Back catalogue: Rock

Review: Alzo's 1973 hit single 'Lover Man' is heard reissued by the amorous hommes over at Elznavour. Hailed by the label as two romantic bangers - selectly chosen from the American soft rock musician's second LP Takin' So Long - Elznavour are keen to highlight the songs' equally tragic pull, for Alzo sadly passed away in 2004. Echoing the muted hey-heys of Sixto Rodriguez on the A, before launching into a cinematic psyche-soul number predictive of much modern pop music , 'Come On, Come On', on the B, this is a premium slice of well-cured rock music on 7", recalling the music of an unforgettable musician.

Review: In October 1977, Australian rock titans AC/DC were set to enjoy a night off in London following two successful shows at the Hammersmith Odeon, before they were tapped by The BBC at the last minute to replace The Sensational Alex Harvey Band who had cancelled their scheduled appearance on the Sight & Sound In Concert show at the Hippodrome in North London's Golders Green. While the likes of Queen, Jethro Tull, The Kinks and Roxy Music would perform at the 3,000-capacity venue over the years, no band or set has ever rocked the Hippodrome like Bon Scott and the boys did on this fateful evening. Ripping through a truncated, all bangers setlist of seven tracks in just 40 minutes, including 'Problem Child', 'Hell Ain't A Bad Place To Be', 'Whole Lotta Rosie' and 'T.N.T.', while Angus Young would run rampant whilst shredding through the balcony section, this performance has gone down as one of most iconic from this early definitive era of the band.

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.

Review: A slice of Australian rock champs AC/DC in action in 1978 in their classic Bon Scott-led line up, on tour in the US in support of their penultimate album before Scott's death in 1980, the often underrated Powerage. Along with staple live favourites that have remained in the band's set for yonks - see 'Rocker', 'Bad Boy Boogie', 'Problem Child' and 'The Jack' - there are rare outings for the groovy but more subdued, bluesy 'Gone' Shootin' and, the final encore here, 'Dog Eat Dog' from 76's massive Let There Be Rock album. You can almost hear the collectors' salivating.

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: Don't be confused by that title - this live album is a recording of their Monsters of Rock appearance from 1991, a bill on which even legends like Metallica and Motley Crue found themselves playing supporting roles to the Australian gods. That said, despite this being very much the domain of singer number two, Mr Brian Johnson, there are many, many moments from the Bon Scott songbook here, from album title tracks 'Dirty Deeds Done Dirt Cheap', 'High Voltage' and 'Let Me Rock' alongside later triumphs like 'Hells Bells' and 'Heatseeeker'. The only thing that might seem odd by its omission is 'Highway To Hell' - the clue is NOT in the name, it seems - but across four sides of vinyl, there's still plenty of AC/DC at in truly electrifying mood here.

Review: With four albums dropping throughout the first half the 1980s, the second iteration of AC/DC with Brian Johnson on vocals was definitely on a roll. This recording of the band in action on the West Coast of the US mixes classics from their Back In Black classic like 'You Shook Me All Night Long' and 'Hell's Bells' - with older favourites. There are fan faves galore here but also a few tracks which make the cut less often, such as 'Shot Down In Flames' from the Highway To Hell album, 'She's Got Balls', 'Shoot To Thrill' and more. That alone sets it above the average live broadcast album from the band, elevating it into the realms of the essential for hardcore devotees.

Review: Recorded in the Netherlands as the band supported the penultimate studio outing of the Bon Scott years, Powerage. Of the ten tracks here, three are from that oft overlooked album and they're tracks that are a little rarer than the usual when it comes to the average AC/DC broadcast album. In particular, a rendition of 'Gone Shootin' that's been a little beefed up from the more reflective - yes, they did do reflective on occasion - studio version, is worthy of note, alongside versions of 'Rock 'N' Roll Damnation' and 'Sin City'. The more familiar fan faves from a spread of previous albums - see 'Rocker', 'Whole Lotta Rosie', 'Live Wire', 'High Voltage' - are here too, naturally enough. But, as with every live recording of the Aussies in action, there are priceless chunks of never-repeated improvisation (especially Angus Young's drama-driving between-song guitar riffing) that no real fan will want to miss.

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: Viva La Revolution indeed. The Adicts tore out of England's east coast, and specifically Ipswich, and immediately made an impact. Asked to change their name by Sire Records in a bid to appease the charts and TV bookers - although, oddly, one of the options was apparently The Fun Adicts, which raises more quandaries - Rockers In Orbit captures their huge sound in all its glory. Recorded live at Alabama Halle, Munich, Germany, depending on which way you're listening first impressions invoke breakneck punk, motoring metal, and even the romance and commanding power of The Cure at their loudest and most dominating. Ultimately, though, these guys just sound like The Adicts. A questionable reference point we can only assure you is meant as a total complement. Not a band people will forget in a hurry.

Review: We've encountered a few Woodstock '94 live albums in recent months. 30 years on, and the festival remains one of the most ill-conceived, poorly executed and abhorrently capitalist failures the live music scene has ever witnessed. When you cram 350,000 into a site aimed at half that, don't think about infrastructure, overcharge on everything and then stand idly by as a revolution begins to unfold, only responding when things become a life or death situation, how do you expect to be remembered? At least people actually played the event, though, unlike the likes of Fyre, which never even managed to get started. And the lineup for 1994's cash-in on the legendary New York State gathering was decent in many ways, Aerosmith stepping up at the height of their commercial fame to deliver a typically spectacular show of mainstream rock & roll with blues roots. Here's the recording.

Review: The Allman Brothers Band's final concert, performed on October 28, 2014, at New York's Beacon Theatre, is now being celebrated with the release of Final Concert 10-28-14, available as a 3xCD box set. Curated by Warren Haynes, the remastered recording spans 29 tracks and includes a 16-page booklet with exclusive photos and liner notes. The concert, divided into three sets, shows the band's extensive legacy, featuring classic tracks like 'Mountain Jam', 'One Way Out', 'Statesboro Blues' and 'Melissa'. Founding members Gregg Allman, Jaimoe, and Butch Trucks were joined by Haynes, Derek Trucks, Marc Quinones and Oteil Burbridge, making for a lineup that masterfully honoured the band's roots. The Allman Brothers Band's signature blend of southern rock and blues. This is a fitting farewell to their storied career with both nostalgia and exceptional musicianship. The final track, 'Trouble No More', closes the set and the band's legacy on an emotional note.

Review: Alter Bridge's debut album made a bold statement when it first arrived in 2004, showcasing a dynamic shift from the members' previous project. With a heavier, more aggressive sound, the band set themselves apart through thick basslines, intricate melodies and fiery guitar work. Myles Kennedy's commanding voice elevates the album, blending seamlessly with the instrumental intensity. 'Metalingus', remains a defining moment, pairing pounding drums with razor-sharp riffs that build to an explosive energy. Its enduring appeal is evident in its inclusion across various media, cementing its place as a fan favorite. Tracks like 'Open Your Eyes' and 'Broken Wings' balance the album's raw power with heartfelt emotion, offering a glimpse of the band's versatility. This deluxe reissue breathes new life into the album, adding five live recordings that capture the electrifying energy of the band's performances. The live versions of 'One Day Remains' and 'Burn It Down' amplify the album's intensity on the last side of this release. These additions highlight Alter Bridge's ability to bring their studio craftsmanship to the stage, delivering performances that resonate deeply with fans.

Review: This long-awaited live album captures the band's performance from August 3, 1975, at the Hollywood Bowl, backed by a symphony conducted by the legendary George Martin. Remastered and restored, this 2-LP set, available for the first time on fruit punch vinyl, includes classic hits like 'Sister Golden Hair', 'A Horse With No Name', and 'Ventura Highway.' Previously an exclusive Record Store Day release, this album offers a unique glimpse into America’s peak era, featuring the original trio—Dewey Bunnell, Gerry Beckley, and Dan Peek. The performance was part of a successful tour promoting their fifth album, Hearts, which included their number one single, 'Sister Golden Hair'. Dewey Bunnell reflects on the significance of the show, praising the collaboration with Martin and the band's high energy during the performance. Gerry Beckley and Bunnell both express excitement about the release, marking it as a significant addition to their legacy.

Review: America is a legendary rock trio that burst onto the scene in the early 70s with their iconic debut America (Friday Music 9001), featuring the hit 'A Horse With No Name.' Their success continued with chart-topping singles that led Warner Records to release their first best-of collection, History/America's Greatest Hits in 1976. Produced by George Martin, the album included hits like 'Ventura Highway,' 'Tin Man,' 'Sister Golden Hair' and 'Lonely People.' This multi-platinum compilation is now available for the first time on Translucent red vinyl with fine mastered from original tapes by Joe Reagoso that preserve the warmth of their classic original tracks.

Review: Tina Arena's career-defining album takes listeners on a journey of soaring ballads and infectious pop, remaining one of Australia's most loved records. Anchored by the powerful 'Chains,' the album re-established Arena as a force in contemporary music, earning her five ARIA Awards, including Album of the Year. With six singles and a legacy of ten times Platinum status, it's no surprise the album continues to stand the test of time. Now, 30 years on, Arena's emotional connection to the music remains as strong as ever, with a national tour set to mark this iconic anniversary.

Review: Joan Armatrading's latest release is a rich collection of songs that showcases her impressive skill as both a songwriter and a musician. Each track blends thoughtful lyrics with her signature melodic style and there's a refreshing mix of full-band arrangements and stripped-back instrumentals. Her guitar work stands out, adding a raw edge to the songs, while her lyrics explore personal reflections and universal themes, as always with honesty and depth. It's a release that reaffirms her place as a long-time favourite, offering both a nod to her past and a new chapter in her musical journey.

Review: ***B-STOCK: Sleeve split but otherwise in excellent condition***


Joan Armatrading's latest release is a rich collection of songs that showcases her impressive skill as both a songwriter and a musician. Each track blends thoughtful lyrics with her signature melodic style and there's a refreshing mix of full-band arrangements and stripped-back instrumentals. Her guitar work stands out, adding a raw edge to the songs, while her lyrics explore personal reflections and universal themes, as always with honesty and depth. It's a release that reaffirms her place as a long-time favourite, offering both a nod to her past and a new chapter in her musical journey.

Review: The brainchild of guitarist and songwriter Simon Harrison (Stranger, Wisht) who has primarily enjoyed a career as a session musician and ghost-writer, Atlantic was established as an outlet for his retro 80s AOR and melodic rock proclivities, paying homage to the likes of Whitesnake, Journey and Bad English. Releasing their debut LP Power in 1994 before disbanding to focus on a myriad of other duties, Harrison would cross paths with Mark Grimmett towards the end of the decade, with the pair agreeing to eventually work on a project together. While sessions initially took place under the moniker of the MGB Band and had somewhat of a start-stop energy in the early days, somewhere along the line the duo realised they had a new Atlantic LP on their hands. Enlisting a full backing band, Another World is a 2024-time portal right back to 1984 with glistening synths, face-melting guitar solos and saccharine vocals all melded into one glorious dad-rock hour of self-aware cheese delivered with an overabundance of musical virtuosity.

Review: Linda Ronstadt's Cry Like A Rainstorm, Howl Like the Wind marks her return to pop with grandeur and power. Backed by a stellar lineup of session musicians, including Aaron Neville, Ronstadt delivers a collection of 12 quality songs by esteemed songwriters. The album's magnitude is evident in its lush orchestration and powerful arrangements, courtesy of the Skywalker Symphony Orchestra and the Oakland Interfaith Gospel Choir. While the grand scale occasionally overshadows Ronstadt's vocals, her refined phrasing and vocal prowess shine through, particularly in her duets with Neville. Engineer George Massenburg's impeccable recording work elevates the album to near perfection, capturing every instrument with clarity and balance. Cry Like A Rainstorm not only heralds Ronstadt's return to pop/rock but also showcases her remarkable musical development, making it a strong contender for the best album of 1989.