Review: Fresh from high-profile collaborative sets with Metro Boomin (2020's Savage Mode) and Drake (2022's Her Loss), 21 Savage has finally delivered a new solo set for the first time in six years. We say solo set; as is the way with blockbuster hip-hop and r&b albums, the set contains a strong cast list - Metro Boomin, Doja Cat, Travis Scott and Young Blud included - while thematically it offers insight into the UK-born, Atlanta-based MC's journey across the pond and eventual rise to stardom. His rhymes are more honest and "real" than ever before, while the luxurious and expansive musical backdrops combine punchy trap beats with carefully selected samples, sweeping orchestration, and the kind of big-studio production associated with rap and r&b's most high-profile artists.
Review: In 1991, A Tribe Called Quest released The Low End Theory, a groundbreaking album that solidified their status as hip-hop legends. Building on the jazz-infused sound of their debut, the album featured sparse grooves and expertly chosen bass samples, with jazz bassist Ron Carter contributing to 'Verses from the Abstract.' DJ Ali Shaheed Muhammad's minimalistic approach allowed Q-Tip and Phife Dawg's lyrical prowess to shine, showcasing their clever wordplay, humor, and social commentary. Tracks like 'Butter' and 'The Infamous Date Rape' addressed misogyny, while 'Rap Promoter' and 'Show Business' critiqued the music industry. The album's production is consistently smooth, with standout tracks such as 'Check The Rhime' and 'Jazz (We've Got).' The posse cut 'Scenario,' featuring Leaders of the New School, is a legendary closer. The album's influence on hip-hop is undeniable, inspiring future artists like Kendrick Lamar and Outkast. The Low End Theory remains relevant and refreshing, a testament to Tribe's creativity and unflappable style. It's a masterful blend of thought-provoking lyrics and impeccable production, making it one of the greatest hip-hop albums of all time.
Review: This two-disc compilation serves as both a tribute and a comprehensive dive into the legacy of one of hip-hop's most influential groups. A Tribe Called Quest were instrumental at the start of the 90s for helping the hip-hop genre move into more conscious lyrics that thanks to the members, took storytelling to a new level. Creating some of the most catchy tracks in hip-hop history, the group continue to grow in respect as one of the best acts in the genre of all time. With a mix of career-defining hits, rare B-sides and fresh remixes, this package is a rich exploration of their artistry. Tracks like 'Can I Kick It?', 'Electric Relaxation' and 'Scenario' stand as monuments to their enduring impact, racking up millions of streams and inspiring new generations of listeners. Previously unreleased gems 'Mr. Incognito' and 'The Night He Got Caught' feel right at home alongside anthems like 'Award Tour' and 'Bonita Applebum', highlighting the group's versatility and storytelling prowess. The inclusion of remixes, such as 'Lyrics To Go (Tumblin Dice Remix)' and 'Oh My God (Remix)', adds layers of freshness to timeless classics. The attention to detail in this collection is remarkable. Tracks like 'Jazz (We've Got)' and 'Check The Rhyme' sound revitalised, with crisp production showing their intricate melodies and sharp lyricism. From the playful narrative of 'I Left My Wallet in El Segundo' to the bold swagger of 'Buggin' Out,' every track contributes to the story of a group widely considered to be one rap's all time greats.
Review: The hip-hop legends' fourth album, released in 1996, marked a pivotal shift in their musical journey. The production, led by The Ummahia collective including Q-Tip and the late J Dillaiintroduced a more minimalist and darker tone compared to their earlier, jazz-infused works. Tracks like '1nce Again' and 'Stressed Out' exemplify this evolution, blending introspective lyrics with innovative beats. The reissue offers a renewed appreciation for the group's willingness to experiment and evolve, highlighting a significant chapter in their discography.
Review: Celebrating half a century of rock legacy, AC/DC's Back In Black gets a special edition release some 44 years after its original unleashing. The iconic album is well known for its thunderous riffs and anthemic choruses and though it is very much of its age, it solidified AC/DC's status as one of rock's greatest bands, despite the appearance of flat capped Geordie Brian Johnston in place of Bon Scott, who died tragically in 1980. With hits like 'You Shook Me All Night Long', live favourites 'Hells Bells' and 'Rock 'N' Roll Ain't Noise Pollution' and the title track, the album reached all-new heights of rock energy and big riffery and now this anniversary edition offers a fresh perspective on a timeless classic while showcasing AC/DC's enduring influence on the rock landscape.
Review: Following up the worldwide smash Back In Black was going to be a tough job for anyone, but AC/DC brought the big guns in - more specifically, the big gun on its cover, which we also get to hear in full explosive effect on the album's title track, the kind of epic most bands save for their closer but here designated the opening tune. While it's fair to say not as many of the tracks here made it into AC/DC classic territory as on its predecessor, the sound of the now Brian Johnson-fronted team in full power mode dishing out groovers like 'Let's Get It Up' and 'C.O.D' is pretty irresistible, while 'Breaking The Rules' marks new ground for them - a slow motion, headnodding anthem with the band's long running anti-authoritarian stance writ large upon it.
Review: It's 1977 and AC/DC are not-so-fresh after a spell as the support on Black Sabbath's tour. Looking for a new bassist, after a disagreement over whether to pick Manfred Mann's Colin Pattenden, the band agree on Cliff Williams, who would remain in place until 2003. Recording what became Powerage, their fifth studio album, Atlantic Records soon complained there wasn't a sellable lead single. 'Rock 'n' Roll Damnation' took form, one of the group's outliers, which comes without standard guitar solo but with maracas and hand claps. While this proved divisive among die hard fans, the album itself has gold waiting to be discovered deeper down. 'Gimme A Bullet', for example, has been cited as the finest track the late Bon Scott would write, his lyrical flair and deft metaphorical wit shining through on a tune that won't let up. This was his final LP, and tragically three years later he was no longer with us, marking an end to the group's iconic first chapter.
Review: Let There Be Rock, AC/DC's powerhouse fourth album, embodies the raw, unbridled energy that defines rock and roll. From the raw, almost Albini-like production of opener 'Go Down' onwards, the relentless drive of the title track to the riotous closing of 'Whole Lotta Rosie,' the album exudes a 'do it live' ethos. Bon Scott's raucous vocals and the band's frenetic guitars and driving rhythms push the limits of their musical abilities, resulting in a sound that's both unapologetically aggressive and irresistibly engaging. With its electrifying execution and high-octane performances, this album not only captures the essence of AC/DC but also makes a compelling case for their influence on the punk movement, landing as it did in 1977.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Rock 'n' Roll Damnation (3:57)
Down Payment Blues (5:38)
Gimme A Bullet (3:21)
Riff Raff (5:13)
Sin City (4:28)
What's Next To The Moon (3:24)
Gone Shootin' (4:47)
Up To My Neck In You (4:15)
Kicked In The Teeth (3:54)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
It's 1977 and AC/DC are not-so-fresh after a spell as the support on Black Sabbath's tour. Looking for a new bassist, after a disagreement over whether to pick Manfred Mann's Colin Pattenden, the band agree on Cliff Williams, who would remain in place until 2003. Recording what became Powerage, their fifth studio album, Atlantic Records soon complained there wasn't a sellable lead single. 'Rock 'n' Roll Damnation' took form, one of the group's outliers, which comes without standard guitar solo but with maracas and hand claps. While this proved divisive among die hard fans, the album itself has gold waiting to be discovered deeper down. 'Gimme A Bullet', for example, has been cited as the finest track the late Bon Scott would write, his lyrical flair and deft metaphorical wit shining through on a tune that won't let up. This was his final LP, and tragically three years later he was no longer with us, marking an end to the group's iconic first chapter.
Review: Frampton Comes Alive? Jeff Mills Live At The Liquid Room? Pah! There is only contender in the park when it comes to the best live album of all time and that's AC/DC's 1978 classic, recorded at the Glasgow Apollo and featuring their original vocalist Bon Scott. From the deft riffing of opener 'Riff Raff' - recently covered by men of the moment Black Midi - to the 12 bar frenzy of traditional closer 'Rocker' via big hitting groovers like 'Bad Boy Boogie' and 'Problem Child' and audience participation-fests like 'The Jack' and 'Whole Lotta Rosie', this is dripping in crowd atmospherics, improvised solos and big walls of riffs. Just about as great an advert for live music as ever existed.
Review: For people of a certain age, their teenage years were defined by the edgy grunge, alt and punk rock sounds of bands like Alice in Chains. Three decades later their seminal sophomore effort, Dirt sounds as good as it ever did and gets an anniversary reissue to mark the occasion. It comes with plenty of powerful drums and big-ass basslines as well as yelping vocals and fuzzy textures that take in a range of emotions and even bigger riffs. This issue features a special insert and comes across four sides of vinyl so it's nice and loud, just as intended.
Review: Arguably one of the most integral tentpoles of the grunge movement, Alice In Chains' seminal sophomore effort, Dirt, changed the game upon its release in 1992. Featuring some of the band's most classic cuts such as, 'Them Bones', 'Down In A Hole', 'Rooster', and, 'Junkhead', to name but a few; the incomparable dynamic of Wayne Staley's iconic vocals and cryptic, yet brutally honest lyricism combined with guitarist Jerry Cantrell's mammoth riffs and delicate nuance, still resides high in the echelons of alternative rock three decades on. For lifers and newcomers alike, this 30-year anniversary edition serves as an ideal opportunity to revisit a genuine classic, far murkier and riddled with antagonistic depths than any of its would-be peers.
Review: Alice in Chains' Jar of Flies from 1994 is a masterful album that showcases the band's versatility and songwriting prowess across an acoustic-driven collection of tracks. They deliver plenty of haunting melodies and introspective lyrics that make for a deeply immersive listen. There is a real melancholic beauty to 'Nutshell' while a gritty intensity pervades 'No Excuses.' Each song offers a glimpse into the band's emotional depth and musical complexity, always with raw emotion and captivating performances that make this one a standout release in Alice in Chains' discography.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Them Bones (2:30)
Dam That River (3:08)
Rain When I Die (6:05)
Down In A Hole (5:32)
Sickman (5:24)
Rooster (6:10)
Junkhead (5:07)
Dirt (5:12)
God Smack (3:50)
Untitled (0:43)
Hate To Feel (5:16)
Angry Chair (4:40)
Would? (3:34)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Arguably one of the most integral tentpoles of the grunge movement, Alice In Chains' seminal sophomore effort, Dirt, changed the game upon its release in 1992. Featuring some of the band's most classic cuts such as, 'Them Bones', 'Down In A Hole', 'Rooster', and, 'Junkhead', to name but a few; the incomparable dynamic of Wayne Staley's iconic vocals and cryptic, yet brutally honest lyricism combined with guitarist Jerry Cantrell's mammoth riffs and delicate nuance, still resides high in the echelons of alternative rock three decades on. For lifers and newcomers alike, this 30-year anniversary edition serves as an ideal opportunity to revisit a genuine classic, far murkier and riddled with antagonistic depths than any of its would-be peers.
I Swear, I Really Wanted To Make A "Rap" Album But This Is Literally The Way The Wind Blew Me This Time
The Slang Word P(*)ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina Do You Agree?
That Night In Hawaii When I Turned Into A Panther & Started Making These Low Register Purring Tones That I Couldn't Control _ Sh¥t Was Wild
BuyPoloDisorder's Daughter Wears A 3000® Shirt Embroidered
Ninety Three 'Til Infinity & Beyonce
Ghandi, Dalai Lama, Your Lord & Savior JC/Bundy, Jeffrey Dahmer & John Wayne Gacy
Ants To You, Gods To Who ?
Dreams Once Buried Beneath The Dungeon Floor Slowly Sprout Into Undying Gardens
Review: Andre 3000s 87-minute flute epic makes it onto a double CD courtesy of Sony. One of the most intriguing, enveloping and therapeutic LPs of 2023, New Blue Sun sees the Outkast veteran drop the mic in favour of myriad flutes, both digital and acoustic, creating a loose, patient album which sounds somewhat like the lovechild of Jon Hassell and Ras G. The whimsically named tracks unfold in a languid dream sequence, feeling improvised but focused, sparse yet dense, and deeply emotive throughout. 3000's far-from-virtuosic flute performances add to the charm and unpredictability of the album, and ensure that the overwhelmingly gentle music doesn't veer too far into vapid new-agery. One for yer pensive off-days!
I Swear, I Really Wanted To Make A "Rap" Album But This Is Literally The Way The Wind Blew Me This Time (11:56)
The Slang Word P(*)ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina Do You Agree? (12:57)
That Night In Hawaii When I Turned Into A Panther & Started Making These Low Register Purring Tones That I Couldn't Control Sh¥t Was Wild (10:19)
BuyPoloDisorder's Daughter Wears A 3000 Shirt Embroidered (12:27)
Ninety Three 'Til Infinity & Beyonce (3:40)
Ghandi, Dalai Lama, Your Lord & Savior JC/Bundy, Jeffrey Dahmer, & John Wayne Gacy (9:34)
Ants To You, Gods To Who? (6:39)
Dreams Once Buried Beneath The Dungeon Floor Slowly Sprout Into Undying Gardens (16:44)
Review: Was anyone ready for one of the most talked-about albums of the year to be Andre 3000 going ham on the flute? Probably not, but in a post-reality world New Blue Sun just slots right in. Of course the legions of Outkast fans are going to be split when an artist of such prominence takes a wild swerve into experimental musical pastures, but for those with an open mind or a pre-existing appreciation of ambient and leftfield music, this album is an easy sell. Teasing the tension between acoustic and electronic, ancient and hypermodern, grounded and ethereal, Andre has been bold and honest in presenting this album to the world and his gamble has paid off.
Review: Fiona Apple's fourth studio album, originally released in 2012, features 'Werewolf,' 'Hot Knife,' and opening track 'Every Single Night'. Now reissued via Sony, we're reminded again of Apple's surrealist, melancholic fantasy; from the opening breakup single, which stops and starts with virtuosic restraint and metric indeterminacy; to 'Valentine', which continues Apple's preference for huge chords and piano-bound ballads, as she laments her inability to resist tarrying in youth; this is quite literally a run-on sentence in album form, with Apple compellingly putting across a restless persona, unable to settle into contentment.
Review: Part of Sony's latest reissues motive for weirdo champer pop songstress Fiona Apple, When The Pawn... is said to have broken the record for longest-ever album title, a record we're sure has been broken more recently by a much more obscure netizen we're not particularly fain to track down. That being said, this opening gambit did do well to evoke what Apple was shooting for with her second album, which saw to the likes of 'Paper Bag' and 'Fast As You Can' - waltzing, ornamented songs, laying claim to a convincing development in Apple's sound.
Review: Fiona Apple's debut album, Tidal, was released in 1996 and has since gone down as one of the foremost examples of the experimental pop artist's style-unto-no-other. Bringing the likes of 'Shadowboxer', 'Sleep To Dream', and standout 'Criminal' to the forefront of the contemporary imagination, the album functioned personally as a proof of talent: in Apple's own words, she was "proving myself, telling people from my past something. And to also try to get friends for the future." If Apple's pre-emptive lonesomeness wasn't assuaged after this album's release, we'll eat our hats. Its ten tracks singles portray Apple's young-adult angst against a predominant trip-hop backstyle, flaunting her palmy and present vocal delivery in particular.
Review: Fight through the blizzard of scrupulously meta promotional activity surrounding it and you'll find a record that deconstructs the bombast Aracade Fire have become known for, reveals the vulnerability behind the stadium sheen and offers a treatise on modern day superficiality and consumerism. Moreover, it makes a sterling job of all three - joyfully disco-inflected, poppily uplifting, stylistically adventurous and bolder than every before, this is a band who can reference ABBA and Bowie irony-free in a ditty about information overload and somehow get away with it - a bunch of eternal square pegs with emotional wallop and deft melodic skills at their disposal, constantly in search of musical worlds beyond empty rhetoric and grandstanding gestures.
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