Mr Mart retweeted
📰| Manic Street Preachers' James Dean Bradfield and Nicky Wire discuss the creation of The Holy Bible in the new issue of @ClassicRockMag (#359 November 2026), Out now.
#ManicStreetPreachers | @Manics
Mr Mart retweeted
Whitney Houston only appeared in the Top Of The Pops studio once in the 80s but what a performance it was! A live vocal of "I Wanna Dance With Somebody" in 1987. A master at her craft ❤️🙏🏼
Mr Mart retweeted
The trailer for Simon Stone’s ‘ELSINORE’ has been released.
Starring Andrew Scott and Olivia Colman.
In theaters this November.
Mr Mart retweeted
Happy Heavenly Birthday Amy Winehouse 🖤
Amy Winehouse & Paul Weller - Don't Go To Strangers (Jools Holland 2006) ▶️
Women were assaulted and you don't care. Shame on you. Stop pretending you care about women.
@RobertJenrick
Mr Mart retweeted
Celebrating the anniversary of #GeorgeMichael’s album ‘Listen Without Prejudice Vol. 1’ released #OnThisDay September 3, 1990
#GeorgeMichaelInducted
Mr Mart retweeted
For the Joshua Homme, David Bowie & Michael Hutchence botherers 🖤
I've been trying to D/L Werewolves of London but its not happening so I watched it 8 times instead.
Always remember you backed Trump and Morgan. You're a fraud
@IndiaWilloughby
Mr Mart retweeted
“Leave a Light On” has an unexpected guest: George Harrison played the song's distinctive slide-guitar part. Belinda Carlisle suggested his name to producer Rick Nowels when they were looking for a guitarist with a unique sound, and Harrison quickly agreed to participate. He went on to contribute not only to “Leave a Light On” but also to another track on Carlisle's 1989 album Runaway Horses, “Deep Deep Ocean.”
Harrison's contribution became one of the most memorable elements of the track and Carlisle later recalled that his widow, Olivia Harrison, told her that George had agreed to participate because he loved her voice. Harrison himself was also pleased with his work: he sent producer Rick Nowels a handwritten letter with instructions concerning the mixing of his guitar part, adding in a postscript that he had developed a blister while playing the song. For a former Beatle whose appearances on other artists' records had become relatively rare, his contribution made the track particularly special.
Mr Mart retweeted
There will never be a more iconic entrance. Tim Curry, you will never be forgotten. 💔
Mr Mart retweeted
Bananarama getting back together after all those years and immediately admitting they’re having too much fun to remember the choreography is honestly the most Bananarama thing possible
There’s no desperate attempt to look perfectly polished.
They’re laughing, figuring things out and basically enjoying being back together.
That kind of chemistry is impossible to fake.
Mr Mart retweeted
The fact that they can’t even stop themselves from laughing shows how hilarious this is. 😂💀
If they had cut to Ryan as Cornholio we might never have recovered 😭😭
The fact Ryan Gosling is the guy who breaks everyone 👏🏼😂
Mr Mart retweeted
Most of “The Circle” poured out almost immediately. Simon Fowler wrote it in a cramped Moseley flat during Ocean Colour Scene’s leaner years and later recalled that around ninety per cent of the finished lyric came straight from that initial burst of writing. Paul Weller added lead guitar to the recording, strengthening the connection between OCS and the musician who had supported them before their breakthrough. The song came from 1996’s Moseley Shoals and reached No. 6 in the UK. On 27 September, Ocean Colour Scene performed it live on Top of the Pops, right at the height of their remarkable breakthrough year.
Mr Mart retweeted
founded in 1997 and self described as a 'music collective series' by Josh Homme formerly the front man of Queens of the Stone Age
one of my favourite Jools Holland performances 👏
Desert Sessions ft. PJ Harvey - I Wanna Make It Wit Chu (1997) ▶️
Mr Mart retweeted
A classified advert became part of the launch for one of Depeche Mode’s biggest songs. Before “Personal Jesus” was released, mysterious newspaper ads offered readers “Your own personal Jesus”, later accompanied by a phone number where callers could hear the track. Martin Gore drew the lyrical idea from Priscilla Presley’s book Elvis and Me, exploring the idea of treating a lover as a source of almost religious devotion. Released in 1989 ahead of the album Violator, the song’s bluesy guitar riff marked a striking shift in Depeche Mode’s sound. Early performances that year introduced audiences to a record that would become a cornerstone of their catalogue.
















