Review: Even reading the words All Saints takes us back to simmer times, when pop music seemed far more innocent and pop stars - the female ones at least - wore far more clothes. The British group's self-titled debut album was cooler and smarter than many of their candied peers (Spice Girls, we're looking at you) and blended effortlessly soulful vocals with rich, atmospheric production. From start to finish, the album lays down emotionally charged and honest lyrics. The production is lush yet minimal, allowing the powerful vocals to take centre stage, with classics like 'Never Ever', 'I Know Where It's At' and 'Lady Marmalade ('98 remix)' all still oozing a nice new soul and r&b edge.
Review: Blur were always the posh, private school answer to the more streetwise cool of Oasis during the heyday of Brit pop during the mid to late 90s. Their second album Modern Life Is Rubbish got them back into the affections of the public after their debut album somewhat turned people off (with many thinking it was a cash in on the popular but fading Manchester sound) and saw the band fall behind the likes of Suede. Part of the raisin for the return to success was the sonic makeover which brought more tradition guitar-pop sounds back with lush melodies and poignant humour in the lyrics from lead singer Damon Albarn. On its 30th anniversary the album now gets a full reissue as part of National Album Day 2023
Review: Scrolling through TikTok, it's easy to get songs like Benson Boone's 'Beautiful Things' stuck in your head. Released in January, this track went viral, appearing in nearly a million videos and quickly climbing to the top of the Billboard Hot 100. impressive debut album. The opening track, 'Intro,' has a theatrical vibe that transitions into the upbeat 'Be Someone,' showing a departure from Boone's melancholy themes. The album tells a compelling story of love, loss, and heartbreak, with each song bringing something unique. Tracks like 'Slow It Down' are danceable, while others delve into deeper topics like depression and death. At just 21, Boone's talent for poetic imagery is evident, suggesting he has a very promising future.
Review: Legend has it that David Bowie was so lost in a vortex of cocaine and ego during the making of this record to such a degree that he now can't remember anything about its creation at all. Typically of the Dame though, in the midst of all this madness he created a masterpiece, and arguably his greatest album of all. With a hint of the funk of influence of 'Young Americans', yet filtered through a glacial European sensibility, it's a genre-transcending tour-de-force of boundless scope and imperious swagger. Forty-one years on, this record still sounds like the future.
Review: Zach Bryan's The Great American Bar Scene offers a vivid snapshot of small-town America, blending poignant storytelling with a rich musical tapestry. After nearly a decade in the U.S. Navy, Bryan left in 2021 to pursue music, and since his 2020 debut, he has soared to stardom, consistently topping charts and touring globally. Released less than a year after his previous self-titled album, The Great American Bar Scene continues Bryan's momentum. Between albums, he secured his first number-one hit with 'I Remember Everything', toured extensively and released the 'Boys of Faith' EP. Despite his busy schedule, Bryan managed to craft this 19-track album, which delves deeply into the connections between people, often found in intimate conversations at bars. Bryan's music draws from classic country, folk, and Americana, defying easy categorisationia strength that sets him apart. Collaborations with legends like Bruce Springsteen and John Mayer add layers to this emotionally charged album, making The Great American Bar Scene a reliable, heartfelt reflection of Bryan's journey and the lives he touches.
There Ain't No Santa Claus On The Evenin' Stage (3:12)
Glider (4:38)
The Witch Doctor Life (instrumental) (5:20)
Semi-Multicolored Caucasian (instrumental) (4:33)
Your Love Brought Me To Life (instrumental) (3:10)
Two Rips In A Haystack/Kiss Me My Love (2:43)
Harry Irene (3:14)
Best Batch Yet (version 1) (2:20)
I Can't Do This Unless I Can Do This/Seam Crooked Sam (2:05)
I'm Gonna Booglarize You Baby (8:51)
Pompadour Swamp (13:55)
Review: The Spotlight Kid was Captain Beefheart's sixth studio album and one, landing a mere three years after the legendary Trout Mask Replica classic, sees him continuing his avant-garde brilliance. Initially released in 1972, it stands out as the only album credited solely to Captain Beefheart, even though it does feature much of his Magic Band prominently. The material, integral to the band's repertoire, highlights Beefheart's eclectic musical vision and experimental spirit, taking raw blues as its starting point but then twisting into it hithertoo unrecognisable shapes and psychedelic distortions. Reissued for Record Store Day 2024 as a deluxe double LP set in a gatefold jacket with milky clear vinyl, this edition revitalises the album's enigmatic charm for contemporary audiences and reminds us all of its magnificent blend of blues, rock and avant-garde elements.
The Smithsonian Institute Blues (Or The Big Dig) (2:17)
My Head Is My Only House Unless It Rains (2:39)
Click Clack (3:25)
Low Yo Yo Stuff (3:38)
Too Much Time (2:43)
Clear Spot (3:26)
Lick My Decals Off, Baby (3:48)
Big Eyed Beans From Venus (2:49)
Review: Captain Beefheart & His Magic Band are the latest act to be featured in Warner's series of Now Playing greatest hits-style comps. Born Don Vliet, Captain Beefheart was a true innovator in modern music, boasting a four-and-a-half-octave vocal range, and fused free jazz, Delta blues, classical music and rock & roll with unique rhythms and surreal lyrics. Though he never achieved mainstream success, his influence permeated punk, new wave and post-rock and this album shows why, with tracks like 'I'm Gonna Booglarize You Baby' and 'Her Eyes Are a Blue Million Miles' showcasing his bolder moves, alongside the more introspective 'My Head Is My Only House When It Rains' and 'Clear Spot.' Vliet, a child prodigy in art, moved to the Mojave Desert in his teens, where he met Frank Zappa. They initially collaborated on a film project, but Vliet eventually formed the Magic Band. After several lineup changes, they released the seminal Trout Mask Replica in 1969. Beefheart's career spanned various experimental phases until he retired in 1982 to focus on painting, earning acclaim for his abstract outsider art.
Review: Cher's Living Proof is a dance-pop extravaganza that showcases her iconic voice amidst a blend of disco and house beats. The album's infectious energy and undeniable hooks make it a standout in Cher's extensive catalog. Singles like 'The Music's No Good Without You' and 'Song for the Lonely' exemplify Cher's ability to command the dance floor with her powerful vocals. Now, with its reissue on Coke-coloured vinyl, fans can experience the album's electrifying sound in a whole new way.
You Haven't Seen The Last Of Me (bonus track) (3:30)
Review: In the newly reissued (on bone vinyl, no less) Cher album Closer to the Truth, the pop queen made a triumphant return to her pop roots with an electrifying display of vocal prowess. The album is a dynamic blend of contemporary anthems and heartfelt ballads that showcase Cher's enduring relevance in the music world. From the empowering title track to the pulsating beats of 'Woman's World,' each song exudes charisma and confidence that reaffirm Cher's status as a pop icon. With its catchy hooks and infectious rhythm this is fine reminder of Cher's unparalleled talent and enduring legacy.
After All (Love Theme From "Chances Are" - duet with Peter Cetera) (4:03)
Heart Of Stone (4:12)
The Way Of Love (2:32)
I Hope You Find It (3:46)
Take Me Home (3:29)
Gimme! Gimme! Gimme! (A Man After Midnight) (4:11)
Woman's World (3:41)
Gypsys, Tramps & Thieves (2:34)
Dark Lady (3:24)
You Haven't Seen The Last Of Me (3:29)
DJ Play A Christmas Song (3:29)
Review: Cher's new compilation Forever is a comprehensive celebration of her legendary career, now available on 2LP crystal clear vinyl with a stunning silver foil cover. This is the first vinyl collection of its kind since 1992, featuring a remastered selection of 19 iconic tracks. Spanning decades of hits, the album includes fan favorites like 'Believe,' 'If I Could Turn Back Time,' 'The Shoop Shoop Song,' and 'Strong Enough,' capturing the essence of Cher's enduring appeal. Sequenced non-chronologically, Forever brings together Cher's biggest chart-toppers, including 'Gypsys, Tramps, and Thieves,' 'Dark Lady,' and 'You Haven't Seen the Last of Me,' along with her beloved ABBA covers and other timeless classics. Each track has been carefully remastered from the original tapes, ensuring the highest sound quality for this release. For fans seeking even more, the digital-only Forever: Fan Edition offers an additional 19 tracks, including rarities like 'A Woman's Story,' produced by Phil Spector, and the long-out-of-print 'I'd Rather Believe in You.' Cher continues to prove that her influence on music is unmatched, and this collection is a fitting tribute to her lasting legacy.
I Wouldn't Treat A Dog (The Way You Treated Me) (3:31)
Angels Running (4:34)
Paradise Is Here (5:01)
I'm Blowin' Away (4:00)
Don't Come Around Tonite (4:27)
What About The Moonlight (4:03)
The Same Mistake (4:11)
The Gunman (5:07)
The Sun Ain't Gonna Shine Anymore (5:11)
Shape Of Things To Come (3:59)
It's A Man's Man's Man's World (4:36)
Review: The age-defying Cher continues to turn out new music but this new one from Warner revisits her classic It's A Man's World album from 1995. It featured some of the American singer's biggest ever singles such as the easy to sing along to 'Walking in Memphis', plus more like 'One By One', 'Not Enough Love In the World' and 'The Sun Ain't Gonna Shine Anymore'. They have all been remastered from the best available sources 30 years after the album made it into the Top 10 in the UK, where it was also certified Gold.
Review: Eric Clapton shares his lifelong passion for the blues on 'Nothing But The Blues', the accompanying album to 'From The Cradle'. Whereas that album was Clapton's main outlet for his blues-oriented '90s hits, 'Nothing But' consists entirely of outtakes and demos. This one features full remixings from Clapton's longtime co-producer, Simon Climie, who has remixed the audio from the original multitrack recordings.
Review: Coldplay's A Rush of Blood to the Head back in 2002 was a move on from their debut that showed deeper emotional and sonic complexity. With Chris Martin's distinctive voice at the helm, the album features anthems like 'Clocks' and 'The Scientist' which blend atmospheric rock with introspective lyrics. Tracks such as 'God Put a Smile Upon Your Face' and 'In My Place' highlight the band's ability to fuse melodic hooks with poignant themes and the album's exploration of love, loss and introspection, supported as always by grand and dynamic arrangements and epic production, remains a standout in the band's catalogue.
Review: Reissued on yellow vinyl, Home by The Corrs marks a fitting tribute to their Irish heritage and late mother, capturing their classic blend of Celtic roots with polished pop sensibility. Originally released in 2006, this album reflects the band's true embrace of traditional Irish music, produced by Mitchell Froom and backed by the BBC Radio 2 Orchestra. The album elegantly balances traditional favoruites, like the haunting 'Black is the Color' and nostalgic 'Spancill Hill', with lively jigs such as 'Old Hag' and 'Haste to the Wedding'. Andrea Corr's angelic vocals shine, especially in Gaelic tracks 'Buachaill on Eirne' and 'Brid og Ni Mhaille', infusing the album with authenticity. Songs like Richard Thompson's 'Dimming of the Day' and Anna McGarrigle's 'Heart Like A Wheel' are soulful additions, while 'Old Town' feels slightly at odds with the folk theme. Avoiding overt sentimentality, Home stands as a lovingly crafted and intelligent collection of Celtic-inspired pop that fans and newcomers alike will find captivating.
Review: The Corrs return to their Celtic roots with their seventh studio album, blending familiar folk elements with their signature soft rock sound. Opening with 'Son of Solomon', the album features the tin whistle and violin that defined their early hits, with Andrea's emotive voice taking center stage. The album shines when the three sisters harmonise, evoking the charm of their early classics like 'Runaway'. Now pressed on red vinyl, tracks like 'SOS', addressing the Syrian refugee crisis, showcase the band's growing social awareness. 'Dear Life' cleverly blends lyrical wit with traditional instrumentation, while 'No Go Baby' offers a heartfelt, minimalist reflection on loss. The album closes with the melancholic, nearly eight-minute 'The Sun and the Moon', highlighting Andrea's vocal artistry. The band's harmonious rapport and Andrea's captivating vocals keep their sound fresh, is a nostalgic yet satisfying experience for longtime fans.
B-STOCK: Slight creasing to outer sleeve, record slightly warped
Black Shuck (3:20)
Get Your Hands Off My Woman (2:43)
Growing On Me (3:24)
I Believe In A Thing Called Love (3:31)
Love Is Only A Feeling (4:18)
Givin' Up (6:53)
Stuck In A Rut (2:51)
Friday Night (3:53)
Love On The Rocks With No Ice (2:00)
Holding My Own (4:54)
Review: ***B-STOCK: Slight creasing to outer sleeve, record slightly warped***
Permission To Land is the debut album by glam rockers The Darkness, originally released in 2003. True to their name, The Darkness were dark horses indeed, having been sorely underestimated by the guffawing gatekeepers at Sony, who failed to see any promise in the band after being deemed "uncool", perhaps due to their bombastic rock & roll sound and high vocal drawl from Justin Hawkins. Sony were easily knocked off their high horse, however, when the band later signed with Atlantic, after which the album would top the US Albums Chart, peaking at number two. For the fans, this reissue harks back to their earliest hits, such as 'I Believe in a Thing Called Love', and 'Growing On Me'.
Review: Permission To Land is the debut album by glam rockers The Darkness, originally released in 2003. True to their name, The Darkness were dark horses indeed, having been sorely underestimated by the guffawing gatekeepers at Sony, who failed to see any promise in the band after being deemed "uncool", perhaps due to their bombastic rock & roll sound and high vocal drawl from Justin Hawkins. Sony were easily knocked off their high horse, however, when the band later signed with Atlantic, after which the album would top the US Albums Chart, peaking at number two. For the fans, this reissue harks back to their earliest hits, such as 'I Believe in a Thing Called Love', and 'Growing On Me'.
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