Cherry Red’s hard rock subsidiary label, HNE Recordings, is no stranger to plundering the Atlantic Records archives for material. Over the years, they’ve reissued much-loved albums by Ratt, White Lion, Back Street Crawler and more to bring affordable box set reissues to the masses. ‘In The New Age’ follows suit by pulling together most of the recordings that King’s X made for the legendary label and re-presents them in a basic clam shell box.
…And so, Real Gone reaches the inevitable end of The Great 80s Project, but what an amazing year for music! The charts didn’t always reflect the interesting things going on, but in terms of albums, it’s a year full of wonder.
With the decade coming towards its end, 1988 was a genuine mixed bag. Pet Shop Boys released some of their best ever work; Elton John’s ‘Reg Strikes Back’ album marked somewhat of a comeback for the megastar after five years of intermittently enjoyable material and Jane Wiedlin hit the UK singles chart with ‘Rush Hour’, arguably one of the decade’s greatest pop singles.
Over the years, dUg Pinnick has put his name to some fantastic albums. His long career with King’s X has afforded him a legendary status. Likewise, guitarist George Lynch has performed on some great material. Even at times when Dokken’s material didn’t hit the mark back in the 80s, Lynch’s lead guitar work was almost always terrific. In theory, a union between the two should have created hard rock gold, but unfortunately, the first two albums released by KXM – their supergroup with KoЯn’s Ray Luzier – were patchy affairs. 2017’s ‘Scatterbrain’ was an improvement on the 2014 debut, but still fell a little short in direct comparison to anything by King’s X at their very best. The bulk of this third album – their first for Frontiers Records – follows suit with another hit and miss collection of heavyweight rockers.
The Islington Assembly Hall always feels like a venue of two moods. The stage and balcony areas have a feeling of old theatre about them, much like the Empire at Shepherd’s Bush and fitting for a Grade II listed building. In other respects, visiting other parts the venue feels like stepping into a parochial town hall, albeit a rather large one. It’s easy to imagine a large table set up on a weekday afternoon with a man banging a little gavel, making announcements about Mrs. Jones’s award winning marmalade before alerting the neighbourhood watch team to a potential catastrophe regarding a missing moggie. On this evening, that feeling isn’t quite as strong as when Snakecharmer took the Assembly Hall’s stage in 2013, and even less so as the house lights dim.