Paul Weller may be something of a cult artist in the United States, but in his native UK and across Europe, he’s a well-deserved living legend. As a founding member of the Jam in the 1970s and the Style Council in the 1980s, he has taken listeners on a journey through punk, soul, jazz, folk, and whatever other styles he likes to try. Live settings are a great way to experience Weller’s music, usually because they put his electrifying on-stage presence on full display, allow him to cherry-pick some of the best songs from his long and varied career, and give him a chance to test out unique and surprising covers. Weller at the BBC, Vol. 2 accomplishes all of this in spades.
While Weller at the BBC was released in 2008 and covered the years 1990 to 2008…
Category: rock
Releasing as a 2CD set, this edition includes the original album, newly remastered from the original master tapes, alongside a bonus disc of rare, previously unreleased alternate versions and outtakes from their early recording sessions.
It sold poorly (around 11,000 copies) and the band never cut anything like it again, but Little Feat‘s eponymous debut isn’t just one of their finest records, it’s one of the great lost rock & roll albums. Even dedicated fans tend to overlook the album, largely because it’s the polar opposite of the subtly intricate, funky rhythm & roll that made their reputation during the mid-’70s. Little Feat is a raw, hard-driving, funny and affectionate celebration of American weirdness, equal parts garage rock, roadhouse blues…
…includes live recordings from the Orchestral FM4 Radio Session, Radio Eins Session and three new remixes; ‘Patterns’ (BOKKA Remix), ‘City Walls’ (Last Chance Remix) and ‘Wake Up Strange’ (Four Horsemen Remix).
For more than 30 years, cult British collective Archive have been ploughing their own furrow – joining the dots between ’90s trip-hop, various shades of alt rock and electronica. With Glass Minds, their 13th studio effort, the band continues to break new ground.
…A stark contrast exists between Glass Minds and its brooding and intense predecessor Call to Arms & Angels. For guitarist and co-vocalist Dave Pen, this originates from the differing circumstances in which the two projects were conceived.
…include a bonus disc with songs from the December 12, 1973 concert at Omni Coliseum in Atlanta.
From Dick’s Picks Volume 1 to Dave’s Picks Volume 58, Curtis Hixon Hall is front and center once again as we shed a little lovelight on the complete, unreleased show from December 18, 1973. On this one, you’ll find the band coastin’ off that Europe ’72 sound (“Tennessee Jed,” “Brown-Eyed Women,” a not-to-be-missed mix of “China>Rider”), testing the tempo of the newly debuted (12/12/73) pretty little “Peggy-O,” and morphing Wake of the Flood tracks (“Weather Report Suite,” “Row Jimmy,” and “Eyes of the World”) into live form. “Dark Star,”…
…includes the entirety of their ‘Moderate Air Quality’ EP as bonus tracks.
The British-American poet W. H. Auden, in his poem “The Age of Anxiety” (1947), highlights humanity’s isolation in an increasingly industrialized and failing world.
Nearly 80 years later, The Sick Man of Europe is picking up the threads of the same discussion: how to navigate in a world that is diametrically opposed to our needs? How not to lose your ipseity in a data-driven culture vying for your attention? Sick Man of Europe’s eponymous debut album is an exploration of these existential matters — and more.
Yeah, the Sick Man of Europe does not shy away from fundamental issues — does he?
Peggy Suicide Cope’s Notes #8 could be the killer: the downfall of Margaret Thatcher against the rise of Julian Cope through New Age thought, fierce London cycling, and a total obsession with capturing the essence of Rave, On-the-One Soul, and the compelling Baggy Beat of his youthful UK contemporaries.
Read through gales of laughter as Cope’s fights with his record company extract from him the most potent music of his career thus far. 52 pages of autobiographical exactitude place Peggy Suicide into the bizarre UK context of early ’90s New Age agitated city-dweller vexation: Ecstasy, riots, dolphins, crop circles – it’s all here.
Then there’s the 39-minute accompanying CD. Highlights include five songs of early ‘pre-enlightened’ material, and Cope’s wonderful ‘A Poll Tax Serenade’ medley.
The biggest Cope’s Notes yet, this fabulous and handsomely bound…
Dave Matthews & Tim Reynolds – Live Trax Vol. 73: Branscomb Memorial Auditorium, Lakeland, FL (2026)
Dave Matthews Band dug deep into their archives for Live Trax Vol. 73: 2/10/1997 Branscomb Memorial Auditorium, which features a previously uncirculated recording of a 1997 Dave Matthews and Tim Reynolds show.
Dave & Tim’s stop at Branscomb Memorial Auditorium in Lakeland, Florida came as part of a 25-show winter tour. The concert was the last missing piece from the tour as the only show that had never circulated.
While setlists didn’t change much from night to night that winter, there are a few songs on Live Trax Vol. 73 that weren’t played at the previous show (issued as Live Trax Vol. 24 in 2012). Matthews & Reynolds fit their first cover of Daniel Lanois’ “The Maker” into the setlist in Lakeland.
Toadies’ eighth studio album continues the band’s throwback alt-rock sound and stays true to the raw, aggressive roots of their early work. The Charmer was one of the last albums produced by the late Steve Albini, with whom the band had always wanted to work. As is typical with Albini albums, The Charmer has a no-frills sound and an uncompromising intensity. It was recorded in an analog style, as a live band with minimal overdubs, to capture the band’s aggressive live sound. For the most part, it works.
Most of the album was written during the COVID lockdown, and for the first time ever, Toadies went into the studio with completed songs. The material has that familiar Toadies feel – aggressive punk-rock energy paired with classic-rock riffs…
Treasury box-set contains six solo albums by Bill, recorded across a fifty-year span, beginning 1974. Each of the first six discs contains bonus material such as 7-inch and 12-inch single mixes, plus demo recordings, while the final disc features 12 new demo recordings of songs that Bill has written in that time, but never released – until now.
The first two discs contain the albums Monkey Grip (from 1974) and Stone Alone (1976), both originally issued on Rolling Stones Records, and made with a staggering line-up of musical friends including Lowell George, Dr John, Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins. The eponymous Bill Wyman album from 1981 was home to the Top 40 singles…
In 2012 he recorded several solo albums and began touring as a solo artist in Europe and the USA with his own band. Martin’s approach to live performances has seen him perform as an acoustic trio with Dan Crisp (vocals, guitar) and Alan Thomson (bass, guitar) and as an electric band with Terl Bryant also joining on drums, with both incarnations meeting with praise from both fans and critics.
This new album features a wonderful performance by Martin’s acoustic band recorded on 19 April 2025 at The Center For The Arts, Homer, New York and a marvellous set by his electric band recorded at the Woodstock Forever Festival in Germany in August 2024. Both performances feature Martin’s solo work and Jethro Tull classics.
Continuing the acclaimed series of UFO reissues, The Wild, The Willing & The Innocent returns in a stunning 2026 remastered deluxe edition.
Originally released in 1981, this pivotal album captures the band at a creative high point, blending soaring melodies, powerful performances, and Phil Mogg’s unmistakable voice.
Newly remastered from the original tape transfers, the album now sounds more dynamic and detailed than ever, reaffirming its place as one of UFO’s most accomplished works.
This deluxe edition also includes a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on 29th January 1981, by Brian Kehew, offering an electrifying snapshot of UFO’s energy on stage.
The Eagles’ 1975 studio album, One of These Nights, was a milestone album for the band, earning them their first GRAMMY® Award and becoming the first of four consecutive #1 albums. One Of These Nights (Deluxe Edition) featuring a new mix of the original album, an unreleased, 16-song 1975 concert at Anaheim Stadium.
Produced by Don Henley, the CD and vinyl editions include a new mix of the album by Rob Jacobs. Originally produced by Bill Szymczyk and recorded at Criteria Studios in Miami and the Record Plant in Los Angeles, One Of These Nights achieved quadruple Platinum certification and the single “Lyin’ Eyes” won the GRAMMY® Award for Best Pop Performance by a Duo or Group with Vocals.
The unreleased live recording captures…
Free Your Mind…And Your Ass Will Follow is the second album from funk innovators Funkadelic. Arriving in 1970 mere months after their trailblazing debut, the record saw the band honing their songcraft, while still allowing plenty of space for mind-bending exploratory jams. The album’s origin story famously involved a single marathon session on LSD. It marked the official introduction of legendary keyboardist Bernie Worrell, and would go on to chart at No. 92 on Billboard’s Pop chart.
Factoring George Clinton’s surprise at hearing the voice of Martha Reeves during a retrospective playback of the ten-minute title track, there’s reason to doubt the Parliament-Funkadelic leader’s memory in his claim that Free Your Mind…And Your Ass Will Follow was recorded in a day.
GarciaLive Volume 22: September 25th, 1971 captures almost every note played across the early and late shows at San Anselmo’s intimate Lion’s Share, a tiny Quonset hut on the edge of town. The performances were originally recorded to 1/4″ analog reels by Betty Cantor-Jackson and Bob Matthews.
Jerry Garcia’s partnership with Merl Saunders carved out a parallel musical life in small Bay Area clubs. Joined by rhythmic anchor John Kahn, Grateful Dead drummer Bill Kreutzmann, and Tom Fogerty on rhythm guitar, who recently departed from Creedence Clearwater Revival. This quintet specialized in power pockets and strong grooves, giving Garcia space to elaborate and extend his musical knowledge…
It was clear from the opening moments of Bruce Springsteen’s “Land of Hope and Dreams” concert that the Boss had a few things to say about President Donald Trump and the state of the nation. In a dramatic flash of patriotic red light, he strode onto the stage in his best proletariat preacher mode and addressed his flock.
“The mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock ’n’ roll in dangerous times,” he proclaimed during a tour stop at San Francisco’s Chase Center on Monday, April 13. “The America that I love — the America I have written about for 50 years that has been a beacon of hope and liberty around the world — is currently in the hands of a corrupt, incompetent, racist, reckless and…
Jazz has long operated with something like an open-door policy, absorbing influences from classical, folk, rock, and beyond. Turkish-American composer Mehmet Ali Sanlikol extends that tradition in a particularly personal way on The Electric Oud Man Speaks and You Listen…, a five-track project that brings Turkish makam, jazz improvisation, and rock energy into a shared musical language.
Sanlıkol’s musical background reflects that synthesis. Raised in Istanbul by a classical pianist mother, he grew up surrounded by Beethoven, Mozart, and Chopin before discovering jazz — a turning point that led him to study the music more deeply and eventually attend Berklee College of Music. Boston is now his home…