Back catalogue: All genres

Review: This Ramones album - one of their very, very many - is packed with relentless guitar energy and a proud punk ethos. Originally released in 1987, it captures their raw spirit and is packed with gritty rock licks and infectious melodies. Featuring standout tracks like the opener 'I Wanna Live' and the guttural vocal bite of 'Garden of Serenity' it showcases the band's evolution while staying true to their signature sound, during what was a pivotal moment in the US punks' lengthy career, a decade or so on from their explosive arrival.

Review: Known for being one of the most tumultuous projects of the entire Ramones catalogue, 1986's Animal Boy came at an all-time low in terms of camaraderie and communication within the band. Following on from the well-received back to basics approach of Too Tough To Die, the internal bickering and uncertainty as to where to chart their next sonic course would ultimately lead to disinterested and detached contributions from their most vocal of writers with neither Joey Ramone nor guitarist Johnny able to creatively agree on even a single track. Picking up the slack was bassist Dee Dee and drummer Richie, who took it upon themselves to salvage the sessions, leading to a somewhat sporadic concoction that was lambasted upon initial release due to the clear lack of a cohesive direction. With time salving all wounds, however, the record now garners its own fond reappraisal for its synth-laden new wave experimentations, while lyrically delving into some of their most personal and political subjects to date, even sometimes simultaneously such as on the standout cut, 'My Brain Is Hanging Upside Down (Bonzo Goes to Bitburg)', which takes central aim at one Ronald Reagan, and caused disagreement within the band due to individual stances on the subject matter. An often misunderstood ninth entry, Animal Boy deserves all the flowers it has been rewarded in retrospect.

Review: Originally released in 1981, the recording of the sixth full-length Ramones' album was anything but Pleasant Dreams (get it?) as their label Sire opted to push producer Graham Gouldman into their sessions in order to garner hype from a big name. With the brothers Ramone unhappy with this decision as well as their own internal strife due to alcohol and drug dependency, as well as Johnny starting a relationship with Joey's girlfriend, conflict poured over into the material with a creative stalemate as to whether to pursue a more pop-punk direction with an increased prioritisation on melody, or to 180 into feral hard rock, and with this being the Ramones, of course no agreement or compromise was reached, with the tracklist veering wildly between these two frenetic approaches constantly. Boasting some of the highest production values of any album in the Ramones canon as well as one of their best singles in 'The KKK Took My Baby Away', while offering up very un-punk yet undeniable anthems such as the aptly titled, 'We Want the Airwaves', and, 'She's A Sensation', Pleasant Dreams may have somewhat flopped upon initial release, but has grown to become an unlikely fan favourite in the decades since.

Review: Are The Ramones now best known for being on t-shirts worn by people who have never heard the band? Maybe. But either way, Too Tough To Die, which was released 40 years ago, is often seen as a return to form. Really, it deserves a more radical categorisation. Released in the mid-1980s, the album felt out of step with the era, not in a negative way, but in how it captured the contradictions of its time. Made without a clear direction, its incongruity became its defining feature. As Joey Ramone noted in a 1988 interview, "Around '84, the world was changing drastically... Things were getting scary. So, our songs started changing." This shift in tone marked a new chapter in their musical evolution.

Review: A 1996 classic brought back to life with a new, enhanced vinyl experience. Opening with the title track, the album presents a blend of prog-rock with more streamlined, radio-friendly elements, which defines much of the era. 'Driven' stands out as a high-energy, guitar-heavy track, while 'Virtuality' brings an electronic edge to their sound, embracing the technology of the time. This 2XLP release allows fans to revisit the album in rich analogue quality, offering a fresh perspective on Rush's evolution during the 90s, with the complex musicianship and dynamic range that made the band iconic.

Review: Rush's 1989 release marked a clear departure from the synthesiser-heavy sound of their mid-80s albums, returning to a more guitar-driven approach. Alex Lifeson's intricate riffs shine through tracks like 'Show Don't Tell', while 'The Pass' layers introspective lyrics with melodic finesse. Geddy Lee's basslines feel taut and precise, anchoring the dynamic interplay between his vocals and Neil Peart's inventive drumming. The production captures a sense of clarity, allowing the band's technical prowess to shine without unnecessary embellishments. It's a turning point in Rush's journey that bridges their progressive roots with a leaner, more direct sound.

Review: Rush's Roll The Bones reissue for 2025 brings this 1991 classic back to vinyl with a fresh coat of audio enhancement. Kicking off with the energetic 'Dreamline,' the album effortlessly blends progressive rock with more accessible, radio-friendly sounds. Tracks like 'Bravado' showcase the band's refined songwriting, balancing introspection with their signature musicianship. The title track, 'Roll The Bones,' with its groovy bassline and playful lyrics, remains one of the band's most memorable moments. This LP reissue offers both die-hard fans and newcomers a chance to hear the band's versatile sound in pristine analog form.

Review: In 1993, Rush leaned into a heavier, guitar-driven sound, stripping back the synths of their earlier work. Tracks like 'Animate' open with robust riffs and tight rhythms, setting a confident tone, while 'Stick It Out' adds a grunge-inspired rawness that reflects the shifting rock landscape of the 90s. Geddy Lee's basslines are as commanding as ever, threading through Alex Lifeson's crunching guitar work and Neil Peart's signature, intricate drumming. The production captures a raw energy, showcasing a band comfortable in reinvention without losing their edge.