One can almost imagine the hypothetical 2025 tour reviews: “To hear him in person, you would never imagine Milton Keanes must be pushing age 80. He zips across the keys with abandon like a man half that age, matched by his equally spry bandmates keeping up with every gallop. The trio continually whips up a storm, defying any age and fit for any time.”
Or so it would be fun to picture, if you enjoy playing along with the fictitious Jazz Sabbath background story. The “official” legend posits that the iconic early Black Sabbath catalogue was originally stolen from a short-lived 1960s underground jazz trio, which belatedly reemerged in the 2010s to present the music the way it was always meant to sound. It remains…
Category: *editions*
Compiling music from throughout continental Europe during the height of psychedelia and progressive rock, So High I’ve Been: A European Rock Anthology 1967-1973 touches on several different styles and movements, from Dutch Nederbeat to Krautrock. This ranges from more blues-based rock & roll and beat music to groups exploring the outer limits, either through cosmic jamming or more ambitious and conceptual means, like French Zeuhl legends Magma, who sing in a self-invented language. Selections by a few groups like the Rattles and Necronomicon are occupied with occult themes, but the music is closer to the dark side of prog, and not heavy enough to be deemed metal. Other material runs the gamut from druggy freak-outs to more…
…digital release with 7 bonus songs.
Congolese guitarist, composer and singer Dr. Nicolas Kasanda wa Mikalayi, aka Docteur Nico, reigned supreme during the ’60s and ’70s as a key innovator of African rumba.
This three-LP package includes 30 of his songs, from the African Fiesta Sukisa catalogue, featuring hits, never-before-reissued recordings and bonus tracks available digitally via Bandcamp, alongside a 28-page booklet containing expert commentary and previously unpublished photos from the Kasanda family archive.
The music testifies to Dr. Nico’s technical virtuosity and adventurous creative control of the African Fiesta band. A heavy Cuban sway drives songs like ‘A la Savana’, ‘Alto Songo’,…
A recording consisting solely of the sound of water droplets? As the practice of field recordings continues to expand and extend in to multiple forms of music, that notion is not as odd as it once might have seemed. But this reissue of Shizukutachi by Japanese sound artist Masaaki Takano confounds categorization. Takano began his career in the 1950s developing sound effects for stage, film and broadcasting and working as a recording engineer at music studios. By the 1970s he moved away from sound effects and began performing using self-made sound instruments and collecting field recordings of natural sounds. These two practices intersect in Shizukutachi, his first release from 1978. The project was inspired by a Japanese garden ornament and sound…
On November 1, 2024, The Cure released Songs of a Lost World and that same night, they performed the album in full at London’s Troxy for 3,000 fans, while more than a million others tuned in via a free global livestream.
That performance has now been transformed into The Show of a Lost World, a recut, remixed, and remastered concert film that presents all 31 songs from the night across a generous two hours and forty-seven minutes. Directed by Nick Wickham, with a new surround sound mix by Robert Smith, the film upgrades the original broadcast into a cinematic experience that does justice to both the intimacy of the venue and the scale of the band’s legacy.
Beyond the novelty of premiering their first…
Ween were the ultimate cosmic goof of the alternative rock era, a prodigiously talented and deliriously odd duo whose work traveled far beyond the constraints of parody and novelty into the heart of surrealist ecstasy. Despite a mastery of seemingly every mutation of the musical spectrum, the group refused to play it straight; in essence, Ween were bratty deconstructionists, kicking dirt on the pop world around them with demented glee. Along with the occasional frat-boy lapses into misogyny, racism, and homophobia, the band’s razor-sharp satire cut to the inherently silly heart of rock & roll with hilariously acute savagery; fueled by psilocybin mushrooms and an all-consuming craving for hot meals, Ween created their own self-contained universe, a parallel dimension…
Not to be confused with Stranger Things: The WSQK Collection — a fun, in-world treat from the same season — this official soundtrack for the fifth and final season of Stranger Things includes much of the same that fans have come to expect: beloved classics and forgotten throwbacks that tie neatly into the plot of the show. While there’s no big “Running Up That Hill” moment here, the mixtape feel of the track selections makes it a decent compilation. One can imagine — if one is old enough — sitting in front of a boombox with the pause and record buttons compressed, waiting for just the right moment to bridge an early Michael Jackson gem with a Tiffany smash hit. Meanwhile, ABBA, Bowie, and Iron Maiden weave seamlessly with Pixies, Butthole Surfers,…
A live album capturing their first Japan tour in 2005, realized 33 years after their formation, is finally being officially released 20 years after the recording!
Emerging from the Canterbury, England musical community that also launched Gong and Kevin Ayers’ the Whole World, the whimsical progressive rock unit Hatfield and the North formed in 1972. Named in honor of a motorway sign outside of London, the group’s founding membership brought together a who’s who of the Canterbury art rock scene – vocalist/bassist Richard Sinclair was a former member of Caravan, guitarist Phil Miller had tenured with Robert Wyatt in Matching Mole, and drummer Pip Pyle had served with both Gong and Delivery. After a series of lineup…
To parse the logic of Sex Mad, one must first inhabit the isolation of 1985 Victoria, British Columbia: a provincial capital where middle-class security doubled as a picturesque cemetery for the newly wed and nearly dead. Here, as the looming artifice of Expo 86 threatened to modernize the coast, the Pacific horizon acted as a literal dead-end and the Wright brothers’ basement as a laboratory. While the global hardcore scene was calcifying into a thudding caricature – The Exploited’s gurning pantomime merging with the metal-hocked bluster of the US crossover set – Rob and John Wright were busy deconstructing the very physics of the power trio.
When guitarist Andy Kerr completed the circuit, internal pressure reached a critical mass.
The guys who make up the country group the Mavericks began their professional music career performing together at rock clubs in Florida. Now you might think that’s a long ride from Nashville, but they found their way easy enough. Once they did, they didn’t leave everything they learned in those rock clubs behind though, and listeners won’t miss the rock & roll flavor that the Mavericks stir into a number of the songs on this 1998 album, It’s Now! It’s Live!
As the title foretells, this is a live album. It was made during a couple of shows the group did in Canada. This is great country-rock music done the way the Mavericks do it best, but the album is a little short with only seven tracks. The songs are fan favorites though, like…
Subtle and sleepy, gentle and resonant, Eric Thompson’s shimmering take on country-rock takes Nashville’s emotive vocal style, throws in a pedal steel and rootsy rock riffs, and turns out a dusty, feel-good – if slightly too slick – album called Manic + Organic. Whether on the shuffling rock anthem “Get Back to It” or the humorous, old-school country of “It’s a Guy Thing,” Thompson’s band uses simple arrangements to evoke a true down-home feeling. The songwriting isn’t as gritty and powerful as that of Whiskeytown, Ryan Adams, or Kasey Chambers, but Eric Thompson is cut from the same thread – patterned by Gram Parsons, the Allman Brothers, Johnny Cash, and Willie Nelson – and Manic + Organic shows his potential to one day make a really spectacular record.
Bob “Slim” Dunlap epitomized the journeyman musician who plays for the fun of it when his day gig allows. However, even casual listeners know his name for one reason: landing the “hot seat” assignment of succeeding the Replacements’ late, troubled guitarist Bob Stinson. But there’s more to Dunlap’s story than his experience with that legendarily star-crossed Minneapolis quartet might indicate.
Slim Dunlap’s two obscure yet adored mid-90’s solo albums “The Old New Me” & “Times Like This” have been remastered and packaged on a new double-CD entitled Every Little Word. In full cooperation with Slim’s family and Peter Jesperson’s Medium Cool – Twin/Tone Records imprint especially for Curation Records.
Wild Horses originally formed in 1978, when guitarist Brian Robertson left Thin Lizzy after the legendary ‘Live And Dangerous’ record, and bassist Jimmy Bain left Rainbow following the double live ‘On Stage’ album, joining forces to create this melodic, hard rock supergroup.
Originally featuring drummer Kenney Jones (Faces, The Who) and guitarist Jimmy McCulloch (Wings, Stone The Crows), the line-up stabilised when Robertson and Bain were joined by drummer Clive Edwards (Uli Jon Roth, UFO, Pat Travers) and multi-instrumentalist Neil Carter (UFO, Gary Moore).
They were signed to EMI following their appearance at the 1979 Reading Rock Festival, releasing their Trevor Rabin (Yes) produced debut ‘The First Album’ in 1980. Featuring the singles…
Numero present ’90s shoegaze band Should’s ’98 debut ‘Feed Like Fishes’ + 10 period bonus tracks.
The folks in Phoenix’s Half String talked up this trio when they were Austin, TX’s shiFt (before they moved north to various universities and gave up their name because of another band called Shift). And it’s easy to see why: Should would have fit perfectly into Arizona’s former “beautiful noise,” post-dream pop scene.
Even without the interestingly sedate but grasping cover of the Wedding Present’s “Spangle” (and, on another record, 18th Dye’s “Merger”), their sound makes it apparent that they can match the English in pairing inventive, modern guitars to lulling tunes for nighttime singing. You could see “Sarah Missing” appearing on a Slowdive…
Live at Nelsonica & Clothworkers Hall – this is the first ever released recording of this unique trio comprising of: Bill Nelson (Be Bop Deluxe/Red Noise), Theo Travis (Soft Machine/Robert Fripp/Steven Wilson), Dave Sturt (Gong/Jade Warrior).
The trio performed various concerts between 2009 and 2019 often as part of Bill Nelson’s ‘Nelsonica’ conventions. Following years of planning and preparation, this album consists of live recordings made by the trio in 2011, 2012 and 2018 from 3 concerts in Leeds and York.
The music, a broad sound palette from ambient soundscapes, to rocky workouts and ethereal mood painting was improvised over loosely prepared structures. with occasional use of backing…
…This expanded reissue adds 8 songs recorded at Inner Ear Studios in Arlington, VA, a few months after the album sessions. These sessions provided playfully experimental B sides to the album’s singles, two cover songs (the New Order cover “Your Silent Face,” and a Beach Boys cover) for a single on Merge Records, and a compilation track.
The problem with Copacetic was the dingy production, so for Simpatico, Velocity Girl hooks up with the Smiths’ first LP producer John Porter. Flaw corrected. Perhaps too much? Some have expressed the opinion that Porter has neutered them somewhat, and indeed, the rawer edges have largely been relinquished, but so what? They sound great now, much tighter, more convincing, more together. Constant touring has…
