These tow Black Knockers are a lot like those plain-wrap goods at the supermarket. Not the greatest product in the world, but of quality. The background music may be cheesy, but at least there is background music; the director’s instructions have been edited out; the women are not buffed-out glamour pusses, but they are attractive, and they do have big black knockers. Post-production is similarly no-frills, with shots running long and a minimum of editing and camera tricks. Each offers four scenes. Five of the eight here take place in the same oddball setting: a corner of a room with one beige wall, one cinderblock wall with an iron fence in front of it, and a large bed covered with a green patterned sheet. That sheet must have gotten pretty skanky late in the day…

Vol. 45’s opener has a match between Tony Eveready and Lennox, who gets in the mood when the cameraman tosses off-brand C-notes at her. There’s a lot of aggressiveness in the scene, but there’s also a quick postscript where Lennox says, “I loved every minute of it.” Change of pace in scene three has Tyra Butts coming on to a muscleman by a pool, the luxurious location a startling contrast to the room-corner set.

Vol. 46 starts with a bemused Nikki facing Tony Eveready in the room-corner, including a long sequence where we see mostly the back of Tony’s head as he marathon-eats Nikki’s pussy. The last scene, with veterans Kira and Byron Long, has some comedy value, with Long playing an inscrutable Asian type.