio quality is exceptionally high for a bootleg, often sounding as though it were sourced directly from master tapes or pristine vinyl. Because it fills these specific discographical gaps with such professional presentation, it remains an essential, albeit unofficial, staple for serious collectors of early Sisters of Mercy material.

The Sisters Of Mercy - Some Girls Wander by Mistake

Some Girls Wander by Mistake serves as a definitive time capsule of The Sisters of Mercy’s formative years, compiling their independent EPs and singles released between 1980 and 1983. It is widely praised for capturing the band’s raw, post-punk energy and the atmospheric "gothic" gloom that established their cult status before they moved toward a more polished, commercial rock sound. While the production across tracks like "Alice," "Temple of Love," and the experimental Reptile House EP varies from primitive to cinematic, the collection is considered essential for its brooding basslines, shimmering guitars, and the debut of the iconic Doktor Avalanche drum machine. Critics generally view it as a high-water mark for the genre, offering a dark, cohesive journey through the band’s most influential early work.

The Sisters Of Mercy - BBC Sessions 1982-1984

The Sisters of Mercy's BBC Sessions 1982–1984 is a critically acclaimed 12-track compilation that officially documents the band’s formative, independent years before their major-label debut. Released physically for Record Store Day in 2021, the collection gathers three radio sessions—two with John Peel and one with David "Kid" Jensen—featuring raw, energetic versions of early classics like "Alice" and "Heartland," alongside fan-favourite covers such as Dolly Parton's "Jolene" and The Stooges' "1969". Reviewers frequently praise the release for its superior sound quality compared to historical bootlegs, with many noting that these "embryonic" takes of future hits like "Walk Away" and "No Time To Cry" offer a more intense, guitar-driven edge than their later studio counterparts. While some listeners have debated the CD's compression, the overall consensus from sites like Rate Your Music and Norman Records is that it serves as an essential archive of the band at the height of their Gothic rock influence.

Siouxsie And The Banshees; De Nieuwe Kade, Tiel, Holland

Picked up from 100 Greatest Bootlegs

Siouxsie And The Banshees; De Nieuwe Kade, Tiel, Holland. Date: July 7th 1981

basement67 notes:

Siouxsie And The Banshees released ‘Ju Ju’ their fourth album on June 6, 1981, a record now bestowed with classic status - like their other percussion heavy release, the 1978 debut ‘The Scream’.

The Ju Ju tour was the first and only time that I saw the Banshees, I had been interested in the group since 1977, after hearing the session they recorded for BBC Radio One, broadcast on the John Peel show. Siouxsie & The Banshees were often described at that time, as the best unsigned group in London and it would not be until 1978, that they were taken on by Polydor records.

The European tour began on June 14th 1981 in Brussels, and ran to the end of the summer before the group flew to North America for dates throughout October and November.

This Dutch FM broadcast is an upgrade taken from a master source and includes Happy House which had not been previously available. It features seven live versions of tracks that appear on ‘Ju Ju’, only missing ‘Into The Light’ and ‘Monitor’ (the latter performed but not broadcast as were ‘Christine’ and ‘Red Light’). ‘But Not Them’ was a new track played live by the Banshees in concert, it had been written by the ‘Creatures’ after the Ju Ju sessions and the song would be eventually released on their Wild Things EP in September 1981.

This is a superb recording; the clarity highlights the extraordinary and unique guitar playing of John McGough. High-class audio equipment has been used, it is hiss free and doesn’t sound compressed. Few recordings of this quality circulate from the early eighties and although I may be slightly biased having seen the band on this tour, this is my favourite Banshees recording from this time (1980-81).

The Sisters Of Mercy - Disco Thing

The 8-track digital version of the Disco Thing bootleg, often associated with fan-curated "Ultrasound" or extended remix collections, expands upon the original vinyl's limited tracklist with a focus on rare dance-floor edits and long-form versions of classic hits. While the original 7" release was noted for its poor audio quality and historic inclusion of "Jolene," this digital iteration typically features high-fidelity remixes of tracks like "Alice" (Ultrasound Extended Version), "Walk Away," "Lucretia My Reflection," and "Marian". These versions are specifically mixed to enhance the band's industrial and dance-rock elements, providing a cleaner, more bass-heavy listening experience than the notoriously lo-fi bootlegs of the 1980s. Despite being an unofficial fan release, it is highly regarded in the community for providing accessible, club-ready versions of tracks that were previously only available on obscure white labels or expensive import singles.

The Sisters Of Mercy - John Peel Session 12'' 1984

The Sisters of Mercy’s 1984 John Peel Session is a cornerstone of early gothic rock, capturing the band at their most primal and atmospheric. Recorded at the BBC's Maida Vale studios, the session features definitive versions of tracks like "Walk Away" and "No Time to Cry," characterized by Andrew Eldritch’s cavernous baritone and the driving, mechanical pulse of the Doktor Avalanche drum machine. Critics often prefer these recordings over the later First and Last and Always studio versions, as they possess a raw, "live-in-the-studio" energy and a sharp, crystalline guitar tone that defines the genre's mid-80s peak.

The Sisters Of Mercy - Body Electric 7"

The Sisters of Mercy's 1982 "Body Electric" 7-inch, backed with "Adrenochrome," is widely regarded as the "definitive moment" when the band’s signature sound—built on a harshly thumping drum machine, raw guitars, and Andrew Eldritch’s developing "manic" vocals—first coalesced. Critics at the time, including Dave McCullough of Sounds, hailed it as a "Single of the Week," describing it as a track "so loud it hurts" with an "electric persistence" that outperformed contemporary peers. While some later retrospective reviews suggest the production sounds "anemic" compared to their later, more polished work, the single is celebrated as a "coherent statement of intent" that helped define the early eighties gothic rock aesthetic. Collectors and fans also highly value the original release for its striking artwork—Francis Bacon’s Head VI drenched in red—and its release on the independent CNT label, which reflected the band’s early anarchist-leaning, DIY spirit.

The Sisters Of Mercy - The Damage Done 7'' [Bootleg]

The original 1980 7" release of The Damage Done is a raw, primitive slice of post-punk that sounds more like a clunky garage band than the polished gothic icons the Sisters would become. Clocking in with a thin, scratchy production, the title track and its B-sides ("Watch" and "Home of the Hit-Men") feature Andrew Eldritch’s vocals at a much higher, more nervous register, backed by simple, jagged guitar work. While some critics dismiss it as a "clumsy" debut, collectors and fans prize bootleg versions for their historical value, as they capture a rare moment of unrefined energy before the band adopted their signature drum-machine-heavy, baritone-driven sound.