Review: Singer, songwriter, former Navy sailor and Oklahoma native Zach Bryan first rose to fame in 2019 with his self-released debut country album DeAnn. Bryan's raw storytelling approach attracted a dedicated following, justifying many follow-ups - his latest EP Summertime Blues included. Something of a sibling piece to the recent album American Heartbreak, the EP deploys sweet vocal lilts, banjo strums and fiddle bowings to channels many brooding, blue-collar emotions, reflecting lives lived on the road and bittersweet days gone by.
Review: Two of the likeliest lads from Manchester team up for the first day release of their new collaborative project. And its something of a full circle moment, with Oasis frontman Liam Gallagher previously citing Stone Roses hero John Squire in a list of formative teenage musical inspirations, who, in turn, first encountered the former when both bands were working the same studio, respectively recording Definitely Maybe and The Second Coming. The pair first shared honours three years after that, co-writing 'Love Me & Leave Me' for Squire's relatively short-lived outfit, The Seahorses, in 1997. Skip forward to 2022 and Squire joined the Gallaghers et al on stage at Knebworth, reprising his appearances for renditions of 'Champagne Supernova' at the band's 1996 shows, spurring the idea to do something together again. Here's the result - and it's precisely what the duo should sound like together.
Review: All of Joy Division's biggest hits have been remastered and reissues by Warner this month. This particular heavyweight wedge of 12" vinyl offers "Atmosphere", which interestingly enough was first put in March 1980 by the Sordide Sentimental label as a France-only single under the title "Licht und Blindheit". Like "Transmission" or "Love Will Tear Us Apart", it is an essential tune with a real moodiness in the production rom Martin Hamnett. Curtis's vocals have a sense of finality to them that was to prove all too real when he committed suicide not long after recording it. 1979's "She's Lost Control" is an other archetypal, angular groove with the jittery drums that made the band so essential.
Review: Warner has worked on a run of Joy Division reissues this month and after their most famous "Love Will Tear Us Apart" comes "Transmission" which is not far behind. A 2020 Digital Remaster reboots the sounds but retains the grit and urgency of the original, which is a surging post-punk anthem filled with angst but also a sense of vulnerability and melancholy that makes it so much more enduring. "Novelty" on the flip has a broken beat line, gauzy guitar riffs and is underpinned by an excellent insistent baseline that never lets up.
Review: This 12-inch picture disc version of Madonna's 'Erotica' single (taken from the concept album about sex and romance of the same name) is a thing to behold. It arrives, finally, courtesy of Warmer Music and is in honour of the tune's 30th anniversary. The picture on the vinyl is from Madge's Sex book but was withdrawn before it actually got released back in 1992. Three versions are presented here - the original album version, plus an instrumental and a radio edit.
Review: New Order's 'Bizarre Love Triangle' stands as a hallmark of synth-pop, encapsulating the band's innovative spirit and leaving an indelible mark on their legacy. Featured on their fourth album, Brotherhood, this track, released in November 1986, is often celebrated by fans despite its initial lukewarm reception on the charts, leaving even the band members puzzled about its initial performance. The creation of 'Bizarre Love Triangle' began when New Order borrowed a Fairlight synthesiser, leading to a distinctive rhythmic bass line crafted by frontman Bernard Sumner. The song evolved into a high-energy electro-pop anthem, with an iconic chorus that captures listeners from the get-go. Despite its modest chart success compared to other hits like 'Blue Monday', the track played a crucial role in establishing the band's international appeal, especially in the American market. It quickly became a live favourite and a staple in New Order's performances, showcasing their knack for reinventing their classics. With remastered and reissued vinyl now available, 'Bizarre Love Triangle' continues to make new fans along the way while holding a special place in the hearts of 80s music lovers still. Its enduring charm is a testament to its brilliance as a pop masterpiece, inviting diverse interpretations and connections.
Review: The remastered reissues of New Order classics continues with this 1984 gem 'Thieves Like Us' (the title is taken from the Robert Altman movie). It originally landed, of course, on Factory and like all that label's releases, comes with a Peter Saville designed cover, based on a painting by Giorgio de Chirico. It's the band's seventh single and the remastering job has been done from the original master tapes at Abbey Road Studios. The title track is a typically forlorn affair to start, but it erupts into a more joyous and life-affirming sing along. 'Lonesome Tonight' is as low key and wallowsome as the name suggests.
Review: Alongside the reissue of their eternally adored Substance 1987 compilation, New Order are bringing back this 12" edition of their equally seminal 'True Faith'. It's one of the tracks the group are most readily associated with, capturing the essence of the band around bombastic pop hooks, the spikiness of new wave and Bernard Sumner's sharp distillation of the prevailing British mood. It's a golden slice of pop history which sounds better than ever thanks to a new remaster, and the same goes for the excellent B side '1963'.
Review: When New Order released 'True Faith' in 1987, they broke the mould as the first band to present multiple different editions of their single right at the point of arrival. As well as the widely adored original version of the track, there was a club-ready version mixed by the mighty Shep Pettibone, a true king of New York's scene who knew exactly how to get the best out of the track for the dancefloor. As singles compilation Substance 1987 gets a high-end reissue, so too does this late 80s club monster sounding brighter and bolder than ever thanks to a tidy remaster treatment, with the 'True Dub' version on the B side for those who really want to lock in.
Review: If you had an asset as potent and praised as 'Blue Monday', you'd want to see where else you could take it, wouldn't you? After New Order released their singles collection Substance 1987, they served up 'Blue Monday 88' with some subtle refinements overseen by none other than Quincy Jones. It's just the right approach, adding some spice to the rhythm section but keeping the brilliance of the song intact. Meanwhile 'Beach Buggy' on the flip sees Michael Johnson going in on the instrumental flip side version for those who need maximum club reaction. Both tracks absolutely shine thanks to a tidy remastering treatment, so if you don't already own it, now's the chance to put that right.
Review: New Order's 'State of the Nation' returns as a remastered reissue of the original 12" single, originally released in 1986. During this period, the band's confidence was soaring, and this track exemplifies their knack for crafting catchy dance music that resonated with audiences. The remastered version maintains the original tracklisting, including the second side 'Shame of the Nation', which serves as a dub rendition of the title track. This version extends the rhythmic elements, offering a fresh perspective on the song while preserving its infectious energy. State of the Nation not only secured its place as a Top 40 hit in the UK but also featured on the iconic compilation Substance, released the following year. New Order's enduring legacy and ability to blend catchy melodies with danceable beats is captured perfectly with these recent 12" single reissues.
Arnold Layne (Recorded live At The Barbican Centre, London At The Syd Barrett Tribute Concert) (3:47)
Review: Here's a Record Store Day 2020 special that all Pink Floyd fans will want to take a look at: an etched, single-sided seven-inch single featuring a previously unreleased version of Piper at the Gates of Dawn-era favourite 'Arnold Lane'. It was recorded at The Madcaps Last Laugh concert in 2007, a tribute to band co-founder Syd Barrett. It features three Floyd members - David Gilmour, Nick Mason and Rick Wright - alongside vocalist Jon Carin, whose singing is very similar to that of Barrett, and bassist Andy Bell. It's a fairly faithful rendition all told, and one with added weight given the travails of Barrett after he left Pink Floyd in the late 1960s.
Review: From the grave, Prince is serving up a banger just in time for Christmas fun this year in the form of a one-sided 12" on Warner. It found him working with his trusty New Power Generation and features the 'damn near 10 min' mix of the song 'Gett Off' which is sure to fire up any dancefloor. It was originally a single - also served up as a one-sider - to promote Prince's new band with a cover that boldly declared that "Nothing can stop Prince and the New Power Generation" and was only issued on 1500 copies, so this is a great treat for fans to own all these years later.
Review: Even reading the words All Saints takes us back to simmer times, when pop music seemed far more innocent and pop stars - the female ones at least - wore far more clothes. The British group's self-titled debut album was cooler and smarter than many of their candied peers (Spice Girls, we're looking at you) and blended effortlessly soulful vocals with rich, atmospheric production. From start to finish, the album lays down emotionally charged and honest lyrics. The production is lush yet minimal, allowing the powerful vocals to take centre stage, with classics like 'Never Ever', 'I Know Where It's At' and 'Lady Marmalade ('98 remix)' all still oozing a nice new soul and r&b edge.
Review: Blur were always the posh, private school answer to the more streetwise cool of Oasis during the heyday of Brit pop during the mid to late 90s. Their second album Modern Life Is Rubbish got them back into the affections of the public after their debut album somewhat turned people off (with many thinking it was a cash in on the popular but fading Manchester sound) and saw the band fall behind the likes of Suede. Part of the raisin for the return to success was the sonic makeover which brought more tradition guitar-pop sounds back with lush melodies and poignant humour in the lyrics from lead singer Damon Albarn. On its 30th anniversary the album now gets a full reissue as part of National Album Day 2023
Review: Scrolling through TikTok, it's easy to get songs like Benson Boone's 'Beautiful Things' stuck in your head. Released in January, this track went viral, appearing in nearly a million videos and quickly climbing to the top of the Billboard Hot 100. impressive debut album. The opening track, 'Intro,' has a theatrical vibe that transitions into the upbeat 'Be Someone,' showing a departure from Boone's melancholy themes. The album tells a compelling story of love, loss, and heartbreak, with each song bringing something unique. Tracks like 'Slow It Down' are danceable, while others delve into deeper topics like depression and death. At just 21, Boone's talent for poetic imagery is evident, suggesting he has a very promising future.
Review: Legend has it that David Bowie was so lost in a vortex of cocaine and ego during the making of this record to such a degree that he now can't remember anything about its creation at all. Typically of the Dame though, in the midst of all this madness he created a masterpiece, and arguably his greatest album of all. With a hint of the funk of influence of 'Young Americans', yet filtered through a glacial European sensibility, it's a genre-transcending tour-de-force of boundless scope and imperious swagger. Forty-one years on, this record still sounds like the future.
Review: A Divine Symmetry is the new compilation of demos and rarities from David Bowie's Hunky Dory days, providing an alternative take on the pop chameleon's 1970s long-haired, flared heyday. This is hippie Bowie in full lo-fi glory, as you've never seen or heard him before. A mixture of alternative versions and demos, this is selective compared to the X4 CD set but still a new look at one of the most fiercely examined artists about.
Review: Zach Bryan's The Great American Bar Scene offers a vivid snapshot of small-town America, blending poignant storytelling with a rich musical tapestry. After nearly a decade in the U.S. Navy, Bryan left in 2021 to pursue music, and since his 2020 debut, he has soared to stardom, consistently topping charts and touring globally. Released less than a year after his previous self-titled album, The Great American Bar Scene continues Bryan's momentum. Between albums, he secured his first number-one hit with 'I Remember Everything', toured extensively and released the 'Boys of Faith' EP. Despite his busy schedule, Bryan managed to craft this 19-track album, which delves deeply into the connections between people, often found in intimate conversations at bars. Bryan's music draws from classic country, folk, and Americana, defying easy categorisationia strength that sets him apart. Collaborations with legends like Bruce Springsteen and John Mayer add layers to this emotionally charged album, making The Great American Bar Scene a reliable, heartfelt reflection of Bryan's journey and the lives he touches.
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