Review: Athens, Georgia band Widespread Panic are live-jammed, blues rock and hard rock sensations, and they know it as much, having released over half of their post-2009 discography in the form of live albums. 'Hailbound Queen' is an exception to this rule, consisting entirely of re-renditions of classic songs from their classic setlist, coming freshly off the heels of their acclaimed 2024 originals record Snake Oil King. 'Hailbound Queen' is a reminiscence by contrast, all of the songs therein - 'Blue Carousel', 'Trashy', and 'Halloween Face' among them - having found a rightful, firmly-lodged place in fans' hearts. The record lands in good time for Halloween too, its timing nodding to the band's infamous Halloween shows, regularly performed across the US.
Review: Originally released in 2004, A Ghost Is Born - Wilco's fifth studio album - doubled down on a stylistic rethink for the band that began a little earlier, with 2002's Yankee Hotel Foxtrot. This is also the moment lead singer Jeff Tweedy assumed even more creative control as guitarist Jay Bennett said goodbye, and the first time the outfit claimed a top 10 album in their American homeland. 12 months later, they walked away with the Grammy for Best Alternative Music Album, and now here we are, 20 years on, wondering how the hell things got to this point but still under no doubt just how good this collection of songs is. A new anniversary double LP edition (with more expansive 9xLP+4CD and 9CD formats also available), complete with hardcover book, it's a must for dedicated disciples and a genuinely beautiful package for pretty much anyone who appreciates the art of the reissue.
Review: Long after the 'Kids In America' and 'You Keep Me Hanging On', Kim Wilde has a brand new album, apparently a sequel to the 1988 smash hit Close. It hears the British singer continue to zoom in on the pop, new wave and rock-infused influenza of sound that earned her sucess initially, but adds a new, starlit electropop mood along with synthpop and hi-NRG influences on what is her sixth studio album. The raunchy and maximalist sound Wilde is known for is still on full blast here thouhg, albeit with a fresher modern varnish, with the likes of 'Trail Of Destruction' and 'Rocket To The Moon' proving especially audacious.
Review: Hard rockers unite. Or at least they used to. In an age when it often feels like even the last remaining vestiges of whatever subcultures survived MTV and the Millennium are themselves divided, every once in a while a record comes along that acts like a rousing call for unilateral response. The Satanic Rites Of is exactly that album. Reading reviews is smile-inducing, if for no other reason than the references to frontman Ginger as a 'godfather' of the British heavy-hard guitar scene. It's hard to deny, except if in your mind he still invokes images of a sprightly enfant terrible. In all honestly, the latest is both - an outfit that have lost none of their high energy snarl and commitment to doing interesting, ferocious things, but have years of wisdom on their side to achieve them.
Review: Not to be confused with the landmark London club of the same name - one of many sorely missed spots in the UK capital - Plastic People is almost the opposite of that now-defunct electronic dance music stronghold. Wildwood's 1968 garage psyche triumph is equally determined to encourage us to escape, only in a far earthier, rawer, and rougher kind of way. With plenty of hoarse guitar riffs, Hammond organ lines and powerhouse vocals coming from the man himself, this is a wonderful reminder of a ridiculously fertile period in rock & roll history that maintained values of the decade it rounded off, but was also increasingly looking to a future in which punk and progressive were beginning to lay their own foundations. In short, it's epic and trippy and incredibly human.
Review: Compared by some to the likes of Crosby, Stills and Nash or Richie Havens, brothers Will and James Ragar present rich, calming and subtly seductive folk-soul that could almost belong in a bygone era. If it didn't sound so utterly timeless - a great example of why unplugged sounds seem to have such a long half-life. As a record, this is a great accompaniment to Will & James Ragar's startling, stop-you-dead-with-serenity debut album, One, which first landed in 1980. But The Acoustic Album takes that tried and true blueprint and then delves deeper into the soothing-yet-aching, sublimely heartbreaking and life affirming formula. 16 tracks written between the late-1970s and early-1990s, recorded in 2016 in one seamless session, each sounds as beautiful, poignant and essential as the next.
Review: American jazz drummer Tony Williams rose to acclaim as a member of Miles Davis' so-called 'Second Great Quintet'. He later went on to pioneer jazz fusion with the group and formed his own outfit, the Tony Williams Lifetime. In 1986 he released 'Civilization', which marked a triumphant return to Blue Note and a great window into his visionary approach to jazz. Leading a stellar acoustic quintet with Wallace Roney (trumpet), Billy Pierce (sax), Mulgrew Miller (piano) and Charnett Moffett (bass), Williams served up a dynamic set of original compositions that pulse with intensity and technical brilliance, as well as emotional depth, while taking post-bop tradition into new relays. Each player brings sharp improvisational insight, but it's Williams' explosive yet precise drumming that anchors the session.
Review: This is the sole album from soulful vocalist Bobby Wilson, and it was originally released in 1975. A vibrant mix of early 70s East Coast soul styles, the record blends upbeat tracks inspired by the burgeoning club scene with tender, heartfelt ballads all recorded across Detroit, Philadelphia and Miami. It was produced by Vernon Bullock with orchestration by Paul Riser and features the UK soul hit 'Deeper and Deeper' which fantastically captures the warmth and spirit of its era. Now reissued for the first time since 1975, this classic album debuts on coloured vinyl and is sure to appeal to soul heads from across the ages.
Review: Live performance from English singer and guitarist Steven Wilson recorded at the Royal Albert Hall in March 2018. The performance includes tracks such as 'Nowhere Now', 'Refuge' and 'Sleep Together'.
Review: To celebrate the return of the Glastonbury Festival in 2022 and mark the 15th anniversary of an iconic moment, Island Records served up Amy Winehouse's 2007 Pyramid Stage performance for the first time. This unforgettable set saw the troubled genius headline on June 22nd and it was her debut on the Pyramid Stage. She entranced audiences as ever with her soulful voice and electrifying presence and later that day, she also graced the Jazz World Stage and once again wowed those in attendance with another heartfelt and raw performance. The album now gets reissued and commemorates a milestone in Amy's career as well as a chance to relive the magic of her timeless sound.
Review: Warning - the title of this album is flagrant false advertising. Brooklyn based Cameron Winter (of indie art-punk darlings Geese) has opted to go solo with his debut full-length Heavy Metal and while it's an eclectic, sporadic affair, it is devoid of essentially any sonics that could in any way be referred to as "heavy metal". It's a move based around the fact that, according to the 22-year-old himself - "barely anybody knows who my band is, I'm young and not afraid of living with my parents and I'm free to chase whatever ideas I want." Apparently drawing on a Craigslist-sourced who's who of guerilla backing band members including a disinherited cousin of John Lennon ("he was a real good sport"), a five-year-old bassist ("these kids, you know, they get raised on their iPads but they're far more precocious than any generation"), and a Boston steel worker-cum-cellist ("Honestly, it's crazy, the talent that can be found on Craigslist. We got a couch, too"), while supposedly being recorded in piecemeal fashion from locations such as hotel room closets to multiple Guitar Centres where he has now received a lifetime ban, there's an undeniable sense of absurdity and line-blurring between fact and fiction that goes hand-in-hand with his low-drawled, too much life experience and awareness in a young body malaise that underpins this razor sharp, insightful, ludicrous jaunt through young New Yorker life.
Review: Originally formed to fulfill Wire's contract with Mute Records after drummer Robert Grey's departure, WIR emerged in 1990 as an experimental offshoot of the post-punk legends. Their only album, The First Letter, featured sparse, sequence-based electronic music with Graham Lewis taking lead vocals and even self-sampling from Wire's catalogue. This newly remastered 2025 vinyl reissue includes their rare 1993 ORF radio session, which has previously only been available digitally, and adds a fresh, live-inspired re-recording of their most accessible track, 'So and Slow.' It's a window into a unique, fleeting moment in the band's history.
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