Riffology: Iconic Rock Albums

Inside ‘Jar of Flies’: Alice In Chains’ Acoustic Triumph

Neil Johnson 22 October 2024

Alice In Chains' "Jar of Flies," released on January 25, 1994, is a groundbreaking acoustic EP that...

Orgy of the Damned by Slash – album review

Orgy of the Damned by Slash – album review

Neil Johnson 21 October 2024

Orgy of the Damned is Slash's bold blues album, departing from his hard rock roots. Released on...

One Night Only Live at the Leadmill Sheffield by Def Leppard – album review

One Night Only Live at the Leadmill Sheffield by Def Leppard – album review

Neil Johnson 21 October 2024

Def Leppard's "One Night Only Live at the Leadmill Sheffield" scores 88/100, capturing their live performance's raw...

Like an Ever Flowing Stream: Dismember’s Iconic Debut

Neil Johnson 21 October 2024

Dismember's debut album, Like an Ever Flowing Stream, released on 28 May 1991, is a landmark in...

Wolverine Blues: Entombed’s Genre-Defining Album

Neil Johnson 21 October 2024

Entombed's "Wolverine Blues," released on October 4, 1993, pioneered the death 'n' roll genre, merging death metal's...

GRIEF by Zeal & Ardor – album review GREIF

GRIEF by Zeal & Ardor – album review

Neil Johnson 21 October 2024

Zeal & Ardor's new album, GRIEF, merges African American spirituals with black metal, achieving an emotional and...

Pretty Hate Machine: Nine Inch Nails’ Industrial Breakthrough

Neil Johnson 20 October 2024

Pretty Hate Machine, released in 1989, is Nine Inch Nails' groundbreaking debut album that fused industrial rock...

Youthanasia: Megadeth’s Pivotal Heavy Metal Shift

Neil Johnson 20 October 2024

Megadeth's sixth album, "Youthanasia," released on November 1, 1994, marked a significant transition in their sound toward...

Unveiling ‘Bleach’: Nirvana’s Raw Grunge Debut Bleach

Unveiling ‘Bleach’: Nirvana’s Raw Grunge Debut

Neil Johnson 19 October 2024

Nirvana's debut album, Bleach, released in 1989, significantly influenced the grunge movement despite initial obscurity. This raw...

Podcast Episodes

Riffology: Iconic Rock Albums Podcast

Welcome to Riffology, where a GenX and a Millennial talk about the albums from their youth. It’s more fun than it sounds…

In this instalment of Riffology, Chris arrives early and fully prepared, a development so shocking that Neil repeatedly checks he hasn’t fallen into a parallel universe. They introduce Stereophonics’ second LP Performance and Cocktails, whose title came from a business card handed to the band at the bizarre New York club Shine – a haunt featuring trapeze artists wearing pig’s‑heads. Chris describes the record as a “comfort blanket” and the pair recall it being one of the touchstones of their school‑days, along with Eels and NOFX. They also reminisce about making tape‑deck radio shows as teenagers, a hobby that foreshadowed their current podcast.

Neil makes the case that Performance and Cocktails is “one of the greatest sounding records.” It is both huge and warm, can be cranked up in a car yet still reveals breathy nuance through headphones, and somehow remains coherent despite being recorded in multiple studios. The album was released on Richard Branson’s V2 label, runs a lean 50 minutes with thirteen tracks, and was produced by Steve Bush and Marshall Bird. It sold 1.7 million copies even as Napster ushered in the age of free downloads and propelled the Welsh trio from club dates to arenas. The hosts note how Kelly Jones’ gritty vocals, Richard Jones’ bass and Stuart Cable’s drumming are augmented by producer Marshall Bird’s keyboards and Astrid’s backing vocals. They also relay how Scarlet Page shot the cover photograph beneath London’s Westway, with model Lucy Joplin posing after a long night of absinthe and opium.

As usual, the conversation meanders. Between facts, Chris and Neil ponder why Radio 2 suddenly plays Ozzy Osbourne, debate whether “post‑Britpop” is an actual genre, and recall how Napster made everyone stop paying for music. A mid‑show tangent sees them visit York’s Jorvik Viking Centre to admire a fossilised human poo in a glass cabinet and discuss the educational merits of taking their children to train museums. Later they imagine a future AI scraping their podcast and mistaking their nonsense for historical fact. The episode ends with some gentle ribbing about their blog, the smell of the Northern Line and whether the Hyperloop will ever rival 1990s tilt‑trains. Dry humour and affectionate digressions keep the tone light while the hosts’ admiration for the album remains clear.