Review: The debut album from The Ferguson Rogers Process dropped late last year and finally makes its way to vinyl via Impressed Recordings. Following their debut single 'Live Together' and an early Melbourne show, Tim Rogers and Lance Ferguson's Substance And Or Style is a smart take on hip-hop with tunes like 'Dirty-Clean', which leans further into their disco influences and captures the glitter-in-the-gutter mindset behind the project. With Rogers urging listeners to dive in and embrace the mess, he reminds us that 'the sink is your shrink', encouraging a no-holds-barred approach to getting things done.
Review: There's something timeless about the way this veteran UK singer carries himself and this 2010 album, now reissued on striking red vinyl, makes that all the more clear. It feels like a continuation of the Roxy Music legacy in spirit, mood and style, with that familiar air of suave detachment and immaculate detail, with a production styler that's lush and forward-thinking, bridging classic lounge-pop stylings with modern textures that still sound fresh over a decade later. The sleekness is no accident - every element is meticulously placed, from the glossy synths to the hushed guitars and orchestral flourishes. 'Shameless' is one of the more adventurous tracks, pulling in electronic flourishes courtesy of Roots Manuva. It's a bold move that actually works, blending suave vocals with a beat-driven framework that never feels forced. The real surprise, though, is the version of 'Song to the Siren' - a haunting, fragile take on the track made famous by Tim Buckley and This Mortal Coil alike, that shows just how much weight his voice can carry with minimal backing. Easily one of the most affecting covers in his catalogue. 'Tender Is The Night' rounds out the highlights with a melodic, romantic glow. There's an added layer of interest with Brian Eno - a Roxy member in its early days - contributing, creating a sense of full-circle collaboration. The sound of a seasoned artist evolving gracefully, without losing the qualities that made him magnetic in the first place.
Review: By the time Fleetwood Mac put out their self-titled 1975 album, a lot had happened to the band. Landing seven years after their first eponymous record - how's that for breaking the rules? - this is the first LP to feature Lindsey Buckingham as guitarist and Stevie Nicks as a vocalist, Bob Welch having left a year earlier when the pack relocated to California, ushering in their tenth lineup in eight years. Although arriving to somewhat muted response critics lauded the release even if the public wasn't exactly gushing, and time has shown where the truth really lies. Rolling Stone, among other publications, ranks the LP among the 500 Greatest Albums of All Time, with the three Top 20 singles - 'Over My Head', 'Rhiannon', and 'Say You Love Me' - now among the Mac's most treasured. A soft rock landmark
The Green Manalishi (With The Two Prong Crown) (5:42)
Angel (5:00)
Spare Me A Little Of Your Love (4:07)
Sentimental Lady (7:18)
Future Games (4:45)
Bermuda Triangle (10:38)
Why (4:06)
Believe Me (4:45)
Black Magic Woman/Oh Well (7:05)
Rattlesnake Shake (11:25)
Hypnotized (7:38)
Review: When this was recorded at the Record Plant, San Francisco on 1December 15, 1974, Fleetwood Mac were in a state of flux. They were led by singer-songwriters Bob Welch and Christine McVie, but Welch was poised to leave and be replaced by Lindsey Buckingham and Stevie Nicks. Welch's stint in the band was brief and the five studio albums he's on are overlooked compared with their imperial phase that was on its way with the next line-up, but he's not to be slept on. The band were laid back but grittier with him in it. He's a slick, cool singer and a mind-blowing guitarist. This live set, which spans early classics and more recent favourites, makes it plain to see just how good he was.
Review: Ace Frehley’s role in KISS was crucial in shaping the band's signature theatrics. The Spaceman to Simmons’ Demon, Stanley’s Starchild, and/or Criss’ Catman, Frehley’s silver-laced face makeup would of course come star-dusted by quasaring guitar chops, doubly amplifying KISS's popularity in histrionic heavy metal at large. Frehley’s new Now Playing tracklist - a new record from the prima donna rock quartile via Atlantic - highlights his diverse solo career, with'Rock Soldiers’, ‘Breakout’, 'Into the Night’ and 'Calling to You’ all featuring. It also packs the best hits from his time with Frehley's Comet, such as ‘Insane' and 'Dancin' With Danger’.
Review: Ace Frehley's 1989 recording arrives at a curious crossroads in his career. It's bold, swaggering, and drenched in late-80s hard rock sheen, but there's a thread of defiance running through its polished surface. Frehley, who had long stood in the shadow of his former band KISS, approaches the project with the energy of someone eager to remind the world of his prowess. His trademark guitar flourishes are as electrifying as everisharp, crunchy and steeped in effortless cool. Guest spots from former Kiss drummer Peter Criss and Skid Row members inject bursts of collaborative dynamism, making this not just a solo venture but a communal flex of rock-and-roll camaraderie. Frehley sounds like a man with something to proveiand he delivers, guitar in hand, unapologetic and relentless.
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