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The name King Mob originates from a group of anarchic radical pranksters formed in the 70s. Referencing pop culture and using pre-Banksy-style art terrorism they had a huge influence on Malcolm McLaren and his punk manifesto, which probably explains why former honorary Sex Pistol and guitar legend Chris Spedding and Glen Matlock have now hijacked the name for their new illustrious semi supergoup.

Also featuring Snips (vocals), Pretender Martin Chambers (drums) and the enigmatically named Sixteen on guitar, the band live up to their impressive pedigree. Snips and Spedding who have played together before in Free Andy Fraser’s offshoot project Sharks sound fresh and enthused, while the regal rhythm section of Matlock/Chambers pump and pulsate with a youthful vigour.

They have an instantly recognisable sound; exotic tremolo guitars shimmer while echo-drenched vocals wrap themselves seductively around some 21st-century boogie beats – and it rocks like a bastard. Can’t wait to see them live.

Pete Makowski joined Sounds music weekly aged 15 as a messenger boy, and was soon reviewing albums. When no-one at the paper wanted to review Deep Purple's Made In Japan in December 1972, Makowski did the honours. The following week the phone rang in the Sounds office. It was Purple guitarist Ritchie Blackmore. "Thanks for the review," said Blackmore. "How would you like to come on tour with us in Europe?" He also wrote for Street Life, New Music News, Kerrang!, Soundcheck, Metal Hammer and This Is Rock, and was a press officer for Black Sabbath, Hawkwind, Motörhead, the New York Dolls and more. Sounds Editor Geoff Barton introduced Makowski to photographer Ross Halfin with the words, “You’ll be bad for each other,” creating a partnership that spanned three decades. Halfin and Makowski worked on dozens of articles for Classic Rock in the 00-10s, bringing back stories that crackled with humour and insight. Pete died in November 2021.