What does it sound like?:

Music Hall developed from the streets and pubs of London in the mid-19th Century. By the start of the 20th Century, Music Hall had taken up residence in a number of venues across the capital. Attracting large audiences seeking a night out and entertainment, music hall delivered a mix of popular songs, comedy, speciality acts, and variety entertainment. The songs, depicting everyday life in the Victorian and Edwardian eras, were often humorous or satirical, though some were sentimental or patriotic, and others dealt with darker themes such as jealousy and murder. Many were also blatantly sexual, though always expressed in clever euphemisms and double entendres. Max Champion was one such performer treading the boards in the late 19th Century. Little is known about him, except that he was born in 1882 in London’s East End, and is thought to have been related to the great Victorian entertainer Harry Champion. As an up-and-coming performer he shared the stage with big stars such as Gus Ellen and Vesta Tilley, but his career (much like the Music Hall era itself) was cut short by the First World War, and his songs faded into obscurity. That is, until » Continue Reading.

What does it sound like?:

Is this the greatest Rock Album of All Time? Well, it’s definitely up there. Starting with “Baba O’Riley”, ending on “Won’t Get Fooled Again”. And the stuff in between is not too shabby either. But it wasn’t supposed to be that way. Following incessant touring of Tommy, The Who returned to the studio. The time in the studio produced “The Seeker” single, but it was Live At Leeds album that gave them new energy and moved them further away from Tommy (even though the bulk of the set was Tommy). Back in the studio, 4 more tracks were recorded for an EP, but never released, and the band started work on a new Pete Townshend concept idea. The basic plot came from an interview Townshend gave to Disc and Music Echo in late 1970: Lifehouse is set in the near future in a society in which music is banned and most of the population live indoors in government-controlled “experience suits”. A rebel, Bobby, broadcasts rock music into the suits, allowing people to remove them and become more enlightened. Townshend worked alone constructing demos of the songs to present to the band. However, as the » Continue Reading.

What does it sound like?:

Which is better – Gabriel-era or Collins-era?

Well here’s your chance to compare (granted the Gabriel fronted version only accounts for about 20% of this set). Drawn from BBC Broadcasts between 1970 and 1998, this 5 CD set spans their career covering all incarnations (including Ray Wilson era represented by 2 tracks). It may not settle the argument of PG, PC or RW, but shows a band growing in confidence in a live setting, moving from Radio Studios and theatres to headlining outdoor festivals and stadiums.

The set is curated by Tony Banks and available in 2 formats – the 5 CD set offers 53 tracks whilst the 3 LP set contains only 24. The first CD covers the Peter Gabriel era (maybe not with all the obvious track choices, but from sessions for John Peel/Nightride, and a couple more from In Concert broadcasts. This may be a purely personal note, but sadly, no recording of Supper’s Ready is available (and I can see no record of it being recorded for John Peel, or any other BBC session or broadcast). CD2 catches highlights from Knebworth 78 (A Midsummer Night’s Dream – other bands on » Continue Reading.

What does it sound like?:

In 1976 Thin Lizzy’s quest to break America stalled as they flew home exhausted (and in Phil Lynott’s case laid low with hepatitis). From his sick bed he mapped out the songs that would form the second album of 1976 – Johnny The Fox (released in October, just 7 months after Jailbreak). When the supporting tour hit Hammersmith Odeon in November, the Maison Rouge Mobile Studio was parked out front to capture the 2 shows for posterity, archive, and potential use to push Lizzy in America. The US Tour in December was cancelled when, on the night before, Brian Robertson injured his hand in a brawl at the Speakeasy Club. Robertson was replaced for the revised US Tour in January by Gary Moore, but part way through the recording of the next album – Bad Reputation – he was re-instated. Bad Reputation was produced by Tony Visconti, and when considering their next album Thin Lizzy sought his services again. Visconti’s time was limited as he was due to start work with David Bowie. As time was limited, it was suggested a Live album would be the solution, and the tapes from Hammersmith 1976, and » Continue Reading.

What does it sound like?:

And there’s me thinking Michael Head has got this years Album Of The Year sewn up, and then this one comes along to make me go “Hmm?”

This is Suede’s ninth album, and their fourth since 2010s reformation. And is probably the best of those 4 (although 2018s dystopian-epic ‘The Blue Hour’ runs it close)

They have successfully pulled off a re-invention of sorts with each release, and there is a slight feeling of going full-circle with this album. The songs are tight, the band tighter, and Brett’s histrionic vocals on top form.

Some write-ups have referred to this release as “their Punk album” – well, maybe Punk in attitude and exuberance, but not in songcraft and presentation.

Opener “She Still Leads Me On” – Brett Anderson’s song to his departed Mother – opens the album, sets out the stall, conjures reminders of the debut, and all-in-all is a copper bottom Suede classic (a trick repeated with “15 Again”, and very probably a couple of others here too).

In old money, Side 1 is a superb listen, and closes with “Drive Myself Home” which has the melancholic feeling of an album closer proper – » Continue Reading.

What does it sound like?:

His third solo album, and with enough traction to further bury/forget the mis-step underwhelm of Beady Eye, which could’ve consigned Liam to post-Oasis tryer. But 2 previous solo albums, and now this one restores the reputation, and continues to push Gallagher The Younger in front of his elder brother. ‘C’Mon You Know’ may not be breaking new experimental ground, but is just different enough from previous offerings to stand on it’s own.

The listening diet here must’ve included to The Beatles ‘Revolver’ with a side order of ‘Let It Bleed’ era Stones-y – there are echoes of both throughout (although I must state not exclusively).

Sometimes it might be a bit “Liam by numbers” like he’s toeing the record company line or career advisor to break the US (and anywhere else). And a Dave Grohl co-write can’t do any harm pulling in new fans from the Foo Fighters fanbase (or indeed the US where very British acts often fall – Slade, Elvis Costello & The Attractions, The Jam, Blur, Oasis)

Album opener “More Power” has a choir intro that is just a bit too close to ‘You Can’t Always Get What You Want”, » Continue Reading.

What does it sound like?:

1997s ‘Ladies & Gentleman … We Are Floating In Space’ was, and always will be Spiritualized’s masterwork. But 2018s ‘And Nothing Hurt’ came very close to usurping it, and this release maintains that knocking on the door.

There is an argument that ‘And Nothing Hurt’ could’ve been a double album with the wealth of material Jason Pierce had at his disposal. In the end it was a single album, and many of the disregarded demos form the basis of this album – and it shows, there is a nice continuum from the last album, but this is not a collection of tarted up left overs. Each track is a mini-epic, mini-masterpiece with a range of styles popping in and out – Stones, Stooges, Jazz, Country, Psychedelia, even a passing early solo John Lennon-ish moment (or at least that’s what I heard), plus the best song Bobby Gillespie never wrote (and will no doubt be miffed that Jason Pierce beat him to it). But this album is not about the sounds or the influences, it’s about how they’re corralled and personalized to create a unique whole that is undoubtedly Spiritualized. And it also has that » Continue Reading.