Back catalogue: Rock

Review: Paul Weller unveils the 'Supplement: 66 EP', featuring four exquisite new tracks. These songs, recorded at Weller's Black Barn Studios, reflect a heartfelt homage to his musical roots while showcasing his evolution as an artist. Produced by Weller himself, the EP includes contributions from the Wellerband, along with notable musicians like Max Beesley - yes, the actor - on vibraphone and folk legend Danny Thompson on double bass. Original Jam member Steve Brookes adds guitar work, enhancing the rich soundscape. The closing track, 'So Quietly', features esteemed folk artist Kathryn Williams on lead vocals, who also co-wrote the haunting piece. 'Supplement: 66' delivers an additional four tracks of soulful, roots-inspired rock, perfectly complementing its parent album.

Review: Two tracks from the Modfather's current 66 album get the remix treatment, with the A-side seeing Alexis Taylor of Hot Chip joining unlikely forces with Parisian DJ and producer Cedric Marszewski aka Pilooski for an overhaul of 'Flying Fish', before the flip hosts 'Flying Fish' Richie Stevens of virtual band Spacemonkeyz works his magic on 'Nothing'. Weller's remixes have been well chosen and generally top drawer ever since Brendan Lynch reworked 'Wild Wood' back in the mid 90s, a rich tradition that continues unabated here.

Review: Released in 1978, this compilation album encapsulates the essence of Paul McCartney's post-Beatles journey. It features a selection of tracks that highlight the band's evolution and McCartney's songwriting prowess. The album's remastered edition offers enhanced audio quality, bringing clarity to the intricate arrangements and emotive performances. This release serves as a comprehensive overview of the band's contributions to the rock genre.

Review: Paul McCartney's long-lost project, One Hand Clapping, is finally seeing a near-complete release 50 years after its inception. Filmed and recorded over four days in August 1974 at Abbey Road Studios, the sessions feature a new Wings lineup with Paul, Linda, Denny Laine, Jimmy McCulloch, and drummer Geoff Britton, alongside Del Newman and Howie Casey. The album includes recent hits like 'Live and Let Die,' 'Band on the Run,' and 'Jet,' alongside Beatles classics 'Let It Be,' 'The Long and Winding Road,' and 'Lady Madonna.' Denny Laine covers the Moody Blues' 'Go Now' and Paul revisits 'Maybe I'm Amazed' and the Tin Pan Alley classic 'Baby Face.' Previously unreleased, except for a few tracks scattered over the years, One Hand Clapping is now available as beautiful packages with exclusive solo performances recorded in the backyard of Abbey Road. This release is a nostalgic treat for McCartney and Wings fans that harnesses the band at a unique moment in their storied career.

Review: This classic Tom Waits album showcases an intimate quality while delving into a traditional jazzy sound. Each track features his brilliant bluesy vocals, complemented by silky smooth instrumentals. The horn and string arrangements enhance his intricate lyrics, painting a vivid picture of the lonely streets of New York City at night. While 'Closing Time' captures solitude, The Heart Of Saturday Night reveals the broader landscape of the city, where Waits evokes relatable emotions that resonate deeply with listeners.

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


The tenth studio album from Tom Waits, released in 1987 via Island Records, was yet another landmark in a career which, by this point, had already given us a raft of stone cold classics. The last two of those LPs, Swordfishtrombones and Rain Dogs, certainly swerved expectations, marking a new period in the life and times of an acclaimed jazz and blues man. Taking its name from a track on Swordfish, Frank's Wild Years is actually "Un Operachi Romantico in Two Acts" according to the subtitle, with several songs here taken from a play of the same name which premiered in Chicago a year prior. In many ways, the theatrical side story was an inevitability, with the previous records all pointing in the direction of a gravelly blues-jazz-rock core with a vaudeville, spoken word, and narrative disposition.

Review: ***B-STOCK: Sleeve slightly damaged, slight surface marks on record***


To say that Tom Waits' eighth studio album marked a stylistic shift would be like saying winter is markedly different to summer. Having established himself as one of the finest piano-based songwriters of his generation - or any other for that matter - Swordfishtrombones was the first LP from the artist to lay out what was to come. Something very, very unusual, as visionary as it is bizarre, a celebration of the beauty of surrealism and the joy of having fun with music. Whether it's the opening number, 'Underground', and its strange, almost cartoonish chain gang jazz-blues stomp, the quiet keys and solitary vocals of 'Johnsburg, Illinois', or the distorted, compressed electronic jangling and organ riffs of 'Dave The Butcher', within the first few tracks alone you're presented with a vast and varied universe of ideas.

Review: The Best of Warrant compiles 16 defining tracks from the band's early years, pressed on limited 180-gram red audiophile vinyl with a numbered double vinyl format and an insert. This collection revisits the glam-metal era with hits from their first three albumsiDirty Rotten Filthy Stinking Rich, Cherry Pie and Dog Eat Dogioffering fans a nostalgic journey through Warrant's prime. Favorites like 'Down Boys', 'Heaven', and the iconic 'Cherry Pie' capture the band's energetic hooks and singalong choruses. The acoustic version of 'I Saw Red' highlights a more introspective side, while deep cuts like 'Thin Disguise', a Cherry Pie B-side, add exclusivity. Their hard-hitting cover of Queen's 'We Will Rock You', from the Gladiator soundtrack, showcases a grittier edge. The inclusion of 'Uncle Tom's Cabin' and 'Mr. Rainmaker' underscores their storytelling flair, while tracks like 'Big Talk' and 'Sure Feels Good to Me' keep the energy high. Originally released in 1996, this greatest hits package is still thee best collection of their best.

Review: This much sought-after treasure was originally a private press release back in 1981 but it has been remastered as a special drop for Record Store Day 2024. It is a sublime album of blue-eyed soul with overtones of country and Americana that make it all the more evocative and escapist. The songwriting is reflective, the musicianship is tight, the melodies impressive and the vocals effortlessly captivating. The NuNorthern Soul label has been serving up these sorts of nuggets and obscurities for over a decade now but this is right up there with the best of them.

Review: Paul Weller's Fly On The Wall reissue is a fantastic compilation for fans, now available as a 3LP vinyl set. This collection, originally released in 2003, gathers B-sides, remixes, and rare tracks from Weller's prolific period between 1991 and 2001 with Go! Discs and Island Records. The album includes gems like the demo of 'Into Tomorrow,' the reflective 'The Loved,' and the title track 'Fly On The Wall.' Notable highlights are the Portishead remix of 'Wildwood' and the 'Lynch Mob Bonus Beats Remix' of 'Kosmos,' showing Weller's versatility and willingness to experiment. The covers, including The Beatles' 'Sexy Sadie' and John Lennon's 'Instant Karma,' add a delightful twist, displaying Weller's ability to reinterpret classics with his unique flair. This reissue is a comprehensive and richly varied package that highlights Weller's range and creativity during a dynamic decade of his career.

Review: To mark his 66th birthday, mod legend Paul Weller returns with 66, his 17th full length solo album and one that arrives on Polydor to great fanfare. In the vast expanse of contemporary music, Weller stands as an icon of enduring influence and innovation, boasting a recording career spanning from 1977 to the release of this latest album. With a steadfast dedication to pushing artistic boundaries while honouring his roots, Weller's latest offering promises a captivating journey through his musical evolution and it reflects on life's myriad facets, from spirituality to changing circumstances, with a positive outlook tempered by wisdom gained from lived experiences. Collaborations with esteemed artists enrich the album, offering a fully-realized celebration of creative synergy.

Review: The reissue of David Coverdale's 1977 debut solo album, now presented under the Whitesnake band name, is an exciting opportunity to revisit the roots of one of rock's most iconic voices. Originally released following Deep Purple's split, this album, produced by ex-Deep Purple bassist Roger Glover, is a key piece of the Whitesnake legacy, showcasing the early formation of the band's sound. With the recent passing of David Coverdale, this reissue is a fitting tribute, highlighting the journey of a singer who would go on to define the sound of an era. The album features future Whitesnake guitarist Micky Moody, whose collaboration with Coverdale on tracks like 'Blindman' and the title track 'Whitesnake' hints at the powerful direction the band would later take. From the r&b-infused rocker 'Lady' to the soulful 'Peace Lovin' Man', this album is an excellent first solo effort by the artist. This reissue is a celebration of David Coverdale's enduring legacy and the foundation of a band that would go on to rock the world.

Review: The reissue of David Coverdale's early solo albums, now appearing under the Whitesnake band name, is a thrilling celebration of his legacy, especially with the recent passing of the iconic singer. Originally released after a few years after Deep Purple's split in 1976, Northwinds mark a pivotal moment in Coverdale's career, featuring future Whitesnake guitarist Micky Moody and production by Deep Purple's Roger Glover. His second solo album showcases a young Coverdale discovering his sound, with tracks like 'Keep on Giving Me Love' and 'Breakdown' hinting at the hard rock brilliance that would define Whitesnake. Moody's guitar work and Coverdale's evolving songwriting shine throughout, particularly on 'Queen of Hearts' and 'Only My Soul,' which offer glimpses of the band's future direction. This album captures the raw, bluesy energy that laid the foundation for one of rock's greatest bands. With improved production and the historical significance of these tracks, this release is not just a nostalgic trip but a vital piece of rock history. Embrace the chance to experience the early roots of Whitesnake and the undeniable talent of David Coverdale in his formative years.

Review: David Coverdale's Into the Light marked their return after a three-year hiatus, and his first true solo album since 1978's Northwind. Released in 2000 and now titled a Whitesnake release, the album is Coverdale stepping away at the time and to rediscover himself musically. Collaborating with a talented lineup of musicians, including Earl Slick and Doug Bossi, Into the Light ventures beyond the original Whitesnake sound, incorporating blues, acoustic melodies and Zeppelin-esque elements. The album opens with the instrumental 'Into the Light', signaling a fresh start, followed by the blues-heavy 'River Song', a nod to Coverdale's Deep Purple roots. Tracks like 'She Give Me' echo his collaboration with Jimmy Page, though they sometimes fall short of a satisfying climax. The album's melodies and guitar work stand out, offering a mix of mindless fun and occasional gems that fans of Coverdale's career will appreciate.

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: 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.