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.

What does it sound like?:

“The most hotly anticipated album of the year” may be an over used cliche, but in the case of Wet Leg after the singles “Chaise Longue”, “Wet Dream”, “Too Late Now”, “Oh No” and “Angelica” it’s a cliche that fits. And now it’s here – was it worth the anticipative waiting?

On first listen, the album comes over as a bit insubstantial – nice enough, but nowt to really rave about. And then listen again and more is revealed. The intricacy of the instrumentation, to joy and exuberance of the songs, the underlying enjoyment and fun, the way the voices work together, the wit and story in the lyrics (and a bit of near filth and some naughty words).

It’s one of those “play and lose yourself in the world for 40 minutes” jobs.

Seamlessly mixing 80s pop, high energy dance, post-punk, dreamy pop, and anything else that happens to fit, this is a collection of songs written and performed for fun – and the enjoyment is there for all to hear. What comes out is proof that “Chaise Longue” – which continues to dig itself into my head on each hearing and refuse » Continue Reading.

What does it sound like?:

This is the third Mattiel album, and the first where Mattiel Brown and Jonah Swiller have directly collaborated face-to-face in building a collection of 11 songs. And that collaboration has added more diversity and experimentation into the mix, where before they were perhaps aiming for a template or soundscape or atomosphere. And it is the diversity of influence and delivery that wins for this record. At times introspective, the next moment is joyous and bristling with a euphoric pop-ish sheen.

Retro garage sound takes (slight) a back seat in favour of broader styles including Country and Spaghetti Western moments – both of which showcase Mattiel’s vocal abilities. Too simplistic perhaps – there are many influences going on in here, and not always easy to divine. But combined together it just seems to weave into a very fine whole.

What does it all *mean*?

“Jeff Golblum” stomps along like a Glam Infused Indie Rocker, “On The Run” drips with Country, and “Lighthouse” is infectious euphoric pop with a massive hook of a chorus – and that’s just the first three tracks. Admittedly not everything works – “Wheels Fall Off” sounds like the wheels might be » Continue Reading.

What does it sound like?:

Releasing your debut album can be a daunting task. Without mass media hype, major record company support, or a persuasive sponsor and advocate, a relatively low key release on a minor, self-funded label is always going to be a risk.

But if you have a song titled “The Mauritian Badminton Doubles Champion 1973” in your cannon, then I’m going to want to hear the whole album. Credit where it’s due, it was Chris Hawkins enthusing on Radio 6, and the playing of the above track that piqued my interest, and now the album has arrived on my doormat … I am not disappoint.

I sometimes feel when writing this drivel, that I do the artist in question a dis-service when I compare them to others. But I need a hook … imagine Scott Walker grafted to Morrissey, with a bit of Neil Hannon and Richard Hawley thrown in. Oh, and passing nods to Echo & The Bunnymen, New Order, and Joy Division. Even a whiff of Pink Floyd for good measure.

11 tracks ranging from all out Indie rockers (“Bakerloo, Unbecoming”) to introspection (“New Rhododendrons”) to Post-Punk (“Caterpillar”) and many points between. If I’m » Continue Reading.

What does it sound like?:

There is a school of thought with the Sex Pistols that says all you really need is Never Mind The Bollocks, maybe The Great Rock n Roll Swindle, and perhaps the Kiss This compilation to round up the rest. And to those I say: “You’re probably right”. For a band with a relatively short lifespan, and a relatively small (but perfectly formed) catalogue of songs, which have all seen the light of day in various releases (some of questionable quality) over the years, does this 4 CD really add anything to the legacy? The earliest commercial release of some of these tracks was the Spunk Bootleg in late 1977 – believed to be McLaren’s attempt to scupper his own band. Later proper releases include Sex Pistols Box Set, This Is Crap, and a host of low budget releases (not exactly Bootlegs, but far from official, and not exactly high on quality control either). And latterly, rarely a Record Store Day passed without a new issue of Never Mind The Bollocks – whether it be coloured vinyl, special boxing, or a series of 7” singles, minidisc, ringtone, 8 track cartridge, a bagpipe-heavy cover remix …

» Continue Reading.