Review: A stunning fusion of rock, Latin rhythms and jazz, this 1977 album blended live performances with studio recordings to create a dynamic, immersive experience. Now reissued on vinyl, the double album - which features live and studio recordings - captures the raw energy of Santana's stage presence while showcasing Carlos and co's refined musicianship. The album's biggest hit, 'She's Not There', reinterprets The Zombies' classic with soaring guitar work and Latin percussion, turning it into a mesmerising jam. 'Flor d'Luna (Moonflower)' is a beautiful instrumental piece, filled with Carlos Santana's signature, expressive guitar melodies. 'Dawn / Go Within' opens the album with a mystical, jazz-tinged atmosphere that blends the spiritual with a musical exploration throughout the album. Live recordings such as 'Soul Sacrifice / Head, Hands & Feet (Drum Solo)' bring the band's electrifying energy to the forefront, while 'Black Magic Woman / Gypsy Queen' revisits their earlier hit with even more intensity. 'Europa (Earth's Cry, Heaven's Smile)' is another gem, a slow-burning instrumental that highlights Santana's unmatched ability to blend emotion and technical prowess. Moonflower was a commercial and critical success, reinforcing Santana's status as innovators in rock and Latin music, and even now, it's pretty obvious why.
Review: Mobile Fidelity's 180g 33RPM LP reissue elevates the album's sonic experience by sourcing it from the original analogue master tapes. Pressed at Fidelity Record Pressing, the reissue boasts pristine sound, revealing the intricate details of Santana's dynamic arrangements. Carlos Santana's guitar work, rich in clarity and precision, soars with newfound definition, making his signature solos and leads stand out even more vividly. Inner Secrets, Santana's 1978 album, marked a significant shift towards the rock mainstream, featuring three Top 100 singles and showcasing a more focused, streamlined sound. This period saw Santana transition from their earlier fusion-heavy style to more accessible, radio-friendly material, packing complex passages and passionate performances into tighter song structures, with no track exceeding six minutes.Notable contributions from new band members, including Pete Escovedo on percussion and Chris Solberg on multi-instrumental duties, further shape the album's sound, complementing Graham Lear's sharp drumming and David Margen's groovy bass lines. Highlights include covers like Buddy Holly's 'Well All Right' and the Four Tops' 'One Chain (Don't Make No Prison)'. Greg Walker's raw, soulful vocals bring an edge to the music, embodying the "street and church" quality Carlos Santana admired. Inner Secrets serves as a powerful milestone in Santana's evolution.
Review: Standing as one of Santana's most remarkable live albums, capturing the band's extraordinary chemistry and virtuosic performances during their 1973 tour. Originally released in Japan and not available domestically until much later, this triple LP remains a definitive document of the band's fusion period, blending Latin, Afro-Cuban, jazz, rock and psychedelic elements. The album showcases the thrilling improvisations and spiritual depth of the eight-piece lineup, featuring legendary tracks like 'Every Step of the Way', 'Toussaint L'Overture' and an incendiary 'Incident at Neshabur'. The reissue, sourced from the original master tapes and pressed on 180g vinyl, offers audiophile-quality sound, enhancing the clarity and balance of the performance. The dynamic range, rich bass and vivid percussion are rendered with exceptional presence, offering an immersive listening experience. With the inclusion of seven previously unreleased tracks, Lotus captures the band at its peak, delivering both precision and passion. This reissue is a stunning tribute to Santana's pioneering fusion era and in its most complete and unique packaging yet.
Review: Carlos Santana was one of the most prolific artists of the 1970s and 80s, and later in that period is when he released his fourth solo album. After a relentless pace of an average of more than an album per year since his band's 1969 debut, this Grammy-winning effort was his last release before a well-earned break in that run. The largely instrumental album showcases Santana's signature guitar tones with plenty of signature soulful energy and masterful control over his playing. He was supported by a stellar lineup including Tony Williams, Alphonso Johnson, Buddy Miles and Orestes Vilat and Mobile Fidelity's limited reissue presents the album with audiophile sound quality that reveals enhanced clarity and the intricate details of Santana's playing.
B-STOCK: Sleeve damaged but otherwise in excellent condition
The Pusher (feat Chris Robinson) (7:05)
Crossroads (feat Gary Clark Jr) (5:34)
Hoochie Coochie Man (feat Billy F Gibbons) (6:44)
Oh Well (feat Chris Stapleton) (4:34)
Key To The Highway (feat Dorothy) (5:09)
Awful Dream (feat Iggy Pop) (5:29)
Born Under A Bad Sign (feat Paul Rogers) (5:01)
Papa Was A Rolling Stone (feat Demi Lovato) (7:52)
Killing Floor (feat Brian Johnson) (4:19)
Living For The City (feat Tash Neal) (6:51)
Stormy Monday (feat Beth Hart) (7:56)
Metal Chestnut (2:58)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Guns N' Roses' lead guitarist and vocalist Slash is an intermittent solo releaser, with his lone output beginning in 2019 with Living The Dream Tour. 2024's Orgy Of The Damned marks his fourth solo full-length, this time manifesting as a distinctly collaborative blues project, enlisting the help of a variety of legends in the style - and legends on Slash's speed dial - including Gary Clark Jr., Iggy Pop, Dorothy, Demi Lovato and Beth Hart. Recalling Guns 'N' Roses' early experimentations in the blues genre, albeit with an up-to-date, contemporary polish, this album of covers of the likes of Robert Johnson and Chester Burnett is sure to delight the diehards.
B-STOCK: Sleeve damaged but otherwise in excellent condition
The Pusher (feat Chris Robinson) (7:05)
Crossroads (feat Gary Clark Jr) (5:34)
Hoochie Coochie Man (feat Billy F Gibbons) (6:44)
Oh Well (feat Chris Stapleton) (4:34)
Key To The Highway (feat Dorothy) (5:09)
Awful Dream (feat Iggy Pop) (5:29)
Born Under A Bad Sign (feat Paul Rogers) (5:01)
Papa Was A Rolling Stone (feat Demi Lovato) (7:52)
Killing Floor (feat Brian Johnson) (4:19)
Living For The City (feat Tash Neal) (6:51)
Stormy Monday (feat Beth Hart) (7:56)
Metal Chestnut (2:58)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Guns N' Roses' lead guitarist and vocalist Slash is an intermittent solo releaser, with his lone output beginning in 2019 with Living The Dream Tour. 2024's Orgy Of The Damned marks his fourth solo full-length, this time manifesting as a distinctly collaborative blues project, enlisting the help of a variety of legends in the style - and legends on Slash's speed dial - including Gary Clark Jr., Iggy Pop, Dorothy, Demi Lovato and Beth Hart. Recalling Guns 'N' Roses' early experimentations in the blues genre, albeit with an up-to-date, contemporary polish, this album of covers of the likes of Robert Johnson and Chester Burnett is sure to delight the diehards.
Review: Offering up a fly-on-the-wall earful of the legendary punk spoken word songstress at the peak of her prowess, First We Take Manhattan is a live LP captured at New York City's iconic CBGB's on August 11th 1979, whilst touring in promotion of the Todd Rundgren-produced Wave, which would mark the third and final album billed under the Patti Smith Group. Whilst receiving somewhat of a mixed reception upon release due its more radio-friendly oriented sound, longtime staples such as 'Frederick', 'Seven Ways Of Going' and 'Dancing Barefoot' all make appearances, exuding Smith's unbothered stance towards critical reception, while also making room for Easter deep cut 'Space Monkey', as well as a reliably hefty dose of material from her classic 1975 debut solo LP Horses, including 'Redondo Beach' and 'Kimberly'.
Review: Steely Dan's Katy Lied, released in 1975, marks a pivotal point in the band's trajectory. Known for their meticulous approach to recording and their increasingly complex fusion of rock and jazz, the album sits at the crossroads of their evolution, representing both the height of their creative powers and the growing dissatisfaction of Walter Becker and Donald Fagen with their work. This album sees Steely Dan's transition from a traditional rock band to a more sophisticated, jazz-inflected studio project. The departure of guitarist Jeff "Skunk" Baxter, and their decision to stop touring, freed Becker and Fagen to focus entirely on studio work. Without the need to accommodate a touring lineup, Katy Lied became a playground for an array of top-tier session musicians, including drummer Jeff Porcaro and vocalist Michael McDonald, who would go on to define yacht rock's lush sound. The album's opening track, 'Black Friday', encapsulates Steely Dan's knack for blending lyrical wit with biting social commentary. It's a jaunty rock tune about apocalyptic scenarios and cashing in on chaos, with Fagen's sly delivery making it unclear whether he's advocating rebellion or simply observing it with a smirk. This tension between cool detachment and grim humor runs throughout Katy Lied, lending the album its disorienting charm. Tracks like 'Bad Sneakers' and 'Doctor Wu' mix cryptic narratives with immaculate musicianship. 'Doctor Wu', one of Steely Dan's most beloved tracks, balances between a love triangle and drug addiction with a saxophone solo from jazz great Phil Woods that ties the song's knot of ambiguity into a gorgeous, bittersweet bow. While Katy Lied features some of Steely Dan's most intricate compositions, it also hints at the moral ambiguity that would become a hallmark of their later albums. Katy Lied holds up as one of Steely Dan's most interesting records, a liminal album that bridges the gap between the rockier early years and the slick perfectionism of later efforts like Aja and Gaucho. It captures Becker and Fagen still in the process of refining their vision, grappling with the frustrations of the studio, but channeling that tension into songs that remain sharp, enigmatic and unflinchingly human.
Daddy Don't Live In That New York City No More (3:12)
Doctor Wu (3:52)
Everyone's Gone To The Movie (3:42)
Your Gold Teeth II (4:11)
Chain Lightning (2:57)
Any World (That I'm Welcome To) (3:51)
Throw Back The Little Ones (3:15)
Review: Steely Dan's fourth studio album 'Katy Lied' was their 1975 standout moment, capturing a moment in time when the band had gained plenty of traction, and had already ridden the wave of fame for a good time. As a result, their music had grown in creativity and grandeur, expanding outwards from a mere prog rock outfit into a studio project, necessitating a steady stream of session musicians, highest-fidelity gear and lots of money. As ever, infectious guitar hooks and R&B funk structures make up most tracks here, making this an early party rock album if we've ever heard one. Katy may be a love interest or a sumptuous muse - but the title also alludes to a katydid, a species of insect related to grasshoppers or crickets.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Rikki Don’t Lose That Number (4:31)
Night By Night (3:39)
Any Major Dude Will Tell You (3:09)
Barrytown (3:17)
East St Louis Toodle-oo (2:52)
Parker’s Band (2:38)
Through With Buzz (1:33)
Pretzel Logic (4:31)
With A Gun (2:18)
Charlie Freak (2:44)
Monkey In Your Soul (2:32)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Did Steely Dan go Bisto on us and save the best for last? Maybe, just maybe. While Pretzel Logic didn't mark the end of all things The Dan, it was the final album to feature the full lineup - Walter Becker, Donald Fagen, Denny Dias, Jim Hodder, and Jeff 'Skunk' Baxter (prior to the latter joining The Doobie Brothers). It was also the last to be released while the group were actively touring, and as such can be seen as something of a swan song. Perhaps Magnus Opus is a more appropriate turn of phrase. Critically acclaimed at the time, the record sees the jazz rockers opt to tone down the instrumentals that had cost them radio play with preceding LP, Countdown to Ecstasy, and instead focus on shorter, more direct and certainly catchier tunes. That's not to mean throwaway, mind, with praise lauded on the release at the time, when it was reissued in the late 1980s and remastered a decade or so later. Back again, it still has the same impact.
Review: Sting's journey began in the industrial heart of Newcastle, a city long defined by its shipyards and coal mines, shaping the grit and resilience that would come to define his music. Growing up amidst the working-class challenges of the north, he found his voice both in the rough edges of his environment and in his natural affinity for jazz, reggae and punk. As a young man, he developed a passion for music, which would later merge with the intellectualism and protest anthems of his lyrics. It's this fusion of roots and ambition that propelled him from local gigs in the late 70s to becoming an international icon with The Police. Fast-forward to today, and his music continues to reflect this complex blend of influences. His latest offering, recorded during his latest tour, highlights this evolution with renewed energy, offering live renditions of some of his most iconic tracks. While the classics like 'Message in a Bottle' and 'Every Breath You Take' are as timeless as ever, there's an undeniable freshness in how Sting approaches them today. The intimacy of live performance allows for new emotional layers in songs like 'Fields of Gold' while the meditative live version of 'Be Still My Beating Heart' adds a deeper sense of reflection, demonstrating his ability to continuously reframe his sound and approach.
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