Back catalogue: Rock (All)

Review: Junior Dell & The D-Lites are one of reggae's most accomplished outfits and they have a vast arsenal of tunes to back that up. This one is one of many delightful dubs - and it now makes its way to us via Original Gravity. 'East Of Hurghada' has a noodling melodic lead and nice dusty drums with a more textured horn eventually taking the main stage. On the flip, Woodfield Rd Allstars step up with 'Lickle Fat Mattress' which is another blend of ska, reggae and dub with some natty keys.

Review: Contemporary reggae artist Junior Dell and his backing band the D-Lites do it just as their forbears did back in the 70s and 80s. Stalwarts of parent label Original Gravity and favourites of theirs, it comes as no surprise: Dell recharges the reggae genre with seemingly limitless battery power, asserting without compromise the Jamaican genre's unstoppability. Appeals to infinitude aside, it still would've certainly needed a heck of a lot of electrical power to fuel all those soundsystems. Even so, 'Can't Stop The Reggae' is a serene track, deploying a lovers' tinge whilst Dell peppers the sound with his suspended vocal lilts. Woodfield Rd Allstars go a little more experimental with things, electronically sequencing their vintage drums and bubbles to a highly miscible eight-note blessup.

Review: Two tracks from the Modfather's current 66 album get the remix treatment, with the A-side seeing Alexis Taylor of Hot Chip joining unlikely forces with Parisian DJ and producer Cedric Marszewski aka Pilooski for an overhaul of 'Flying Fish', before the flip hosts 'Flying Fish' Richie Stevens of virtual band Spacemonkeyz works his magic on 'Nothing'. Weller's remixes have been well chosen and generally top drawer ever since Brendan Lynch reworked 'Wild Wood' back in the mid 90s, a rich tradition that continues unabated here.

Review: Wolf Alice's evolution from a duo to a quartet has been nothing short of meteoric. Over a decade since Ellie Rowsell and Joff Oddie first joined forces, the band has soared to remarkable heights. Their decision to repress their third EP, Creature Songs, on white vinyl for its ten year anniversary, highlights their commitment to honoring their roots while embracing their future. Wolf Alice's Creature Songs EP is a vibrant ode to '90s grunge, but with a distinct 2014 twist. The EP showcases the band's ability to seamlessly shift between raw, angst-filled tracks like 'Moaning Lisa Smile' and 'Storms,' to more melodic and atmospheric tunes such as 'Heavenly Creatures' and 'We're Not The Same.' While their aesthetic may nod to a bygone era, their sound is undeniably contemporary and powerful. With Ellie Rowsell's commanding vocals and the band's expertly crafted hooks and riffs, Creature Songs proves that Wolf Alice is not just a nostalgic throwback, but a force to be reckoned with in the present music scene.

Review: Side-1 kicks off with a raw and funky garage band jam that perfectly captures the spirit of 1967. With its dynamic energy, the track blends elements of jazz, rock, funk and blues, creating an exciting, soul-infused experience. The rhythm section drives the track with relentless energy, while the soulful melodies and infectious groove make it a standout piece. The mix of surf rock and mod influences gives it a timeless, gritty edge that resonates with both vintage and modern listeners. Side-2 takes a more experimental turn with a unique jam laden with saxophone and rich instrumental textures. The track's experimental nature is underscored by its unconventional structure, utilizing the harpsichord to create a distinctive, jazzy vibe. The saxophone adds a layer of depth, intertwining with the rhythm to produce a mood that's both introspective and lively. This track offers a refreshing, avant-garde twist that contrasts beautifully with the raw energy of the opening side.

Review: 'A Shared Sense Of Purpose' is a fittingly collectively-minded name for a new Gordon Chapman-Fox aka. Warrington Runcorn New Town Development Plan release. The first glimpse of his latest full-length LP, Your Community Hub, this first sampler hears the artist continue to develop his totally singular vision in eerie modernist electronica, deploying lilty arpeggiations and contradictorily Utopian, yet at the same time, sinister, melodies and ambiences; all with a view to producing an uncanny deja entendu. These are deployed to mourn the slow, increasing privatisation of Chapman-Fox's native Warrington-Runcorn, specifically its singular bespoke town centre - its walkways, its local postal system, its gridded shop lots - which were all designed to make it a five-minute city, long before the concept of fifteen-minute cities had entered town planning discourse. Though, perhaps this lament masks a more sinister sense of enjoyment, as there is indeed a perverse sort of pleasure that arises in the bittersweetly uncanny perfumes that waft from this latest haunted mood piece. Perhaps just like the experience of revisiting Warrington-Runcorn after having known it in childhood, we hear both sadness and euphoria, at the same time, in the face of its ostensible loss.

Review: It could have all been so different when you think about it. One of the UK's most critically acclaimed, celebrated and mourned bands, Joy Division, were originally toying with the idea of calling themselves Stiff Kittens after first getting together. This then changed to Warsaw, after David Bowie's track, 'Warsawa', and it's under this guise they broke into the common conscious, supporting The Buzzcocks, Penetration and John Cooper Clarke at Electric Circus in 1977. Reviews from that show - by music journalist leg-ends Paul Morley and Ian Wood - would ignite the hype. A debut album was planned for RCA Records, 11 tracks that would go on to be known simply as The RCA Sessions. Here they are now, as originally intended, some of which eventually made it onto Joy Division records, others didn't, but all clearly showing musicians defining their sound and place in the scene.

Review: PM Warson's latest album, A Little More Time via Legere Recordings, builds on his reputation as a standout in modern r&b. It is his third album and one that broadens his 60s-inspired vision. While not a complete departure from his r&b roots, it ventures into a range of styles and moods with a vintage sonic palette that will capture the hearts and minds of series soul heads. Recorded at London's famous analogue studio Lightship 95, A Little More Time features 10 original tracks that blend live performance energy with refined songwriting and production and the title track, which was also the lead single, exemplifies the album's blend of vintage pop and soul.

Review: Weezer's Blue Album is celebrating its 30th anniversary with a special edition vinyl release, newly remastered from the original analog tapes and pressed on blue and clear vinyl. Widely considered one of the most iconic debut albums of all time, the 1994 release pushed alternative rock in a new direction with its blend of humor, introspection, and anthemic hooks. Rivers Cuomo's songwriting crafted a unique voice, with geeky, ironic narratives juxtaposed against a backdrop of roaring guitars and power-pop melodies. At a time when the alt-rock world was dominated by angst-filled acts like Nirvana, Pearl Jam, and Green Day, Weezer stood out with their self-deprecating lyrics and complex emotional themes. Songs like 'No One Else' and 'The World Has Turned and Left Me Here' explored fragile masculinity with both humor and vulnerability. Meanwhile, tracks like 'In the Garage' and 'Surf Wax America' embraced geek culture and fantasies, cementing Cuomo's place as an unconventional frontman. The record also introduced the band's signature soundia hybrid of power-pop, punk, and 70s rock influences. Hit tracks like 'Buddy Holly', with its irresistible chorus, and 'Say It Ain't So', an emotionally raw reflection on family trauma, showced Cuomo's talent for writing anthems that were both personal and relatable. The climactic 'Only in Dreams' closed the album with a sprawling, eight-minute masterpiece, further solidifying Weezer's lasting impact on 90s rock. While initially dismissed by some critics, The Blue Album gained recognition for its mix of heartfelt songwriting and ironic detachment, earning a double-platinum status and becoming a blueprint for later generations of indie and alternative acts.

Review: Gillian Welch and David Rawlings' latest album Woodland is a beacon to their enduring partnership and unwavering consistency. Named after their long-standing studio, which survived two tornadoes, the album reflects the duo's resilience and creativity. With a mix of lush yet sparse arrangements, the ten tracks are beautifully recorded by Rawlings, emphasising vocals and guitar. The songwriting is at its peak, with lyrics that resonate deeply, evoking a sense of both melancholy and warmth. Highlights include 'What We Had' and 'Lawman,' where their harmonies are so tight, they sound like siblings. Woodland is a meticulously crafted album that rewards careful listening with Welch and Rawlings at their best.

Review: This much sought-after treasure was originally a private press release back in 1981 but it has been remastered as a special drop for Record Store Day 2024. It is a sublime album of blue-eyed soul with overtones of country and Americana that make it all the more evocative and escapist. The songwriting is reflective, the musicianship is tight, the melodies impressive and the vocals effortlessly captivating. The NuNorthern Soul label has been serving up these sorts of nuggets and obscurities for over a decade now but this is right up there with the best of them.

Review: Paul Weller is perhaps one of the best non-soul musicians to ask to compile a rare soul compilation. Rather than documenting soul music as it proliferated in the 1960s, Ace Records' soul aim was to capture a genre, fashion and style as one man saw it in retrospect, in light of his involvement in the mod revival of the mid 1970s. Weller would later go onto form and front The Jam, but in late 1974, shortly before his involvement in the punk movement, he was about none of that business at all. Punk partly grew on febrile tissues of mod, which was in turn an offshoot of 60s soul; and it is true that we may hear a foetal form of the sound in the brasher cuts on this record, be it Billy Stewart's 'Summertime' or James Carr's 'Pouring Water'. Also clock Brother To Brother's 'In The Bottle', a super-early drum machine blues gem perfect for the house heads.

Review: Jack White's sixth solo album, No Name, arrives as a delightful surprise, offering a raw and invigorating return to his roots. Released with minimal fanfare and initially devoid of track titles, this album shows off White's playful and enigmatic nature. Fans of all stripes will find something to love here: diehard collectors get a rare gem for their collections, while those simply drawn to White's music can dive into 13 new tracks, now officially titled and available on vinyl. Produced at Third Man Records Studios in Nashville, No Name strips away the grandiosity of White's recent experiments, embracing a raw, unpolished sound that harks back to his White Stripes days. The album's blues-infused rock, with its razor-sharp riffs and primal drumming, feels more alive and immediate than his recent work. Songs like 'Bless Yourself' channel the heavy, bruising power of early Shellac and Led Zeppelin, while 'Terminal Archenemy Endling' blends heavy rock with spiritual uplift. White's lyrics are sharp and biting, delivering both humor and intensity. Tracks like 'Archbishop Harold Holmes' and 'What's the Rumpus?' showcase his ability to balance the sublime and the ridiculous, with catchy hooks and incisive commentary. Leaner and more focused than he's been in years, No Name is a thrilling reminder of White's genius and overall, an enjoyable rock album to listen to.

Review: Windy & Carl's album Consciousness encapsulates the duo's exploration of ambient and drone music with a warmer, more pastoral feel compared to their previous works. Absent are the vague dread and claustrophobia, replaced by buoyant soundscapes that evoke sense of tranquility. The song titles themselves, such as 'The Sun' and 'Elevation,' reinforce this lighter tone. 'The Sun' opens the album with simple yet direct electric guitar chords, setting the stage for the serene journey ahead. Even tracks like 'Balance (Trembling)' touch on darker shadings but quickly transition to glowing, comforting tones. Tracks like 'Elevation' and 'The Llama's Dream' contribute to the dream-like atmosphere of the album, with shimmering tones and ethereal vocals adding to its hallucinatory quality. 'Resolution' concludes the album with a final, contemplative note. Consciousness shows Windy & Carl's dedication to perfecting the drone. While there may not be a major departure in style, the album is commitment to crafting immersive sonic experiences. For fans of ambient and drone music, Consciousness is another great album to have and enjoy.

Review: Unplugged & Electrified is a poignant compilation that showcases the unforgettable live performances of Amy Winehouse, capturing her unique artistry and raw emotional power. Spanning tracks from intimate sessions like 'Back to Black' and 'Rehab', recorded during her Unplugged performance at The Orange Lounge in May 2007, the album highlights her ability to convey vulnerability through soulful delivery. The collection features electrifying moments from Jools Holland's Hootenanny, including collaborative renditions of classics like 'I Heard It Through The Grapevine' and 'Mighty Quinn', where her dynamic vocal prowess shines alongside esteemed musicians. Tracks such as 'Valerie' and 'Some Unholy War' present alternate versions, enriching the listening experience with fresh interpretations. From heartfelt ballads like 'Love Is A Losing Game' to spirited performances of 'Cherry' and 'You Know I'm No Good'. the compilation encapsulates the essence of Winehouse's artistry. Overall, Unplugged & Electrified serves as a celebration of her talent, providing fans with a comprehensive glimpse into her most cherished live moments.

Review: This timely reissue of Zamrock's Afro-prog-psychedelic masterpiece makes its debut on vibrant yellow vinyl. WITCH was a group influenced by James Brown, the Stones, and Deep Purple and they dominated 70s Zamrock stages in their heyday. Their musical journey spanned only five years and culminated in the fifth and final rock album, which predated a split and a new disco venture in Zimbabwe. The record fuses traditional Zambian rhythms and folk melodies with progressive rock and, somewhat echoing Lukombo Vibes, it embodies the Osibas' "afro-rock" style. This release encapsulates WITCH's evolution and influence and gives a vivid glimpse into the era's musical fusion and cultural resonance.