Review: Five tracks from Paul Weller's critically acclaimed 2020 LP On Sunset, with five remixers taking the stems and crafting something new from that original material. And what remixers they are, comprising James Skelly of Liverpool band The Coral (Skeleton Key), Welsh synth-y songwriter Gwenno, Senegalese drummer Seckou Keita, psychedelic folk star Jane Weaver and French indie pop troupe Le SuperHomard.
With that lineup you'd expect the results to be varied, but that's something of an understatement in reality. From the tripped out surrealism of 'Rockets' as read by Weaver, through Keita's pared back percussive take on the same track, the sparse minimalistic harmonies of 'Old Father Thyme' to the sublime and sexy downtempo jazziness of 'More', it's a taster menu right down to the number of dishes.
Review: Paul Weller unveils the 'Supplement: 66 EP', featuring four exquisite new tracks. These songs, recorded at Weller's Black Barn Studios, reflect a heartfelt homage to his musical roots while showcasing his evolution as an artist. Produced by Weller himself, the EP includes contributions from the Wellerband, along with notable musicians like Max Beesley - yes, the actor - on vibraphone and folk legend Danny Thompson on double bass. Original Jam member Steve Brookes adds guitar work, enhancing the rich soundscape. The closing track, 'So Quietly', features esteemed folk artist Kathryn Williams on lead vocals, who also co-wrote the haunting piece. 'Supplement: 66' delivers an additional four tracks of soulful, roots-inspired rock, perfectly complementing its parent album.
Flying Fish (Alexis Taylor & Pilooski remix) (5:46)
Nothing (Richie Stevens Smudge remix) (4:39)
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.
Baba O' Riley (live - Qwartz extended remix) (6:54)
Baba O' Riley (Qwartz dub remix) (6:55)
Review: House lover and studio wizard Qwartz has been at it again, with 'it' being editing some classic rock tunes into club-ready sounds for DJs and dancers. This time he tackles 'Baba O' Riley' firstly with an extended mix that brings all new life into The Who's original. It has a prickly low end with eerie guitars and disco motifs making it a raw, heads-down sound. The dub remix brings a little extra low-end weight.
Review: New Orleans funk outfit The Wild Magnolias were active in the mid 70s, releasing two albums and then regrouping in the 90s. Their sound is in step with their more renowned Louisiana peers, but certainly running hotter than the likes of The Meters. "Handa Wanda" is a stirring, effervescent call and response epic that shows the band at their best, rocking a wall of sound approach that keeps the pressure up the whole way through. "(Somebody Got) Soul, Soul, Soul" is a more fluid track, but it's certainly no slouch in the energy department either. This is hi-octane funk to get people shaking and sweaty.
Review: Taken from the album Black Gold, this 7" single comes on limited edition white vinyl and offers up the superb 'What's Happenin'' featuring Method Man and Busta Rhymes on the A-side. It's a beat-driven workout with funk in the drums. The B-side offers an exclusive and rather more stripped-back mix of 'Back in the Game' with Ron Isley, Inspectah Deck, Method Man, GZA, Raekwon and Ghostface Killah all seamlessly blended with the instrumental of 'House of Flying Daggers.' It's not often you get so many iconic collaborations all on one record which is why it is such a big hitter.
Review: Released in 1978, this compilation album encapsulates the essence of Paul McCartney's post-Beatles journey. It features a selection of tracks that highlight the band's evolution and McCartney's songwriting prowess. The album's remastered edition offers enhanced audio quality, bringing clarity to the intricate arrangements and emotive performances. This release serves as a comprehensive overview of the band's contributions to the rock genre.
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.
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.
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.
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.
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 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.
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