Back catalogue: Rock (All)

Review: Estonian rock band Centre El Muusa hail from Tallinn and in vitally started out as experimental electronic duo Centre Electronique Muusa before evolving into the current set up in 2018. They have dropped a couple of tasty albums since 2020 and now contain with their explorations and fusions of the worlds of jazz, rock, folk, world and country with hints of kraut on the new 7" for Funk Night. 'Moonlight Horses' is a psyched out world of campfire guitars and star gazing riffs that leaves you feeling fully hippie-d up. 'Catching Stars' then heightens the trip with more angular guitars and a big wall of garage-rock sound.

Review: Singer-songwriting wrapped up in the dusty acid wash denim of Americana doesn't really get more authentic than what Bill Callahan of Silver Spring, Maryland, can deliver. His latest LP, a mass saunter through 20 tracks of smokey spoken word and lightly sung lyrics, falls upon a picturesque bevvy of humble and acoustic instrumentation. Callahan's songs croon with romance, metaphor, and folky yarns that find their place among fingerpicked guitars and light melodies that enjoy a contrast with the darker musings of Callahan's own world of experience and storytelling. It presents the artist with his first studio in some five years, and a sound that is looser than a typical Bill Callahan missive but full of melodrama that centres around life and death. Our pick, Callahan's cover of the Carter Family's "Lonesome Valley".

Review: Bill Callahan comes alive in Chicago, with Jim White, Matt Kinsey and special guests Nick Mazzarella, Pascal Kerong'A, Nathaniel Ballinger and Natural Information Society's Joshua Abrams & Lisa Alvarado. In answer to the question of why he made this album, Bill responded: "Songs tend to mutate after they've been recorded. These songs were mutating faster than usual. Like whatever happened to Bruce Banner in the lab - I knew these songs were about to get superpowers" this change needed to be documented." Resuscitate! was thus born out of a pulmonary metamorphosis, its ten avant-folk pieces recalling themes of rebirth after lung failure and/or clinical death and NDE. A live album of collective jams, viola-tremolos, rural connotations and deep vocal charges as ever from Callahan; all are given fresh mutative life.

Review: Henson Cargill stands tall as one of the greatest from the golden era of country music just beyond the widespread recognition he deserved, and this compilation on Iron Mountain digs back to his creative peak in the late 60s and early 70s. Sourced directly from the Monument Record vaults, these songs were bold in their subject matter as Cargill railed on societal issues from neglectful parenting to anti-war sentiment and of course an abundance of regret and road-weary heartache. This is an essential window into the work of a true country icon, gather together by one of the most authoritative labels in the field right now.

Review: Melissa Carper apparently banjo and bluegrass legend Ralph Stanley use the phrase "borned in ya" to describe an artist's ability to play old timey songs. At that moment, she began jotting down ideas as to how that could be turned into a song. "I knew I had to write that song," one quote states. "I was turning over in my mind wha it means to have something 'borned in ya'... The song evolved as I was writing it to be more about having your soul 'borned in ya' and the more life experience you have, you hopefully grow to embody the highest version of yourself that you can be." It's hard to argue with the logic, or the album itself. Borned In Ya, which opens on the title track before jumping on the horse and riding off across the Badlands of yesteryear, is a vivid and visceral record, capable of transporting us to another time, if not entirely another world, calling off at campfire folk, barroom country and plenty more besides.

Review: Drag City has reissued Dorothy Carter's 1976 debut album, Troubadour, a significant work in her folk music career. Known for her expertise on hammered dulcimer and psaltery, Carter's musiciinterweaving Appalachian, Celtic, Jewish, and her own compositionsiexudes a timeless, magical quality. This reissue not only revives her debut but also includes an insert with additional photos and notes by producer Eric Demby, recalling his childhood encounters with Carter's music. Troubadour captures Carter's eclecticism and her dedication to melding global musical traditions. The album opens with the medieval French instrumental 'Troubadour Song' and ventures through a variety of folk traditions, including an enigmatic rendition of the Scottish ballad 'The Twa Sisters' and a vibrant Psalm 100 in 'Make a Joyful Sound.' Carter's approach blends Eastern and Western influences most strikingly on 'Tree of Life,' hinting at the spiritual fusion she would explore further in her later work. With tracks like the Israeli folk song 'The King of Glory,' Michael Praetorius' 'The Morning Star,' and Appalachian standards 'The Cuckoo' and 'Shirt of Lace,' the album is a profound exploration of folk traditions. This reissue, presented in its original format with enriched visuals and historical context, offers a deep dive into Carter's visionary artistry, capturing the essence of her early, transformative work. Essential listening for fans of Michael O'Shea, Laraaji, and Jerusalem in My Heart.

Review: Palto Flats and Putojefe Records present the first ever reissue of a truly mysterious record from the experimental extreme of folk, drone and experimental dulcimer. Dorothy Carter only released a small handful of records, but Waillee Waillee has since attained a mythical status amongst those in the know. It's not hard to understand why from just one listen, as the lilting bed of zither and dulcimer forms a dense blanket of harmonious drone upon which Carter's voice soars with a choral serenity. It's stirring and spiritual, calling to mind the powerful effect of Laraaji's music but tipping more towards a folk tonality which makes the music entirely unique.

Review: The first ever reissue of Dorothy Carter's 1978 folk/psych/drone masterpiece. A truly unique album in Dorothy's catalog, Waillee Waillee's essence sits in Dorothy's mastery of the dulcimer; its shimmering notes fully enmeshed with the cavernous drones of Bob Rutman's bowed steel cello. The core of this album, Dorothy's only with a full band, lies in the contradiction of traditional psych-folk idioms and the minimal avant-garde, referencing Laraaji and Henry Flynt as much as Karen Dalton.

Review: The Rebel Sings presents a curated selection of Johnny Cash's early recordings from six U.S. EPs in the late 1950s, showing his evolution as a storyteller and iconic voice of American music. Across its tracks, Cash's breakout hits like 'Don't Take Your Guns To Town' and the timeless 'Five Feet High And Rising' resonate with raw authenticity and narrative depth. The album also delves into Cash's penchant for thematic storytelling with tracks like 'The Rebel - Johnny Yuma,' known for its association with the Western TV series. Songs such as 'Remember The Alamo,' 'The Ballad Of Boot Hill,' and 'Lorena' offer poignant reflections on 19th-century Western life, a recurring theme in Cash's illustrious career. The Rebel Sings is essential for both longtime fans and new listeners who want to get more of his early music.

Review: The announcement of Johnny Cash's posthumous album Songwriter, has sparked a debate about the ethics of releasing music shelved during an artist's lifetime. The album, featuring 11 unreleased demos from 1993, sees Cash's vocals and acoustic guitar, with new instrumentation by musicians like Marty Stuart and Dave Roe. The first single, 'Well Alright,' exemplifies Cash's clever, humorous style, reminiscent of lesser-known gems like 'Country Trash.' Produced by Cash's son, John Carter Cash, and David Ferguson, this release aims to highlight Cash's songwriting. Some critics argue against releasing music the artist did not originally deem worthy. However, the album's timing during a commercially rough period and Cash's subsequent career reinvention suggests the demos' initial shelving wasn't due to quality concerns. One listen will confirm that - this is top drawer material from a master of the genre.

Review: Johnny Cash's At Folsom Prison isn't just an album; it's a seismic event in music history. Recorded inside the formidable walls of Folsom Prison in 1968, this masterpiece captures Cash at his most raw and powerful, transforming him from a country star to a legendary artist. Amidst a turbulent socio-political backdrop and personal struggles, Cash's performance resonates with authenticity and empathy for the inmates he entertains. Mobile Fidelity's deluxe reissue on 180g 45RPM 2LP set elevates the listening experience to new heights. Mastered with unparalleled precision, every note reverberates with arresting immediacy, allowing listeners to feel as if they're right there in the prison cafeteria. The spaciousness and dynamics of the recording are brought to life, offering a deeper understanding of Cash's connection with his audience. From the opening chords of 'Folsom Prison Blues,' Cash's empathy for the prisoners is palpable. He sings with a depth of emotion that reflects their struggles and hardships, while also infusing the performance with a sense of defiance and hope. Tracks like 'Dark as the Dungeon' and 'I Still Miss Someone' capture the loneliness and despair of life behind bars, while 'Cocaine Blues' and '25 Minutes to Go' bristle with rebellion and defiance. Throughout the album, Cash's baritone voice resonates with profound depth and passion, conveying the pain, regret, and resilience of the inmates. His duets with June Carter, especially on 'Jackson' and 'Give My Love to Rose,' are electrifying, adding a layer of intensity to the proceedings. As the album closes with 'Greystone Chapel,' written by an inmate, Cash delivers a powerful message of redemption and salvation. It's a fitting end to a landmark recording that transcends its time and place, offering a poignant reflection on the human condition. In sum, At Folsom Prison it's a cultural touchstone that continues to resonate with audiences today. Mobile Fidelity's reissue honors Cash's legacy, allowing listeners to experience this iconic performance with unparalleled clarity and emotion.

Review: Before the legendary Johnny Cash would embark on his mid-90s resurgence with the help of producer Rick Rubin, the country songsmith had already been hard at work on a collection of tracks recorded at LSI Studios in Nashville, Tennessee. These sessions were ultimately shelved in favour of the subsequent American Recordings, until three decades later, they were to be discovered by John Carter Cash, son of Johnny and June Carter. Stripping away the bells and whistles from the takes to get down to the core of Cash's sole vocal and acoustic guitar tracks, long-time producer David 'Fergie' Ferguson was tapped to help helm this accidental new project. Handpicking a collective of artists close to Cash, including guitarist Marty Stuart, the late bassist Dave Roe, drummer Pete Abbott, as well as a plethora of contributors such as Dan Auerbach of The Black Keys; the team retreated to the Cash Cabin in Hendersonville, known for being a place of solitude and inspiration for the timeless songwriter, in order to do these forgotten gems their due diligence. Aptly titled Songwriter, these are the resulting never-before-heard, and likely final newly released songs from a legend whose looming presence still continues to resonate to this day.

Review: American singer Eva Cassidy released Nighbird posthumously in November 2015. It came 19 years after her death and was recorded at the Washington club Plus Alley in 1996. Some of the tunes had already been released as part of a live album the same year but for this album the recordings have been remixed and remastered from the original tape. It has some big jazz standards such as 'It Don't Mean a Thing (If It Ain't Got That Swing)' and 'Fever' as well as eight tunes that were previously unheard at the time. An exceptional record from one of the best female jazz singers of all-time.

Review: Walkin' After Midnight is a excellent collection that shows off the unparalleled talent of Eva Cassidy, featuring 12 previously unreleased live recordings on 180g vinyl. Recorded during a serendipitous performance at the King of France Tavern in Annapolis on November 2, 1995, this album highlights Cassidy's exceptional voice and ability to adapt to unexpected circumstances. The inclusion of the new track 'Down Home Blues', a lively western swing piece, is a delightful addition that complements her existing repertoire. With a stripped-down arrangement featuring violin, lead guitar, bass and Cassidy's acoustic guitar, the performance feels intimate and fresh, allowing her joyous vocals to shine. While most of the songs are familiar to long-time fans, their raw and unpolished nature makes this collection a unique listening experience. For both diehard completists and casual listeners alike, Walkin' After Midnight serves as a poignant reminder of Cassidy's brilliance, inviting you to immerse yourself in the warmth of her voice.

Review: Marking 60 years since the late singer's birth, I Can Only Be Me celebrates the striking talent of Eva Cassidy with an ambitious project. Christopher Willis and William Ross teamed up to compose new arrangements for some of Cassidy's best loved songs, which have been recorded by none other than the London Symphony Orchestra. 'Songbird' is the centrepiece of the project, which made use of new breakthroughs in AI technology to add new dimensions to Cassidy's performance in line with Willis and Ross' new compositions. It's a posthumous collaboration like no other, sure to delight fans who always dreamed of where else Cassidy's music might have taken her if she hadn't died so young.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


In November 2022, Cat Power took the stage at London’s Royal Albert Hall and delivered a song-for-song recreation of one of the most fabled and transformative live sets of all time. Held at the Manchester Free Trade Hall in May 1966 - but long known as the “Royal Albert Hall Concert” due to a mislabeled bootleg - the original performance saw Bob Dylan switching from acoustic to electric midway through the show, drawing ire from an audience of folk purists and forever altering the course of rock n' roll. In her own rendition of that historic night, the artist otherwise known as Chan Marshall inhabited each song with equal parts conviction and grace and a palpable sense of protectiveness, ultimately transposing the anarchic tension of Dylan’s set with a warm and luminous joy. Now captured on the live album Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert, Marshall’s spellbinding performance both lovingly honors her hero’s imprint on history and brings a stunning new vitality to many of his most revered songs.

Review: In 2022, Cat Power, otherwise known as singer/songwriter/producer Chan Marshall, fully recreated Bob Dylan's legendary 1966 show at the Royal Albert Hall. In turn, Dylan's 1966 concert was the culmination of one of the most consequential tours in the history of rock & roll - when he electrified his songs, and by doing so enraged his devoted audience, who just had to catch up. Power's recollection of Dylan's radical re-rendering, now pressed to vinyl, hears her perform the songs in the same order as Dylan himself that night: the first half of the show being an acoustic set, not long before being joined by her electric band for the second half.

Review: Chapman's magnetic voice and stark storytelling create an atmosphere both intimate and politically charged on this, her 1988 self-titled debut, made famous by hit single 'Fast Car', but ultimately a far deeper affair. Songs like 'Talkin' Bout a Revolution' channel the protest spirit of folk legends like Woody Guthrie, delivering an anthem for those marginalised by economic inequality. Her blend of folk, blues and rock feels timeless, with lyrics that still moves listeners today. The haunting 'Behind the Wall', can move one to tears for its raw portrayal of domestic violence and the systemic failure of the police to intervene. Chapman's trembling contralto gives life to the repeated line 'Last night I heard the screaming', transforming it into a powerful condemnation of indifference. In contrast, 'If Not Now...' is a personal perspective, urging listeners to live and love in the present with its delicate acoustic arrangement. Chapman's storytelling is a triumph of nuance, balancing bleakness with hope. Decades later, Tracy Chapman remains a powerhouse in songwriting, deserving renewed attention. It is not just an album of its time but a work of enduring relevance, offering a poignant reminder that music can still be a catalyst for change.

Review: It's absurd to fathom that 25 year old indie-folk wunderkind Claire Cottrill, better known as Clairo, is already preparing the rollout for her third full-length album. Following on from 2021's Jack Antonoff (Taylor Swift, Lana Del Rey) produced Sling, which channelled subdued baroque pop eccentricities, Charm was recorded in collaboration with Leon Michels, noted for his more jazz and soul-centric production work with the likes of Norah Jones and Liam Bailey. Described as "a collection of warm, 70s-inspired grooves that move lithely between jazz, psychedelic folk and soul", it appears Cottrill is ready to take her next progressive leap forward and she quietly curates an expanding catalogue of work seasoned and refined beyond her youthful years.

Review: Under the Clairo alias, Claire Cottrill has achieved cult status in recent times, with her lo-fi take on indie, alternative and dream-pop finding on audience on both sides of the Atlantic. The Boston-based singer-songwriter continues her ascent from the musical margins on Charm, her first album for three years. It's a hugely atmospheric and emotive affair, with Cottrill languidly shuffling between subtly country-tinged lo-fi indie-pop (the semi-acoustic warmth of 'Nomad'), late '60s-inspired dream pop, gentle psychedelia and loose-limbed, surprisingly funky haziness smothered in rubbery bass guitar, vintage synth sounds and heady horns ('Sexy To Someone'). And yes, it's an undeniably charming affair.

Review: Solo is the operative word for Josienne Clarke. Kissing labels goodbye with preceding album, I Promised You Light, and leaving musical partners behind in the process, 2022 saw the artist step out with a bold confidence that seems at odds with the sound she's best known for. Not exactly nervous, but there's certainly always been an air of careful tread about her work.
That's no criticism. Through the use of understatement, from guitars that often form the focal point of her instrumental arrangements, to occasional piano keys and, for the most part, her own voice, she conveys a powerful sense of longing, yearning, and wanting. And yet there's always been an air of redemption and resilience in there, too. Onlines takes all those elements and heightens them, even upping the rockiness on numbers like the wonderfully raw and distorted 'Anyone But Me'.

Review: Josienne Clarke's Parenthesis, I marks a poignant and transformative chapter in her musical journey. The album, her fourth solo effort and follow-up to 2023's Onliness, shows Clarke's evolution as both a songwriter and a person. Drawing on influences ranging from folk legends like Nick Drake and Sandy Denny to contemporary artists like Julia Jacklin and Lucy Dacus, Clarke delivers a masterful collection of deeply vulnerable and profoundly heartfelt songs. Themes of growth, resilience, and self-discovery permeate the album, with Clarke's unfiltered honesty shining through each track. From the introspective opener 'Friendly Teeth' to the confessional ballad 'Most Of All,' Clarke navigates dark moments with grace and authenticity, ultimately finding empowerment and resoluteness in the face of adversity. Clarke's songwriting ability to tackle challenging subjects with poignancy and depth. It's a wonderful album that invites listeners into Clarke's world, offering solace and solidarity in the shared experience of life's complexities.

Review: Realistically speaking, we could write essays for years on the joy of Leonard Cohen's music, poetry, attitude, and poignancy. Without question Canada's greatest gift to music, and the world (Bryan Adams withstanding), Songs of Love and Hate was the iconoclastic artist's third studio album and remains a pivotal work, albeit one that clearly showed global divisions.

Released in 1971, it would fail to make much impact on the US charts, reaching a paltry 145 on the Billboard 200, but in other regions it was a different story. UK and Australian fans bought enough of it to hit number 4 and 8 in their respective album charts. Many European countries also embraced the record. Quite what America's issue was we will never be sure of, although this is certainly Cohen at his all is lost, all is doomed, that's the way it goes best - gentile instrumentation meets soft bombshell songwriting

Review: Recorded in Stockport and Stockholm between 2016 and 2017, Jon Collin's The Nature is still just as beautiful more than half a decade on. Captured inside and outside, "with and without electricity", on the face of it this is a collection of captivating slide guitar improvisations that feel altogether timeless. Tunes that were born in a specific moment, but could have been conceived in countless others. That's all very impressive, but in many ways what really makes The Nature so enthralling are the minutiae, the imperfect details, ambient noises that were captured during the process of these tunes being laid down. Those elements add a three dimension quality to the listing experience, rendering the work and artist in vivid detail, transporting us to the times and places this project came from.

Review: The ninth album by English folk singer Shirley Collins, Archangel Hill, comes as a collection of traditional songs from England, Ireland, Scotland and America. Collins breathes fresh, reanimatory, magic vocal dust into the songs, with her distinctively breathy voice once more imbuing a collective energy into the English folk revival styles of the 1960s and 1970s... and now, perhaps, the 2020s. It's her debut for Domino, who describe Collins as one of the most important voices in the folk revival scene. Naturally, this means Collins' selections reflect her deep knowledge of folk song, with some tracks like 'Hares On The Mountain' widely known among the public, while others are sourced from close personal friends and relatives.

Review: Luke Combs, a prominent figure in contemporary country music, steps away from the mainstream fray with his latest release, Fathers & Sons. Amidst the competitive landscape dominated by lengthy albums from stadium-fillers, Combs takes a refreshing turn. This 12-song acoustic concept album dives deep into the timeless theme of paternal bonds. Fathers & Sons stands as Combs' most authentic and lyrically compelling work to date, embracing a traditional country sound that resonates with heartfelt sincerity. Co-written by a talented team including Lori McKenna, Jessi Alexander, Rob Snyder, and Erik Dylan, the album strikes a delicate balance between sentimentality and raw emotional depth. Each track, enriched by contributions from musicians like Sam Bush, Bryan Sutton and Charlie Worsham, creates a contemplative atmosphere akin to a serene Sunday morning. While some moments may veer into sentimentality, the album overall delivers a poignant exploration of fatherhood's various facetsifrom joyful homecomings to poignant reflections on loss and separation. Combs' ability to capture profound human connections through his music while offering a compelling narrative that transcends the typical country music formula is both refreshing and needed.

Review: The Corrs' Talk on Corners stands as a high point in the band's career, blending their Irish roots with pop and rock elements. Originally released in 1997 in Ireland and 1998 in the US, the album became a staple for many, featuring hits like 'Only When I Sleep' and the dreamy cover of Fleetwood Mac's 'Dreams', which is given a Celtic twist with tin whistle and fiddle. Other standout tracks include the energetic 'I Never Loved You Anyway' and the instrumental 'Paddy McCarthy'. While comparisons to other family acts like Wilson Phillips might surface, the Corrs' sound is more distinct, thanks to their mix of traditional Irish instruments with savvy pop production. The album was re-released in 1999 with remixes of tracks like 'What Can I Do?' and 'So Young', which added more digital production and radio-friendly polish, but many fans still prefer the original's organic feel. Now available on gold vinyl 2xLP, Talk on Corners remains a beloved album that shows off the Corrs' unique ability to marry Irish folk with mainstream pop sensibilities.

Review: As The Corrs gear up for their 2024 Talk On Corners tour across the UK and Ireland, they're marking the occasion with a special reissue of six classic studio albums on limited edition colour vinyl. This is the first-ever colour vinyl release for these albumsiaside from Forgiven Not Forgotten (2023) and Jupiter Calling's black vinyl in 2017imaking this a collector's dream. Each album arrives in three batches timed with the tour, offering fans a rare chance to own these beloved records on vibrant vinyl, just in time to celebrate the band's return to the stage.

Review: The Corrs return to their Celtic roots with their seventh studio album, blending familiar folk elements with their signature soft rock sound. Opening with 'Son of Solomon', the album features the tin whistle and violin that defined their early hits, with Andrea's emotive voice taking center stage. The album shines when the three sisters harmonise, evoking the charm of their early classics like 'Runaway'. Now pressed on red vinyl, tracks like 'SOS', addressing the Syrian refugee crisis, showcase the band's growing social awareness. 'Dear Life' cleverly blends lyrical wit with traditional instrumentation, while 'No Go Baby' offers a heartfelt, minimalist reflection on loss. The album closes with the melancholic, nearly eight-minute 'The Sun and the Moon', highlighting Andrea's vocal artistry. The band's harmonious rapport and Andrea's captivating vocals keep their sound fresh, is a nostalgic yet satisfying experience for longtime fans.

Review: Reissued on yellow vinyl, Home by The Corrs marks a fitting tribute to their Irish heritage and late mother, capturing their classic blend of Celtic roots with polished pop sensibility. Originally released in 2006, this album reflects the band's true embrace of traditional Irish music, produced by Mitchell Froom and backed by the BBC Radio 2 Orchestra. The album elegantly balances traditional favoruites, like the haunting 'Black is the Color' and nostalgic 'Spancill Hill', with lively jigs such as 'Old Hag' and 'Haste to the Wedding'. Andrea Corr's angelic vocals shine, especially in Gaelic tracks 'Buachaill on Eirne' and 'Brid og Ni Mhaille', infusing the album with authenticity. Songs like Richard Thompson's 'Dimming of the Day' and Anna McGarrigle's 'Heart Like A Wheel' are soulful additions, while 'Old Town' feels slightly at odds with the folk theme. Avoiding overt sentimentality, Home stands as a lovingly crafted and intelligent collection of Celtic-inspired pop that fans and newcomers alike will find captivating.

Review: Newly reissued in expanded form, and originally released in 2001, Best Of The Corrs is a 21-track double platinum hits collection covering The Corrs' hugely-successful first three studio albums Forgiven Not Forgotten, Talk On Corners and In Blue, including such hits as Breathless, Runaway, What Can I Do, Radio, Dreams and more. The newly reissued collection features three new songs recorded in tribute to Fleetwood Mac's Christine McVie, following her passing in 2022. The band have recorded beautiful new versions of the classic songs 'Little Lies', 'Everywhere' and 'Songbird' - produced and recorded by Guy Chambers.

Review: In Blue, the celebrated album by The Corrs, finds the Irish siblings navigating the fine line between their Celtic roots and mainstream pop sensibilities. Initially striking a balance with their 1995 debut, Forgiven, Not Forgotten, the group has evolved, embracing a polished sound that resonates widely, particularly in the U.S. Their collaboration with renowned producer Robert John Lange infuses the album with radio-friendly appeal, evident in standout tracks like 'Breathless' and 'Irresistible'. While some fans may lament the departure from traditional instruments, the album showcases The Corrs' melodic strength and lyrical warmth, proving accessible to a broad audience. Songs like 'One Night' and 'No More Cry' inject moments of freshness amidst the pop sheen, highlighting the band's ability to craft catchy, memorable tunes. In Blue remains enjoyable, celebrating The Corrs' musical journey while introducing their sound to new listeners. Now available on limited edition blue vinyl, this collection captures the essence of their infectious charm and artistic evolution.

Review: Cowboy Junkies had only recently become a thing when they put out Whites Off Earth Now!!. Formed in Toronto, Canada by bassist Alan Anton, songwriter and guitarist Michael Timmins, drummer Peter Timmins and vocalist Margo Timmins, the record is dominated by covers of classic rock and blues tracks, with 'Take Me' the only original song included. If that sounds like a brave move for a new group the response proves there's pay-off in risk. Whites Off Earth Now!! sparked a cult following for the band, first at a local level before word of mouth spread south of the border and gig offers began taking them to the southern US. International fame followed with 1988's follow up, The Trinity Session, so consider this a long overdue opportunity to revisit, or discover, chapter one.

Review: This 1977 album marked a sublime chapter in the trio's career, showing their unparalleled vocal harmonies and masterful musicianship. Often hailed as their most accessible album, it seamlessly blends folk-rock sensibilities with heartfelt lyricism. Reissued on pristine 180-gram vinyl, the warmth of this record shines through every groove, providing a listening experience as timeless as the music itself. Opening with 'Shadow Captain', the outfit sets the tone with rich vocal layers and Russ Kunkel's understated yet captivating percussion. Tracks like 'See The Changes' and 'Carried Away' exemplify their ability to create beauty through simplicity, with Nash's songwriting and Crosby's harmonies reaching extraordinary heights. The album's emotional centerpiece, 'Cathedral', is a profound and reflective masterpiece, echoing the introspective brilliance of their earlier work while standing out as one of Nash's crowning achievements. Songs like 'Anything At All' and 'Just A Song Before I Go' further underscore the trio's knack for blending authenticity with melodic perfection. Even with moments like 'Fair Game' and 'I Give You Give Blind' slightly veering toward experimentation, the album remains cohesive and compelling. From the poignant storytelling to the impeccable sound quality of this vinyl reissue it endures as an essential in the folk-rock canon.

Review: As part of Atlantic Records' 75th Anniversary celebration, the label has launched an extensive year-long vinyl series featuring 90 releases spanning the entire history of the company, from its earliest days until the present. Of these emerges this latest reissue of Crosby, Stills & Nash's self-titled debut album, first released on the label all the way back in 1969. The album features some of CSN's most well known and iconic songs; 'Suite: Judy Blue Eyes,' 'Marrakesh Express,' 'Guinnevere,' 'Wooden Ships,' 'Helplessly Hoping' and 'Long Time Gone.' This album saw a shift in sound to what was popular at the time - blues based rock - opting for a more folk rock, and sometimes jazz-based sound. It would lay the foundations for the California Sound that would be popularised out of Laurel Canyon in the '70s. Artists such as The Eagles, Jackson Browne and Fleetwood Mac would take inspiration from the sound of this record.

Review: Since the release of Deja Vu in 1970, the music scene had evolved, but audiences still craved the harmony-driven idealism that catapulted Crosby, Stills & Nash to fame. CSN, the band's third album, reached number two on the charts, just behind Fleetwood Mac's Rumours. The album shows a mature lyrical depth and intricate compositions. Graham Nash's 'Just a Song Before I Go' became a hit single, epitomising his knack for radio-friendly acoustic tunes. Stephen Stills' 'See the Changes' and 'Dark Star' stand tall among his best, while David Crosby's contributions - 'Shadow Captain,' 'Anything at All,' and the poignant 'In My Dreams' - highlight his unique voice. Nash's multi-part epic 'Cathedral,' inspired by an acid trip in Winchester Cathedral, became a live staple. CSN is the last album where the trio's harmonies shine without additional voices, making it a timeless gem, blending country, pop, and rock seamlessly. Despite not reaching the innovative peaks of their first two albums, CSN remains a beloved album in their vault.

Review: The 50th anniversary of Deja Vu by Crosby, Stills & Nash gets marked with this specially celebratory reissue. It has been remastered for the occasion and comes with original artwork. Back when this one was released first in March 1970 by Atlantic Records, the record soon went on to top the pop album chart for a week and generated three Top 40 singles. These are the well known 'Woodstock', 'Teach Your Children', and 'Our House' while many other highlights also feature. A timeless classic for sure.

Review: Crosby, Stills, Nash & Young’s Déjà Vu stands as a landmark in rock history, a stunning blend of folk, country, and harmony-rich psychedelia. Released in 1970, the album showcases timeless tracks like ‘Teach Your Children,’ ‘Our House,’ and ‘Woodstock,’ each carving their place into the annals of pop culture. With a sound as lush as it is groundbreaking, the quartet’s masterful musicianship and soul-stirring lyrics define this essential piece of rock's golden era. Simply put: unmissable.

Review: It's understandable if you're skeptical about hearing the word supergroup as it's overused and often applied where it's an exaggeration. It's the same situation with the word genius. But a genius supergroup is an appropriate description for Crosby, Still, Nash and Young. You just have to look at the other bands that they've been in between them - The Hollies, Buffalo Springfield, Neil Young, The Byrds... It's God-tier stuff. Part of the magic of their psychedelia-tinged folk rock and harmonies is how well they lock in together. It's as if they're cut from the same LSD-soaked cloth; they sound like an extension of one another metamorphosed into one and leaving their individual self behind. Another aspect of their credibility as performers is how consistent they were and how powerful they were live. And whilst it's fairly common to find scratchy recordings of them playing big shows there's a charming intimacy to the radio broadcasts that makes it feel like an uninterrupted close-up with you the sole guest at the show. Squint and you'll feel you're there - transported back to the golden age of songwriting.

Review: The 2024 release of Crosby, Stills, Nash & Young - Live At Fillmore East, 1969 captures the iconic band's electricifying energy during their fourth show in two days at the Fillmore East. Rhino's 2xLP set is a newly discovered multi-track recording of the September 20, 1969, concert, featuring both acoustic and electric performances. The setlist includes early versions of future classics from the Deja Vu and Everybody Knows This Is Nowhere albums such as 'Suite: Judy Blue Eyes' and 'Down By The River'. Highlights include Stephen Stills' stirring solo performance of '4 + 20' and Graham Nash's heartfelt rendition of 'Our House', dedicated to Joni Mitchell, while Neil Young also revisits his Buffalo Springfield roots with 'I've Loved Her So Long'. The electric set intensifies with expansive versions of 'Wooden Ships' and 'Sea Of Madness'. The show closes with 'Find The Cost Of Freedom', offering a powerful finale. The audio, mixed by Stills and Young, boasts impeccable quality, with AAA lacquer-cut vinyl ensuring superior fidelity. This release is a treasure for CSNY fans, capturing a pivotal moment in the band's history.

Review: In the mid-80s, Svitlana Okhrimenko, Oleksandr Kohanovs'kyi, and Tamila Mazur, students at the Reinhold Glier Kyiv Academy of Music, formed the foundation of Cukor Bila Smert. Their blend of music and camaraderie led to the addition of Eugene Taran, who further helped shape the band's vision. Dubbed Sugar - White Death, their ironic moniker challenged media sensationalism and amidst endless musical exploration, they crafted two albums in 1988 and 1989. The band's unique "sugar calypso sound" emerged, a blend of Kohanovs'kyi's music and lyrics by Okhrimenko and Taran. A significant studio session in 1990 yielded tracks featured on the Mannered Music compilation which sparked international interest. Their journey concluded in 1993 with the release of "Selo" by Koka Records, and now some of the best bits make it onto this new collection.

Review: First released in 2018, The Light Is Leaving Us All is one of Current 93's (David Tibet's) most up-to-date explorations in sound, and is noted by the artist himself as one of his most recent favourites. An expansive collaborative cluster of entities, some human and others perhaps not, assisted Tibet in the making of this morbid neofolk opus, which, when not indulging droning guitarscapes and dulcimer twinkles, humours a spoken word and found sound palette, constructing a conniving persona that perhaps farcically laments the loss of suburban niceties (clues in the track titles like 'The Birds Are Sweetly Singing', 'The Policeman Is Dead', 'The Postman Is Singing', 'The Milkmaid Sings' and 'A Thousand Witches' portray a macabre picture of the dead underside of sleepy hometown life). When Tibet sings, he brings a knowingly resigned tone to the record, sounding almost genderless in his evocation of experience and loss of domestic innocence.

Review: Neil Young's Early Daze with Crazy Horse is a treasure trove of mostly unreleased rarities from the early 70s. This 10-track album features familiar songs in rare and previously unheard versions, showcasing Young's raw, unfiltered creativity. Highlights include unreleased takes of 'Come On Baby Let's Go Downtown' and 'Look At All The Things,' co-written with Danny Whitten, adding depth to their collaborative legacy. Fans will also relish unreleased versions of classics like 'Helpless,' 'Wonderin',' and 'Down by the River.' The album offers a fresh experience with rare mixes of 'Birds' and the seven-inch mono mix of 'Cinnamon Girl,' complete with a unique guitar outro not present on the original LP. Early Daze is a compelling collection that captures the essence of Neil Young and Crazy Horse's early synergy, making it a vital piece of rock history.

Review: Neil Young's Ragged Glory is a masterful return to form, blending raw power with a grungy edge that solidified his status as the "Godfather of Grunge." Released in 1990, this album with Crazy Horse is one of his most distortion-heavy works, offering a gritty, jam-packed sound that contrasts sharply with his earlier folk and country rock roots. Songs like 'F*!#kin' Up' and 'Over and Over' showcase Neil's ability to lock into extended grooves, delivering music that's both intense and heartfelt. One of rhe album's standout tracks, 'Mansion on the Hill,' carries a nostalgic weight, while 'Country Home' evokes warmth and memories of simpler times. The instrumentation is where Ragged Glory truly shines. Each track, is loaded with powerful guitar solos and heavy riffs. Neil's collaboration with Crazy Horse is unfiltered, spontaneous, and fiercely alive. With the closing track 'Mother Earth (Natural Anthem)' closing the album out in style, Ragged Glory remains a triumph. Its a raw, unapologetic album that shows Neil Young at his grungiest best.

Review: With Neil Young's late 60s and early to mid-70s music being so well beloved, fans are ecstatic about this release. Dume is a 16-song album (2 LPs) by Neil Young with Crazy Horse from 1975, recorded during the Zuma recording sessions. It includes tracks and outtakes from Zuma. Thus, think of it like the most complete package or extended version on Zuma. This period (just three years after Harvest) of Neil's music is some of his most productive and beloved writing in his 50+ year career. These extra tracks add not only just more music to enjoy but a unique look into the sessions as they were. The two albums are housed a beautifully packaged gatefold as well.