Review: Paul McCartney's long-lost project, One Hand Clapping, is finally seeing a near-complete release 50 years after its inception. Filmed and recorded over four days in August 1974 at Abbey Road Studios, the sessions feature a new Wings lineup with Paul, Linda, Denny Laine, Jimmy McCulloch, and drummer Geoff Britton, alongside Del Newman and Howie Casey. The album includes recent hits like 'Live and Let Die,' 'Band on the Run,' and 'Jet,' alongside Beatles classics 'Let It Be,' 'The Long and Winding Road,' and 'Lady Madonna.' Denny Laine covers the Moody Blues' 'Go Now' and Paul revisits 'Maybe I'm Amazed' and the Tin Pan Alley classic 'Baby Face.' Previously unreleased, except for a few tracks scattered over the years, One Hand Clapping is now available as beautiful packages with exclusive solo performances recorded in the backyard of Abbey Road. This release is a nostalgic treat for McCartney and Wings fans that harnesses the band at a unique moment in their storied career.
Review: Two years on from Tom Waits' landmark Swordfishtrombones and the jazz cat-turned staunch experimentalist continued to explore the roads less travelled with Rain Dogs. Originally released via the seminal Island Records in 1985, if the preceding album felt expansive, the follow up broadens horizons even further, inviting luminaries Keith Richards and Marc Ribot to get in on the action, although neither come close to even sharing the spotlight with the real star of the show. Spanning New Orleans funeral march melancholy, old down and dirty blues rock, heart wrenching balladry, wild cinematic instrumentals, noir-ish pulp fiction storytelling, and more than a little of the Swordfish-style stomping oddness, it's a masterpiece. Perhaps what really sets this apart, though, is how these myriad styles, at least some of which could easily fall into caricature, feel and sound so authentic, making it impossible not to buy into.
Review: UMR add to their Tom Waits reissues impetus with a re-release of Bone Machine, Waits' eleventh studio album, first released in 1992. A unique blend of rock, blues and industrial music, it's one of a subset of albums by Waits to deal in themes of death, violence, and religion, and features guest appearances by Keith Richards, Les Claypool, and David Hidalgo. Recorded in a room in the cellar area of Prairie Sun Recording studios, described by Waits as "just a cement floor and a hot water heater", the album is often noted for its rough, stripped-down, percussion-heavy style, as well as its dark lyrical themes revolving around death and chaos.
Review: The tenth studio album from Tom Waits, released in 1987 via Island Records, was yet another landmark in a career which, by this point, had already given us a raft of stone cold classics. The last two of those LPs, Swordfishtrombones and Rain Dogs, certainly swerved expectations, marking a new period in the life and times of an acclaimed jazz and blues man. Taking its name from a track on Swordfish, Frank's Wild Years is actually "Un Operachi Romantico in Two Acts" according to the subtitle, with several songs here taken from a play of the same name which premiered in Chicago a year prior. In many ways, the theatrical side story was an inevitability, with the previous records all pointing in the direction of a gravelly blues-jazz-rock core with a vaudeville, spoken word, and narrative disposition.
Review: To say that Tom Waits' eighth studio album marked a stylistic shift would be like saying winter is markedly different to summer. Having established himself as one of the finest piano-based songwriters of his generation - or any other for that matter - Swordfishtrombones was the first LP from the artist to lay out what was to come. Something very, very unusual, as visionary as it is bizarre, a celebration of the beauty of surrealism and the joy of having fun with music. Whether it's the opening number, 'Underground', and its strange, almost cartoonish chain gang jazz-blues stomp, the quiet keys and solitary vocals of 'Johnsburg, Illinois', or the distorted, compressed electronic jangling and organ riffs of 'Dave The Butcher', within the first few tracks alone you're presented with a vast and varied universe of ideas.
The Ghosts Of Saturday Night (After Hours At Napoleone's Pizza House) (3:11)
Review: This classic Tom Waits album showcases an intimate quality while delving into a traditional jazzy sound. Each track features his brilliant bluesy vocals, complemented by silky smooth instrumentals. The horn and string arrangements enhance his intricate lyrics, painting a vivid picture of the lonely streets of New York City at night. While 'Closing Time' captures solitude, The Heart Of Saturday Night reveals the broader landscape of the city, where Waits evokes relatable emotions that resonate deeply with listeners.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Hang On St Christopher (2:44)
Straight To The Top (Rhumba) (2:25)
Blow Wind Blow (3:32)
Temptation (3:33)
Innocent When You Dream (Barroom) (4:12)
I'll Be Gone (3:03)
Yesterday Is Here (2:27)
Please Wake Me Up (3:06)
Frank's Theme (2:46)
More Than Rain (3:51)
Way Down In The Hole (2:48)
Straight To The Top (Vegas) (0:43)
I'll Take New York (7:21)
Telephone Call From Istanbul (3:11)
Cold Cold Ground (4:05)
Train Song (3:19)
Innocent When You Dream (78) (3:11)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The tenth studio album from Tom Waits, released in 1987 via Island Records, was yet another landmark in a career which, by this point, had already given us a raft of stone cold classics. The last two of those LPs, Swordfishtrombones and Rain Dogs, certainly swerved expectations, marking a new period in the life and times of an acclaimed jazz and blues man. Taking its name from a track on Swordfish, Frank's Wild Years is actually "Un Operachi Romantico in Two Acts" according to the subtitle, with several songs here taken from a play of the same name which premiered in Chicago a year prior. In many ways, the theatrical side story was an inevitability, with the previous records all pointing in the direction of a gravelly blues-jazz-rock core with a vaudeville, spoken word, and narrative disposition.
B-STOCK: Sleeve slightly damaged, slight surface marks on record
Underground (2:01)
Shore Leave (4:05)
Dave The Butcher (2:28)
Johnsburg, Illinois (1:23)
16 Shells From A 30.6 (4:24)
Town With No Cheer (4:12)
In The Neighbourhood (3:16)
Just Another Sucker On The Vine (1:43)
Frank's Wild Years (1:49)
Swordfishtrombone (3:03)
Down, Down, Down (2:13)
Solder's Things (3:13)
Gin Soaked Boy (2:24)
Trouble's Braids (1:17)
Rainbirds (3:03)
Review: ***B-STOCK: Sleeve slightly damaged, slight surface marks on record***
To say that Tom Waits' eighth studio album marked a stylistic shift would be like saying winter is markedly different to summer. Having established himself as one of the finest piano-based songwriters of his generation - or any other for that matter - Swordfishtrombones was the first LP from the artist to lay out what was to come. Something very, very unusual, as visionary as it is bizarre, a celebration of the beauty of surrealism and the joy of having fun with music. Whether it's the opening number, 'Underground', and its strange, almost cartoonish chain gang jazz-blues stomp, the quiet keys and solitary vocals of 'Johnsburg, Illinois', or the distorted, compressed electronic jangling and organ riffs of 'Dave The Butcher', within the first few tracks alone you're presented with a vast and varied universe of ideas.
Review: The debut full-length from Los Angeles glam metal superstars, Warrant, is the perfect time capsule of late eighties sunset strip era rock of a bygone leather-chapped age. 'Dirty Rotten Filthy Stinking Rich', boasted the hit singles, 'Heaven', 'Down Boys', and, 'Sometimes She Cries'; all still heralded as some of the group's most essential cuts to date. Noted for its pushed back release due to vocalist Jani Lane suffering a nervous breakdown upon catching his best friend and girlfriend "entangled", an encounter detailed in lyrical form on the band's single, 'I Saw Red', which would feature on the following year's sophomore effort, 'Cherry Pie'; there's still no ignoring or denying the infectious cheese, stadium-sized riffs and endlessly catchy hooks that still prop up this debut as a (not so) timeless classic of its stature.
Review: Huge guitar solos, a not-so-subtle hint of seduction and romance, rousing choruses and an attitude that screams: "I'm gonna make that heavy metal hand signal every five or six minutes." Warrant may not be the first name on everyone's lips when it comes to the heyday big room, sexually charged glam metal, but when all is said and done they did pretty well during their seven years in the game.
Emerging from the Los Angeles scene of the mid-late-1980s, a city that has a lot to answer for in these musical ends, by the time they packed up their Fenders and called time more than 10million albums had been sold, with the double-platinum Dirty Rotten Filthy Stinking Rich the real gem of the lot. Dog Eat Dog came along a little later, in 1992, and by this point the group had really got into gear. Don't expect the same tangible hunger and impact as the inaugural effort, then, but in many ways this is far more complete example of what they were gunning for.
Review: The Best of Warrant compiles 16 defining tracks from the band's early years, pressed on limited 180-gram red audiophile vinyl with a numbered double vinyl format and an insert. This collection revisits the glam-metal era with hits from their first three albumsiDirty Rotten Filthy Stinking Rich, Cherry Pie and Dog Eat Dogioffering fans a nostalgic journey through Warrant's prime. Favorites like 'Down Boys', 'Heaven', and the iconic 'Cherry Pie' capture the band's energetic hooks and singalong choruses. The acoustic version of 'I Saw Red' highlights a more introspective side, while deep cuts like 'Thin Disguise', a Cherry Pie B-side, add exclusivity. Their hard-hitting cover of Queen's 'We Will Rock You', from the Gladiator soundtrack, showcases a grittier edge. The inclusion of 'Uncle Tom's Cabin' and 'Mr. Rainmaker' underscores their storytelling flair, while tracks like 'Big Talk' and 'Sure Feels Good to Me' keep the energy high. Originally released in 1996, this greatest hits package is still thee best collection of their best.
Review: It's been twenty five years since the last Roger Waters solo album, and given the fractious nature of global affairs of late, it's hardly surprising that the lugubrious 74-year-old rock colossus has had no trouble finding things to get angry about of late. Dishing out songs on drone warfare, terrorism and American nationalism, 'Is This The Life We Really Want?' - which is stylistically very much in the mould of his post-'Dark Side' oeuvre - may be no barrel of laughs, but it's oddly reassuring that his righteous rage remains undiminished, not to mention aided and abetted by the skills of Radiohead producer Nigel Godrich in its intensity and relit ire.
Review: Pink Floyd's Roger Waters recorded The Lockdown Sessions at home during the COVID lockdowns between 2020 and 2021. Of course, intrigue was bound to spark up as to what Waters would be doing in this time, so we're not surprised supply has matched demand. What ensues is a mixture of exclusive live originals (mastered for this EP of course), and a handful of new versions of old Floyd classics. The 2022 version of 'Comfortably Numb' falls into the latter category, appearing on the B-side. Meanwhile, brand new cuts like 'Mother' and 'Two Suns In The Sunset' appear on the A, acting as Waters' new reflections on a world driven mad; the songs were first streamed live to fans during the incipient, isolated phase of Zoom-calling and make-do music performances from inside musicians' homes.
Review: Amused To Death is the third studio album from Roger Waters outside of his work in Pink Floyd. As one of the fundamental creative forces in the prog behemoth, of course it's hard to separate his solo work from that most famous of bands, but this is indeed its own beast. At times it's an experimental space in which Waters uses space and minimalism to great effect, creating a foreboding sound peppered with speech samples and field recordings. There are of course plenty of more straightforward tracks too, like lead single 'What God Wants, Part 1'. This lavish issue of the 1992 album spreads the music out across four discs and comes in a box set format, a must-have for devoted Floyd and Waters collectors.
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 has aged as well as any of the original rockers if you ask us. And so too his music. In 1998 he was already of such status that he put out this backslapping collection, Modern Classics: The Greatest Hits, and why not? The bumper double disc collection featured most of the solo singles he had successfully released up to then as well as a new track in the form of 'Brand New Start'. It will always be hard to beat the lovely 'You Do Something To Me' but plenty makes a claim here from the more energetic 'Wild Wood' to 'Sunflower.' It's well worth having all these in one place.
Review: Paul Weller's Fly On The Wall reissue is a fantastic compilation for fans, now available as a 3LP vinyl set. This collection, originally released in 2003, gathers B-sides, remixes, and rare tracks from Weller's prolific period between 1991 and 2001 with Go! Discs and Island Records. The album includes gems like the demo of 'Into Tomorrow,' the reflective 'The Loved,' and the title track 'Fly On The Wall.' Notable highlights are the Portishead remix of 'Wildwood' and the 'Lynch Mob Bonus Beats Remix' of 'Kosmos,' showing Weller's versatility and willingness to experiment. The covers, including The Beatles' 'Sexy Sadie' and John Lennon's 'Instant Karma,' add a delightful twist, displaying Weller's ability to reinterpret classics with his unique flair. This reissue is a comprehensive and richly varied package that highlights Weller's range and creativity during a dynamic decade of his career.
Review: Paul Weller has a new 12 song album simply called 66. The former lead singer of The Jam and Style Council brings his soulful voice to album that has a slew of interesting guest artists, with contributions from Suggs, Noel Gallagher and Bobby Gillespie to name just a few. The lead single will be 'Rise Up Singing', which immediately transports to us a carefree 60s sound, 'Soul Wandering' is a powerful rock track where Paul really shines and is one of our favourites here. The modfather is back.
Review: To mark his 66th birthday, mod legend Paul Weller returns with 66, his 17th full length solo album and one that arrives on Polydor to great fanfare. In the vast expanse of contemporary music, Weller stands as an icon of enduring influence and innovation, boasting a recording career spanning from 1977 to the release of this latest album. With a steadfast dedication to pushing artistic boundaries while honouring his roots, Weller's latest offering promises a captivating journey through his musical evolution and it reflects on life's myriad facets, from spirituality to changing circumstances, with a positive outlook tempered by wisdom gained from lived experiences. Collaborations with esteemed artists enrich the album, offering a fully-realized celebration of creative synergy.
Review: Jules Buckley can do absolutely no wrong in our eyes. The conductor responsible for leading the globally revered Heritage Orchestra has made a name for himself experimenting with the limits and limitless potential of classical music, taking influences from the world of dance and club tunes to open up orchestral performances to new demographics and generations.
He also has the honour of heading up the BBC Symphony Orchestra at select performances, another of the world's finest ensembles. This is just one recording from one of those shows, but clearly proves there's genius at work. The same could be said for Paul Weller, the iconic UK guitarist and singer who here invites said players to rethink tracks from his back catalogue for a staggering 75-minute set that elevates the rocker's oeuvre to greater heights than ever before.
Review: RECOMMENDED
Let's face it, White Blood Cells is the moment when The White Stripes really broke the mould. It's a continuation of Jack and Meg's garage rock aesthetic as fine-tuned over two previous albums, and wholeheartedly a straight up rock 'n' roll album. But the elements are so perfectly primed it's impossible not to rank this as one of the greatest long form outings of this century, so far. And we're not alone - Rolling Stone even reckons it's among the best LPs of all time. Pity the fool who disagrees.
From the racing 'Fell in Love With A Girl', to the beguiling mystery of 'The Union Forever', 'I Think I Smell A Rat''s meld of mariachi riffs and mosh stomp and the emotional piano closer 'This Protector', to the innocent acoustic joy of 'We're Going To Be Friends', this is a masterclass of songwriting and arrangement, tracks that evolve, perplex, surprise, and - most importantly - entertain.
Review: Jack White has firmly established himself as many things-rock renaissance man and paragon of analogue recording amongst them, but strangest of all in the evolution of this mercurial figure is the way he's consistently challenged himself, and essentially only made wayward and compromising records as his twisted path has continued. Case in point is Lazaretto; perhaps his most eclectic and eccentric work to date, yet also his most focused, personal and euphoric in tone. A glorious trawl through a plethora of styles and moods and replacing the riff-worship of The White Stripes with enough freakish ideas to fill five albums this is proof positive that Jack White's muse is at its most potent when at its wildest.
Review: David Coverdale's Into the Light marked their return after a three-year hiatus, and his first true solo album since 1978's Northwind. Released in 2000 and now titled a Whitesnake release, the album is Coverdale stepping away at the time and to rediscover himself musically. Collaborating with a talented lineup of musicians, including Earl Slick and Doug Bossi, Into the Light ventures beyond the original Whitesnake sound, incorporating blues, acoustic melodies and Zeppelin-esque elements. The album opens with the instrumental 'Into the Light', signaling a fresh start, followed by the blues-heavy 'River Song', a nod to Coverdale's Deep Purple roots. Tracks like 'She Give Me' echo his collaboration with Jimmy Page, though they sometimes fall short of a satisfying climax. The album's melodies and guitar work stand out, offering a mix of mindless fun and occasional gems that fans of Coverdale's career will appreciate.
Review: The reissue of David Coverdale's early solo albums, now appearing under the Whitesnake band name, is a thrilling celebration of his legacy, especially with the recent passing of the iconic singer. Originally released after a few years after Deep Purple's split in 1976, Northwinds mark a pivotal moment in Coverdale's career, featuring future Whitesnake guitarist Micky Moody and production by Deep Purple's Roger Glover. His second solo album showcases a young Coverdale discovering his sound, with tracks like 'Keep on Giving Me Love' and 'Breakdown' hinting at the hard rock brilliance that would define Whitesnake. Moody's guitar work and Coverdale's evolving songwriting shine throughout, particularly on 'Queen of Hearts' and 'Only My Soul,' which offer glimpses of the band's future direction. This album captures the raw, bluesy energy that laid the foundation for one of rock's greatest bands. With improved production and the historical significance of these tracks, this release is not just a nostalgic trip but a vital piece of rock history. Embrace the chance to experience the early roots of Whitesnake and the undeniable talent of David Coverdale in his formative years.
Review: The reissue of David Coverdale's 1977 debut solo album, now presented under the Whitesnake band name, is an exciting opportunity to revisit the roots of one of rock's most iconic voices. Originally released following Deep Purple's split, this album, produced by ex-Deep Purple bassist Roger Glover, is a key piece of the Whitesnake legacy, showcasing the early formation of the band's sound. With the recent passing of David Coverdale, this reissue is a fitting tribute, highlighting the journey of a singer who would go on to define the sound of an era. The album features future Whitesnake guitarist Micky Moody, whose collaboration with Coverdale on tracks like 'Blindman' and the title track 'Whitesnake' hints at the powerful direction the band would later take. From the r&b-infused rocker 'Lady' to the soulful 'Peace Lovin' Man', this album is an excellent first solo effort by the artist. This reissue is a celebration of David Coverdale's enduring legacy and the foundation of a band that would go on to rock the world.
Review: The Who's 50th Anniversary edition of Who's Next is being released in multiple formats and chief among them is this relatively short and succinct 4xLP version. Though four sides of vinyl isn't usually thought to be "short", this is a minimal incarnation of the reissued album, compared to the juggernaut CD and Blu-Ray box set which contains over 155 original audio tracks on it. This version is as comparatively minimal and monolithic as the 2001: A Space Odyssey monolith referenced on its front cover, though it's not still without its nice extra-album bonuses, 'Pinball Wizard' and 'Naked Eye' included.
Review: With all-time rock anthems like 'Won't Get Fooled Again' and 'Baba O'Riley', it's perhaps no wonder Who's Next is The Who's best selling album, but it's no commercial compromise. Songs like 'Behind Blue Eyes' are as raw and visceral as the foursome ever were, even compared to much of today's indie music. The 50th anniversary reissue package at large has dug up 89 unreleased demos and rarities for the completist collector, but this vinyl edition concentrates on the album itself and is all the more powerful a listen for it.
Review: As part of the Who's massive reissue bundle of Who's Next, their most popular album, the half-speed remastered edition on vinyl makes for a relatively reserved version, compared to the mammoth CD box-sets full of demos and rarities also in tow. Primed for audiophiles - whose needs sometimes cross over with, but are no less distinct from, that of collection completists - this version of the album is special in that the original tapes have been re-treated using a half-speed remastering process, which enhances the sound quality and clarity of the original recordings. What's more, this version was done at Abbey Road Studios, of all places, with the process overseen by acclaimed engineer Miles Showell and from tapes prepared by Jon Astley.
Review: New to the mammoth set of limited edition half-speed remasters of The Who's best and most well-known material, and by commission from founding member Pete Townshend, comes this fresh reissue of The Who By Numbers. The band's seventh studio album, this album is known for its more introspective, personal sound and lyrical content, compared to their earlier and better known projects. Mirroring the earlier disillusionments portrayed on the smash that was Quadrophenia, By Numbers portrays Townshend's own disillusionment with the music industry, from sombre alcoholic meltdowns like 'However Much I Booze' to ironic, stoned detachments such as 'Success Story'.
Review: On 6th July 2019, The Who headlined a sell out show at Wembley Stadium in London for the first time in forty years. Performing many of their greatest hits, the show featured the band as they've never been seen before, accompanied by a 57-piece orchestra. Now after an official CD release of the show released earlier in April, comes this deluxe 3xLP pressing edition of the same release, packed with unseen bits, bonus features and even a Blu-Ray DVD.
Review: Rock opera - a niche genre with a few forerunners in the late 60s, but surely defined by this monumental project by The Who. As the band were hitting their stride and still relatively early on in their career, it was a bold move for Pete Townshend to compose this magnum opus, which came out in 1969 and sparked a run of theatre and cinema adaptations. Telling the story of deaf, dumb and blind pinball wizard Tommy Walker was a gamble that paid off, as critics hailed the album as their critical breakthrough and the accompanying stage show dazzled fans the world over. Now the album has been given the half speed remastering treatment at Abbey Road, meaning it sounds better than ever.
Review: Athens, Georgia band Widespread Panic are live-jammed, blues rock and hard rock sensations, and they know it as much, having released over half of their post-2009 discography in the form of live albums. 'Hailbound Queen' is an exception to this rule, consisting entirely of re-renditions of classic songs from their classic setlist, coming freshly off the heels of their acclaimed 2024 originals record Snake Oil King. 'Hailbound Queen' is a reminiscence by contrast, all of the songs therein - 'Blue Carousel', 'Trashy', and 'Halloween Face' among them - having found a rightful, firmly-lodged place in fans' hearts. The record lands in good time for Halloween too, its timing nodding to the band's infamous Halloween shows, regularly performed across the US.
Review: Hard rockers unite. Or at least they used to. In an age when it often feels like even the last remaining vestiges of whatever subcultures survived MTV and the Millennium are themselves divided, every once in a while a record comes along that acts like a rousing call for unilateral response. The Satanic Rites Of is exactly that album. Reading reviews is smile-inducing, if for no other reason than the references to frontman Ginger as a 'godfather' of the British heavy-hard guitar scene. It's hard to deny, except if in your mind he still invokes images of a sprightly enfant terrible. In all honestly, the latest is both - an outfit that have lost none of their high energy snarl and commitment to doing interesting, ferocious things, but have years of wisdom on their side to achieve them.
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