Review: 1977 was a pivotal year for Motorhead, seeing as it saw the release of their debut, self-titled album and also the hiring of Fast Eddie Clarke, forging what is invariably seen as the classic line up of this seminal band. The year may be closely associated with the height of punk rock, but the ultra heavy metal stylings of Lemmy and co always crossed the divide and appealled to punk and metal fans alike. The 11 tracks here straddle the tracks written for that debut LP ('Iron Horse/Born To Lose', 'Vibrator' and 'White Line Fever') and older material such as 'Motorhead', originally penned by Lemmy's previous employers Hawkwind, their cover of Eddie Holland's Motown classic 'Leaving Here' and 'On Parole', first recorded with Clarke's predecessor Larry Wallis in 1976 then shelved. The sound of one of the finest bands ever just beginning to hit their stride.
Review: By 1992 Nirvana weren't just in full swing, they'd done the unthinkable - turning the hardcore end of a rock 'n' roll sub genre that originated in the US Pacific Northwest into a global chart-topping phenomena. And they achieved this without selling out, with third and final album, In Utero, arguably laying the tarmac for a road to increasingly experimental sounds that would tragically never be fully explored due to frontman Kurt Cobain's suicide in 1994.
This exceptional live recording from the Spanish capital two years earlier represents the outfit at their peak of dominance, having released their most commercially successful record, Nevermind, 12 months or so earlier, creating a slew of anthems such as 'Smells Like Teen Spirit', 'Something In The Way', and 'Come As You Are' to international youth culture folklore. History lessons aside, they were more potent live than on any studio recording, with this breakneck, raw-throated and high-intensity set exemplary of why.
Review: At the close of 1991, Seatlle grunge gods Nirvana were well on their way to becoming the biggest rock band in the world, but the massive show in Del Mar, California, captured here actually featured them appearing in support of Red Hot Chili Peppers, although Pearl Jam had the prvilege of opening up the show. They'd spent much of the year touring, famously making the first of their two Reading Fesival appearances half way up the bill back in August 1991, and are evidently on peak form here as they wield a setlist dominated by Nevermind album highlights including 'Come As You Are' and 'Smells Like Teen Spirit'. Ending on a raging rendition of 'Territorial Pissings', the trio prove not only why they managed to definite the zeitgeist of the age, but also the fact that however finely tuned and honed they were, the all-important feel of impending anarchy was never far from the surface.
Review: The Purple One did a series of special live shows at the Miami Glam Slam Club in 1994 as part of a residency, and as they were recorded for live radio broadcast we can now relive them again with this reissue. The dynamic songwriter, singer, multi-instrumentalist and producer was in top form in the mid-90s and used this residency to further explore his blend of funk, rock and soul. With electrifying performances of hits and deep cuts, this album highlights his unparalleled musicianship and charismatic stage presence with plenty of classics all included from 'The Most Beautiful Girl In The World ' to 'I Believe In You.' A great slice of pop history.
Review: Indie-pop miserbalists REM are indeed rock legends and this live album from Santa Monica back in 1991 - a time when lead singer Michael Stipe still had hair, it is interesting to note - is the perfect example of why. It's an electric set that takes in many of the American band's most iconic tunes, from the wonderful dour 'Losing My Religion' which is perfect lo-fi and ramshackle here, the dark meditation that is 'Half A World Away' and even a cover in the form of 'Love Is All Around'. A great reminder of a great band.
Review: A well recorded, fascinating glimpse into the earlier days of the most notorious punk band of all time, captured at a show at the rarely acknowledged 76 Club in Burton-on-Trent. It's a suitable setting, of course, as British punk was the voice of the suburbs and the small towns around the UK that, ironically, all so often banned them from visiting. The material that would form their only studio album - surely one of the most seminal LPs of all time - Never Mind The Bollocks... was still taking shape at this point, with 'New York' and 'Seventeen' present but nestling under working titles alongside non-album original 'I Wanna Be Me'. There are also outings for a selection of cover versions that show the influences that shaped the revolutionary sound about to turn music on its head, from The Stooges' 'No Fun' and The Who's 'Substitute' to the Dave Berry 1964 single flip track 'Don't Gimme No Lip Child' and The Monkees' '(I'm Not Your) Steppin' Stone'. Top chaos for cash fun.
South Of Heaven/Raining Blood/Alter Of Sacrifice/Jesus Saves (10:38)
Born Of Fire (4:50)
Mandatory Suicide (4:12)
Angel Of Death (4:48)
War Ensemble (4:54)
Die By The Sword (3:46)
Dead Skin Mask (5:30)
Review: Thrash metal pioneers Slayer have a ferocious reputation in the studio, but their live shows are where the unbridled energy, rage, passion and power really reach next level. Landing on the appropriately-named Cult Legends label, this recording of a 1991 show from Paris is exactly what we're talking about. Like pressing play on a juggernaut and watching hell break loose. References to the underworld abound here, of course, from 'Angel of Death' to the epic intro medley, 'Hell Awaits/Antichrist' i if indeed "medley" is an appropriate word to use for a band like Slayer. Pedantry aside, if you're looking for a record that truly speaks to the might and rabid majesty of metal in one of its most intense forms, then you've got it right here.
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