Tuesday, 17 February 2026

Like Searching For Words For Years, But Never Being Able To Say Them

Monetochka dropped a new song on Valentine's Day, a three-minute pop song with an edgy, indie feel that piqued my curiosity.

Monetochka, or to use the correct language and script Монеточка, is a 27-year old Russian singer-songwriter who has been putting her own music out there since 2015. Her given name (or English translation of) is Yelizaveta Andreyevna Gyrdymova and Monetochka roughly translates as "LIttle Coin".

Селфхарм is catchy and the lyrics are plentiful, Monetochka delivering in a half-singing/half-rap style. The video starts off with a photo shoot at a school, though there's a swift break in Monetochka's mask of happiness.

The video cuts to a snow-covered beach with a lover (The past? A fantasy?), a nighttime bus stop watching young romantics, a lonely ride home on the back seat, watching others' happiness, before the song closes back on the back, Monetochka and her love wrapped in a blanket.

I was intrigued to know more about the narrative, looked up the lyrics and fed them into an online translator. 

The first surprise is that Селфхарм translates as "Self Harm". Not the first time Monetochka has courted controversy for her songs and subject matter, apparently. Russian lawyer Sergei Afanasyev claimed that her 2018 song Чайлдфри ("Child Free") promoted teen suicide; others argued to the contrary. 

Fan comments in response to Селфхарм suggest that the themes of loneliness, anxiety and self-doubt have been transformed into "an anthem of love".

Monetochka married in 2020 and left Russia in 2022, currently residing in Lithuania with her husband and two children. 

In 2023, Russia's Ministry of Justice's placed Monetochka on their "foreign agent" list, a tool used to stigmatize and criminalise individuals, particularly those critical of the Kremlin or the invasion of Ukraine. 

Monetochka toured with Noize MC in 2022, raising over €200,000 for a Polish charity that helped refugees resulting from the latter.

In 2024, a criminal case was opened against Monetochka for "evading the duties of a foreign agent". 

Considering that an hour before starting this post, I'd never heard of Monetochka, that random, chance encounter with one song has been quite the education....



This is the online translation of the lyrics to Селфхарм

I smell like self harm, I smell like a really bad plan
I smell like childhood trauma and tantrums until the morning
An awkward pause, a room without air
I smell like mistrust of therapists, and
My scent is 100% cortisol
I hide my feelings behind a clown mask, lol

I smell like jealousy and hatred, but
Don't be afraid, I'll punish myself later
I smell like eight hours of scrolling TikTok
I smell like electricity, like "don't come near me - it'll kill you"
Like a crocodile, like the slow woman in front

When the path is narrow and there's no way around it
I smell like the fear of looking you in the eye
Like searching for words for years, but never being able to say them
I smell like exposed wire, panic without cause
A depressive city



[Chorus]
And you smell like peace, like silence in my head
You're like ten hours of uninterrupted sleep
You're Thursday, you're 4:00 PM, you're chamomile tea and peace
I'm always crying, but you smell like those tearless shampoos
Like care, like home, like the ability to take things seriously
And love for a long time, love endlessly

And you smell like peace, like silence in my head.
You're like ten hours of uninterrupted sleep.
You're Thursday, you're 4:00 PM, you're chamomile tea and peace.
I'm always crying, but you smell like those tearless shampoos.
Like care, like home, like the ability to take things seriously.
And to love for a long time, to love endlessly.



I smell like crap, but I beg you, wait.
I won't ask for much, my request is simple:
Please, let me lie down on top of you.
Like you're sand, and I'm a stingray or a catfish.
I'd like to calm down in your serene arms.
But I smell like fear, like running away in a hurry.

Like waking me up in the middle of the night, talking in tears.
Like biting my nails or licking my lips until they bleed.
Like a caged tiger, nervously pacing.
How to embellish to please others
Like a scratched screen, a missed call
Like an untreated neurosis, a leaky ceiling

I smell like the fear of looking you in the eye
Like searching for words for years, but never saying them
And in that sense, you've been very lucky
Otherwise, you know, it would have been neither one thing nor the other



[Chorus]
And you smell like peace, like silence in my head
You're like ten hours of uninterrupted sleep
You're Thursday, you're 4:00 PM, you're chamomile tea and peace
I'm always crying, but you smell like those tearless shampoos
Like care, like home, like the ability to take things seriously
And love for a long time, love endlessly

And you smell like peace, like silence in my head.
You're like ten hours of uninterrupted sleep.
You're Thursday, you're 4:00 PM, you're chamomile tea and peace.
I'm always crying, but you smell like those tearless shampoos.
Like care, like home, like the ability to take things seriously.
And to love for a long time, to love endlessly.

Monday, 16 February 2026

Surrounded By A Bunch Of Muppets

I don't recall seeing this before so, to lighten the mood a little, Debbie Harry performing One Way Or Another on The Muppet Show in 1980.

A welcome change from the bunch of Muppets currently making the world a worse place.

Sunday, 15 February 2026

Sounds Like A Spooky Sunday

Seventy six minutes of Spooky music to spice up your Sunday.

Spooky is Charlie May and Duncan Forbes and they've been a formidable presence in dance and electronic music for three and a half decades. Spooky should be up there with Underworld, The Orb and The Chemical Brothers and yet often seem criminally overlooked and under appreciated.

Today's selection spotlights a dozen tunes spanning 1992 to 2020 and a breathtakingly diverse range of styles, taking in progressive trance, deep house, dub, ambient, soundtracks and so on. I'm not great with genres and labels, and what fits where, but I know that whatever Charlie and Duncan turn their hands to, the end result will be a treat for the ears and the mind.

For more Spooky magic, head over to their Bandcamp page, where you'll find their three albums, and most of their singles and EPs from the 1990s up to the present, all at ridiculously bargain prices. 

1) Gandharva (Doi-ing vs Spooky Vocal Mix): The Oval Five ft. Natacha Atlas (1992)
2) Umbrella (Spooky Remix): Chymera (2007)
3) Water (Spooky's Hydro-Electric Mix): Jo Bogaert (1994)
4) Area 39 (EP Version): Spooky (1996)
5) It's So Late (Album Version): Spooky ft. Julie Daske (2007)
6) Little Bullet (Part One) (Album Version): Spooky ft. Valerie Harrison (1993)
7) New Light (Dub): Spooky ft. Celestine Walcott-Gordon (2007)
8) Andromeda (Single Version): Spooky (2003)
9) Candy (Original Version): Spooky (2008)
10) Seneschal (Album Version): Spooky (1996)
11) Belong (Echospace Mix): Spooky ft. Julie Daske (2002)
12) Bells Of Fury (Part II): Spooky (2020)

1992: Gandharva / Vertigo EP: 1
1993: Gargantuan: 6
1994: Water EP: 3
1996: Found Sound: 10
1996: Shunt EP: 4
2002: Belong EP: 11
2003: Andromeda (white label 12"): 8
2007: Open (limited edition 2x CD): 5, 7
2007: Umbrella EP: 2
2008: Candy EP: 9
2020: Bells Of Fury EP: 12

Sounds Like A Spooky Sunday (1:16:07) (GD) (M)

Saturday, 14 February 2026

Kaleidoscopic Mind

2000 got off to a pretty good start, gig-wise, with not one but two pairs of free tickets, courtesy of my local newspaper. The first of these * was Moby at The Anson Rooms, Bristol University Student Union's sizeable venue in the heart of upmarket Clifton.

Back then, it didn't occur to me that my luck in sending in my details to the Evening Post - I don't recall that there was even a question to answer, to make it 'competitive' - and 'winning' on both occasions may have had anything to do with an underselling gig.

Moby's star was on the rise once more and after playing Glastonbury that summer, the chances of seeing him perform live in such an intimate UK venue again were nil. There was a catch, though: the free tickets included a 'meet and greet' with Moby before the show.

I went to The Anson Rooms with my friend Dave. We were both working together at the time, and were both fans of the album Play well before it became a global phenomenon. Dave was always up for a gig or club night and so we got there early to meet the man himself.

I honestly don't know who was most awkward, myself and Dave, or Moby. There were a fair few of us in a small room, variously sat at tables or standing, and we could see Moby making his way round, until he finally sat with Dave and I.

I hadn't really given the 'meet and greet' a lot of thought, so I was not there with questions ready to pull out and talking to artists pre- or post-show is not something I've actively sought, before or after.

So there we were, exchanging a few slightly uncomfortable niceties, which trying to show how pleased we were to be there and see the show, when I suddenly blurted out,

"I've seen you once before, at The Fleece & Firkin, when you toured the Animal Rights album. It was brilliant."

Now that was all true but, as history has continued to demonstrate, it's probably the one Moby we don't talk about. After the commercial success of the club-oriented 1995 album Everything Is Wrong, Moby's follow up Animal Rights was pretty much a full-on metal album and pretty much a full-on failure in terms of sales. 

Whilst hopes for Play in 1999 were modest at best, it was at least a return to the electronic mindset that had previously proved fruitful and no doubt the imminent concert was going to (excuse the pun) play to those strengths.

So, being reminded of the Animal Rights album by a bumbling Bristolian and worse, getting the impression that said tour was the standard by which he would be judged was probably the last thing that Moby wanted to hear prior to going on stage. He thanked us both for coming, even though he must also have known we'd got free tickets, and went to the next table. 

Suffice to say, Moby smashed it that evening. There are probably those who came to the gig on the strength of Porcelain or Why Does My Heart Feel So Bad? and expecting some lovely if melancholic dance music that was easy on the beats (and the knees).

And whilst there were moments like that, including the intro tape of My Weakness and the mid-set placement of Everloving, both downtempo moments from Play, the set as a whole hit pretty hard, even the relatively gentle singles Natural Blues and Run On sounding considerably beefed up in a live setting.

As for the dancefloor diaphragm shakers, plenty of evidence throughout the night: Machete, Go, Next Is The E, Ah Ah, Bring Back My Happiness, Bodyrock and Feeling So Reel had the audience's adrenalin pumping and Moby was matching it, bounce for bounce, frequently climbing or standing on kit and jumping off (though no stage divimg, that I recall).

The evening ended with set closing staple, Thousand, evey single one of those thousand BPMs rinsing out any angst or worry about the earlier encounter with the raving lunatic on stage. 

The only downside was that neither Dave nor I had thought to book the following day off work. 'Light duties' and ringing ears are pretty much all I can remember about Thursday 3rd February 2000...

The running order for Moby's show in Bristol that night hasn't been published online so for today's Dubhed selection, I created a composite of setllists from Moby's concerts in Vienna (Jan 2000), Darmstadt (Feb 2000) and Glastonbury (Jun 2000) as they are all very similar.

As the selection runs to a whopping 18 tracks, I've opted for single, radio and video edits for many, the occasional (short) remix and then album versions for the rest. All of which means that this gig facsimile comes in at just under 63 minutes, considerably less than the concert itself which I think ran for nearly two hours.

The gig tickets is also a fake, courtesy of the Ticket Generator app. I don't know that I actually received a physical ticket for either of my Evening Post freebies; it's possible that I was just a name on a list at the door. 

1) My Weakness (Album Version) (1999)
2) Machete (Album Version) (1999)
3) Find My Baby (Video Version) (1999)
4) Porcelain (US Video Version) (2000)
5) Go ('I Like To Score' Version) (1998)
6) James Bond Theme (Moby's Re-Version) (Single Version) (Cover of John Barry & Orchestra) (1997)
7) Next Is The E (Cool World Mix ft. Nicole Zaray) (1993)
8) Everloving (Album Version) (1999)
9) Why Does My Heart Feel So Bad? (Single Version ft. The Shining Light Gospel Choir) (1999)
10) Ah-Ah (Album Version) (1992)
11) Bring Back My Happiness (Album Version ft. Rozz Morehead & Saundra Williams) (1995)
12) Natural Blues (Single Version ft. Vera Hall) (2000)
13) The Sky Is Broken (Album Version) (1999)
14) Bodyrock (Video Intro / Album Version ft. Nikki D) (1999)
15) Honey (Remix Edit By DJ Fafu ft. Kelis) (2000)
16) Run On (Video Version) (1999)
17) Feeling So Real (7" Edit ft. Kochie Banton, Myim Rose & Nicole Zaray) (1994)
18) Thousand (Single Version) (1993)

1992: The Story So Far: 10
1993: I Feel It / Thousand EP: 18
1993: Next Is The E EP: 7
1994: Feeling So Real EP: 17
1995: Everything Is Wrong: 11
1997: James Bond Theme (Moby's Re-Version) EP: 6
1998: I Like To Score: 5
1999: Play: 1, 2, 8, 13, 14
1999: Run On EP: 16
1999: Why Does My Heart Feel So Bad? EP: 9
2000: Natural Blues EP: 12
2000: Why Does My Heart Feel So Bad? / Honey EP: 15
2001: Play: The DVD: 3, 4, 14

Kaleidoscopic Mind (1:02:45) (GD) (M)

* The second was The The a couple of months later, which I thought I'd previously covered but haven't. One for a future Dubhed selection...

Friday, 13 February 2026

Make The Sea Turn Turtle

Ushering in the weekend with 47 (and a half) minutes of electronica, spanning funk(i), broken beats, children's rhymes, new (and old) romantics, scuzzy guitars, pop vocals and non-stop dancing, sometimes ecstatic, always eclectic...

Some of these I haven't heard for at least half a decade, so it was a lot of fun playing mix 'n' match with the various sounds. Some of the segueways actually work, too! Which is nice.

1) Suck Acid, Pearl & Dean: Funki Porcini (1995)
2) Owner Of A Lonely Heart (2 Close To The Edge Mix By 808 State): Yes (1991)
3) I'm Still Searching (Junior Boys Spring 2005 DJ Mix By Jeremy Greenspan & Matthew Didemus): Visage (2005)
4) Leave Your Love (Justin Faust Remix): Young Summer (2014)
5) Backyard (Edit): Clearzone (1997)
6) Seventeen (Soulwax Mix By David Dewaele & Stephen Dewaele) (Edit): Ladytron (2003)
7) A Man Could Get Lost (Non-Stop Ecstatic Dancing Remix By Harvey Goldberg): Soft Cell (1982)
8) Closer Than This (Xaphoon Jones Remix By Noah Beresin): St. Lucia (2012)
9) Make It Mine (Hilltop Mix By Daniel Stoner): The Shamen (1992)
10) Light Up: Fred Again.. & Mr Eazi (2022)
11) Love U More (Album Version): Sunscreem (1992)

1982: Non-Stop Ecstatic Dancing: 7
1991: Owner Of A Lonely Heart EP: 2
1992: Art Of Compilation 10 (Art Of Mix bootleg CD): 9
1992: O₃: 11
1995: Ashabanapal's Big Pink Inflatable EP: 1
2003: nu:electronica_: 5
2005: Junior Boys Spring 2005 DJ Mix: 3
2009: Light & Magic: Remixed & Rare: 6
2012: We Got It Wrong EP: 8
2014: Leave Your Love EP: 4
2022: EarthPercent x Earth Day Compilation Album: 10

Make The Sea Turn Turtle (47:37) (GD) (M)

Thursday, 12 February 2026

Eurovision Algorhythm

Laibach's new single Allgorhythm (sic) is simultaneously awful and the best song I've heard all day. 

This has been a repeated theme throughout their career, yet I can't help admiring them for it.

You may be interested to know that the song was co-prodced by Richard X and features guest vocals from Wiyaala.

Slovenia will not participate in this year's Eurovision Song Contest but if they had, this would surely have beaten their previous peak of #7 (twice), if not won the blooming thing.

Allgorhythm is available to buy now and there's a whole album of original songs - Laibach's first such in over a decade - coming in May. Naturally, it's called Musick.



There's a lot of talking
When Laibach drops a song
Because we do it raw
Ignoring every law
We're shattering the rules
We're tearing down the walls

Hey -   (let's) go and do the dance
Hey - (let's) fall into the bubble trance
Hey -  this is our last chance
Hey, hey - We all go rhythm!
All go rhythm! All go rhythm!
All go rhythm! All go rhythm!

We must keep moving on
The past is dead and gone
No matter what you do
No one cares about your point of view
What matters is the algorithm works for you

Hey -   (We all) go and do the dance
Hey - (Let's) fall into the bubble trance
Hey -  this is our last chance
Hey, hey - We all go rhythm!
All go rhythm! All go rhythm!
All go rhythm! All go rhythm!

All the girls, and all the boys,  All go rhythm!
Let's get loud and make some noise, All go rhythm!
Here's a beat you can't escape, All go rhythm!
Step right in and match the shape! Let's all go rhythm!

Algorithm  Let's do it!
Algorithm  Slaves to algorithm!

All go rhythm! Algorithm 
All go rhythm!
All go rhythm! Rhythm! Rhythm!
All go rhythm!

All the tired and the poor
All go rhythm!
Huddled masses at the doors
All go rhythm!
The homeless and the rich
All go rhythm!
From all the teeming shores   
Let's all go rhythm!

Some people go kung fu fighting
Some people go bitcoin mining 
Oh yeah!
Some nations go dynamiting
We like to do some crazy rhyming
Yeah!
Wow, wow, wow, yeah... 
Wow, wow, wow...
All  go  rhythm!
Let's all go rhythm!
All  go  rhythm!
All  go  rhythm!
All  go  rhythm!
ALL....

Wednesday, 11 February 2026

Gun Fire

Whilst I try to keep up with the wealth of new music and new artists coming out - and spectacularly fail to do so - I also try to keep a steady rotation of albums in my collection.

On the digital decks this week is The Fire Of Love, the 1981 debut from The Gun Club.

I knew of the band via bassist Patricia Morrison's subsequent stint with The Sisters Of Mercy, although she joined later, Rob Ritter aka Rob Graves being in the line-up that recorded this album. 

Another member who missed out on the recording was co-founder Kid Congo Powers, having temporarily joined The Cramps at the time The Gun Club entered the studio to record The Fire Of Love. but has a co-writing credit on one of the songs.

Otherwise, all songs are written by frontperson Jeffrey Lee Pierce, and I've picked the three fire-themed songs, including the title track. All live performances, all varying recording quality and camera angles, all fizzing with the same energy and excitement that listening to the album brings.

 
In 2004, Andrew Weatherall and Keith Tenniswood recorded a cover version of The Fire Of Love's opening song, Sex Beat, which was released as a single and included on the Two Lone Swordsmen album, From The Double Gone Chapel.

As a bonus, a live performance of Sex Beat by The Gun Club, still on fire after all these years...

 

Tuesday, 10 February 2026

Smooth Talking Love Shark

Anna Calvi has unleashed a second - and the opening - track from her upcoming guest-star laden EP, Is This All There Is?, landing in March.

For God's Lonely Man, Anna chooses none other than Iggy Pop and they create a compelling, electric partnership, accompanied by a hefty bass and drum driven beast. You'd be forgiven for thinkking that it's Iggy who sings the lyrical snippet used for today's title but it fact it's Anna.

Familiar though the tune may be - it immediately reminded me of Ladyhawke & Broods' 2021 collaboration Guilty Love - it's a strident tune all by itself. As with yesterday, the video is in monochrome - an accidental theme for this week? 

It's beautiful in it's simplicity as Anna switches between rolling and throwing herself over and away from Iggy and an electric guitar. Iggy remains shirtless (naturally) and still, the light and shade playing over his wrinkled flesh telling its own story within a story.

Great stuff and I'm looking forward to the rest of the EP, featuring Laurie Anderson and Matt Berninger from The National. For now, to add a splash of colour, here's track two released first, I See A Darkness featuring Perfume Genius

Another compelling video-cum-short-film, which cleverly plays a few seconds of God's Lonely Man, pumping from a pub/club as a woman waits outside.

Is This All There Is? is avaialble for pre-order now from Bandcamp. 

I couldn't stretch to £19.99 for vinyl or £12.99 for CD (both plus postage) for a 4-track EP but I had planned to shell out £3.99 for the digital format. Unfortunately, my connection crashed at the moment of checkout and, after a couple of failed attempts to complete the transaction in the closing minutes of Bandcamp Friday, I then ran out of time. I'm going to wait patiently until the next one on 6th March and try again.

Monday, 9 February 2026

The Noir Sound Of Tomorrow, Today

We're into the umpteenth day and week of rain here, to the  extent that I can no longer recall if there has been a day in 2026 so far that it hasn't rained. Everything feels damp right now, not least my squibs.

So, what a great time for monochrome videos from not one but two goth-aligned gloom merchants who I have a great fondness for.

First up is Ladytron with A Death In London, sounding unmistakeably like them, but with additional backing from LFO (beats) and Fad Gadget (Under The Flag-era sax). 

The latter was played by Alison Moyet, fact fans, and whilst there's no sign of her guesting on Ladytron's latest effort (but wouldn;t that be a great team-up?), the brass lends a further unsettling quality to the tune which works well. Looking forward to the upcoming album.

Today's other song is by She Past Away, who were recommended to me by Lady K, although as that was approx. two years ago, she's undoubtedly moved on and may now consider them old hat.

I quite like this old hat though and you will too, if you've always wanted to hear a collaboration between The Cure and The Sisters Of Mercy (early 80s, natch) with Andrew Eldritch intoning throughout in Turkish.

You don't need to be qualified to guess that Mizantrop translates as Misanthrope, the broad definition of which is "a person who dislikes humankind and avoids human society."

Given the (mental) state of those in power currently, you can get where they're coming from. 

Ladytron are playing Liverpool, Newcastle and Manchester in March, then supporting Gary Numan in Halifax come July. Tickets available here.

She Past Away are also landing on these shores in Sepetember, with dates in Glasgow and Manchester, which you can find here. Not listed on Ents 24, but they're also performing at Strange Brew in Bristol, according to the Headfirst site, and they should know. I'm sorely tempted to scratch that itch.

Sunday, 8 February 2026

Dance Craze

Another dive into chart history, this time going all the way back to the Top 20 UK singles on 8th February 1955.

These selections have typically also prompted reflections on my childhood, which I can't do this time as I was more than a decade and a half away from gatecrashing this crazy world. However, my parents were both pre-teens in 1955 and I was intrigued to see what would have been grabbing their attention back then.

Previous selections have cherry picked from the countdown, but today's 15 were rather more clear cut, in that the five songs that I haven't included were all 'rival' versions of the same song. In this week alone there were three competing takes on Mr. Sandman alone! 

I've gone for The Chordettes, which although not the first recording of Mr. Sandman (that was Vaughan Monroe & Orchestra in 1954), is considered the definitive version and landed them with their first hit single. Ironically, it was the lowest placing of the three in this chart, peaking at #11 in January 1955. The Four Aces were at #20 by 8th February, having previously hit #9. Dickie Valentine was at #5 with his version on this date, and that was as high as he got. The Chordettes is my favourite of the three.

Not content with a #5 hit, Dickie Valentine was also at #2 with The Finger Of Suspicion, this time with The Stargazers. The song had spent three of the last 5 weeks at #1, this week spending a second time at #2, before a seven-week slow slink out of the Top 20.

Serial offender Dean Martin is in the Top 20 with not one but two songs that try to steal the thunder of other artists, including this week's #1. He failed in February 1955 although he arguably won the long game as the songs are commonly associated with him these days. For this reason, I've disqualified him from this selection. Shame on you, Dino!

The other Dino 'steal' is The Naughty Lady Of Shady Lane, first recorded and released by The Ames Brothers in the USA in October 1954. Dean Martin was swift to act, releasing his own version in December 1954. In the UK, his version has charted the previous week at #20, leaping up to #10. The Ames Brothers' original debuted this week one place higher, at #9, then up to #6 in the chart of 11th February.  Martin was hot on their heels at #7, but ultimately went one higher (#5 in March) and spent longer in the Top 20. The Rat!

Alma Cogan confessed that "I Can't Tell A Waltz From A Tango", though the UK record buying public were clearly a forgiving bunch as she got #6 with the song and spent a total of 11 weeks in the chart. Poor Alma subsequently learned the difference, but at great personal cost as by Christmas 1955, she was warning us to "Never Do A Tango With An Eskimo". There must have been more appropriate and suitably qualified dance teachers closer to home, I would have thought...

Ruby Murray is probably - and sadly - more famous in the 21st Century for being Cockney rhyming slang for heading out to an Indian restaurant. Ruby appears here twice. Heartbeat was at #7, down from last week's #3, and enjoyed 16 weeks in the Top 20. Softly, Softly at #3 was a fortnight away from a three-week stint at #1 and a whopping 23 weeks in the Top 20. Until I compiled this selection, Softly, Softly was also the only Ruby Murray song in my music collection.

With all of this (mostly) easy listening, it's easier to appreciate the impact that Bill Haley & His Comets had on the charts. Shake, Rattle And Roll spent a second and final week at #4, but it was clear that there was an appetite for this music and things would never be the same. 

Though rebellious youth - or Dean Martin - wasn't quite enough to topple the current dance craze from pole position on 8th February 1955. Rosemary Clooney, like Dean, Dickie and Alma, also had two songs in the Top 20.

At #18 was This Ole House, which became the bane of my 10-year old life when Shakin' Stevens cover version plagued the charts for 17 weeks, including three at #1. My primary school pals all loved it, knew that I didn't and would tirelessly try to change my mind. I resisted the urge to like the song, although I later succumbed to wearing double denim, though I stress not as a tribute to Shaky. Rosemary's version also got to #1 for one week, and she also managed 18 weeks in the chart. Take that, Mike Barratt!

Rosemary's biggest achievement this week was gettng to #1 for a second time in a fortnight with Mambo Italiano. In fact, the song spent a total of 10 weeks bouncing around the Top 3. The King Of Cool's version may be the one that seems to pop up here, there and everywhere these days. Rosemary's recording was the first and the best.

In keeping with the 'cover art' theme of my previous chart history posts, this one features the comic Eagle, cover dated 11th February 1955. Sadly, not from my personal collection, but just take a moment to admire the gorgeous art on the Dan Dare story by Frank Hampson and team. Dan himself doesn't feature on this page, but you do get The Mekon, one of the greatest sci-fi villains of all time, in any medium.

1) Mr. Sandman: The Chordettes (#19)
2) This Ole House: Rosemary Clooney (#18)
3) Rain, Rain Rain: Frankie Laine & The Four Lads (#17)
4) I Can't Tell A Waltz From A Tango: Alma Cogan (#15)
5) Drink Drink Drink aka The Drinking Song: Mario Lanza (#13)
6) Happy Days And Lonely Nights: Frankie Vaughan (#12)
7) I Still Believe: Ronnie Hilton (#11)
8) The Naughty Lady Of Shady Lane: The Ames Brothers (#9)
9) No One But You: Billy Eckstine (#8)
10) Heartbeat: Ruby Murray (#7)
11) Give Me Your Word: Tennessee Ernie Ford (#6)
12) Shake, Rattle And Roll: Bill Haley & His Comets (#4)
13) Softly, Softly: Ruby Murray (#3)
14) The Finger Of Suspicion: Dickie Valentine & The Stargazers (#2)
15) Mambo Italiano: Rosemary Clooney & The Mellomen (#1)

Dance Craze (39:35) (GD) (M)