Category: rock


After an eight-year lay-off from the recording studio, the Smithereens released two albums in 2007. However, it doesn’t bode well for their creative process that the first of those albums was comprised entirely of Beatles covers, and the second was a Christmas disc.
However, Christmas with the Smithereens at least features three original tunes (which is three more than Meet the Smithereens!), and as rock & roll Christmas albums go, this is good fun and admirably eclectic. The Smithereens are pretty broad-minded when it comes to what constitutes a Yuletide melody, given the presence of “Christmas,” a not especially seasonal tune from the Who’s Tommy, and they dig up the Beatles rarity “Christmas Time Is Here Again,” as well as…

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‘Springsteen: Deliver Me from Nowhere’ (Original Motion Picture Soundtrack) features 12 new recordings by Jeremy Allen White and the cast of the critically acclaimed film.
…Springsteen: Deliver Me from Nowhere centers on the making of Bruce Springsteen’s Nebraska, so the soundtrack finds White playing tracks from the iconic 1982 album. He does not, however, cover the full album, missing out on “Johnny 99,” “Used Cars,” and “Open All Night.” Instead, the soundtrack album includes two hits from Springsteen’s Nebraska successor, Born in the U.S.A.: the title song and and “I’m on Fire.” It also closes with covers of two songs that Springsteen and the E Street Band are known to favor — Little Richard’s “Lucille” and John Lee Hooker’s…

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Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of Wamono music, Yoshizawa has published in 2015 the now-classic Wamono A to Z records guide book, which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. He has also selected a large part of the music in our highly acclaimed Wamono compilations.
For this brand new chapter in the series, Yoshizawa explores King Records’ legendary catalog and unearths exceptional, rare and unknown musical gems. King Records has been releasing music since 1931 and is one of the most prestigious labels…

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Ronnie D’Addario spent years as a professional musician, playing guitar with Tommy Makem for decades among other gigs writing jingles and working in various other bands. Along with all of his other accomplishments, D’Addario consistently wrote and recorded solo material, beginning with a string of three exceptionally good but under-distributed solo albums in the late ’70s and early ’80s which showcased his rich sense of arrangement and gift for Beatles-inspired, motivational power pop.
Somewhere along the way, D’Addario’s sons Brian and Michael also went down a musical path with their band the Lemon Twigs, and with Written By, they’ve curated a selection of their father’s songs to rework, bringing in guest artists…

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Aerosmith and YUNGBLUD’s One More Time EP arrives like a classic dare. Old school rock legends teaming up with Gen Z’s most theatrical provocateur basically proves that rock ’n’ roll still means something, especially when you splice decades and attitudes together. With this five-song EP, they’ve managed something messy, earnest and occasionally thrilling.
The EP opens with the moody, echo-laced duet lead single “My Only Angel.” Aerosmith’s Steven Tyler and YUNGBLUD trade vocals in a hypnotic call-and-response that builds from intimate whispers to roaring harmonies, before guitarist Joe Perry crashes in with a signature solo. The result is cinematic and grand. This isn’t nostalgia for nostalgia’s sake, it’s rock with…

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Singer-songwriter Tommy Womack is at heart a rock ‘n roller. Accordingly, it makes sense that he teams with Eric ‘Roscoe’ Ambel for his latest release, his ninth, Live a Little. Ambel collaborations have worked for Steve Earle, Jerry Joseph, Sarah Borges, Freedy Johnston, and more. Combine Ambel’s rocking edge with Womack’s tunes, which run from the hilarious to the ironic to the provocative, for a winning formula. Ambel took Womack’s solo acoustic demos and rendered them with his core band, including bassist Jeremy Chatzky and drummer Kenny Soule. Womack plays acoustic and electric guitars, harmonica, and mandolin, while Ambel fires up his electric guitar,  pounds the keyboards, and provides backing vocals. Lisa Oliver-Gray,…

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With their cross-pollination of literate, soulful rock & roll and folk traditions of the British Isles, the Waterboys have tread a multitude of musical paths since singer/songwriter Mike Scott formed the group in London in the early ’80s. From the grandiose “Big Music” of their early classic, This Is the Sea through the rich Celtic-inspired folk-rock of their 1988 highlight, Fisherman’s Blues, the mercurial Scotsman has made dramatic sea changes a regular occurrence, swapping lineups and chasing stylistic whims on an almost album-to-album basis. Across nearly four decades of work, Scott’s sonic and spiritual explorations have been shared by literally dozens of bandmembers, though only fiddler Steve Wickham (and to some extent early mainstay Antony Thistlethwaite) has maintained…

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The ship of Theseus is a classic paradox of thought that asks whether an object is truly the same after all its component pieces have been replaced. That’s not exactly the case for Sting’s musical The Last Ship, but he is once again revisiting the song score he’s tinkered with several times over the last decade in a new expanded edition.
Coming to 2CD, 2LP and digital on December 5 ahead of a new series of worldwide performances, this new edition of the singer/songwriter’s 2013 concept album take on The Last Ship offers 20 tracks from the original album release and cast recording, plus five new recordings, all resequenced to better reflect the current narrative of the tale. Those new tracks are a re-recording of the song “Shipyard” (with new vocals by…

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Available on vinyl, digital and compact disc formats for successive late 2025 Record Store Days, Warren Zevon’s final live performance, recorded Live at the Edmonton Folk Music Festival, joins 1980’s Stand in the Fire (issued in expanded form twice) and 1993’s Learning to Flinch, as sterling examples of how the late singer/songwriter so artfully transposed the unique traits of his original material to the concert stage.
Epilogue is a clear, if not exactly resplendent, depiction of the man’s persona. Hearing the slight but tangible gusto Zevon injects into “I Was in the House When the House Burned Down” makes the comparatively muted opening of “Lawyers, Guns and Money” seem like a deceptively ingratiating opening to this roughly…

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…20-track overview of funk-rock combo War’s earliest recordings with British rocker Eric Burdon of The Animals. It includes three unreleased tracks, including an unedited remix of this iteration’s biggest hit, “Spill the Wine.”
…After fronting The Animals and becoming one of the defining voices of the British Invasion, Eric Burdon sought a new musical direction in the late 1960s. In 1969, he teamed up with the Long Beach funk band WAR, a collaboration that produced hits like “Spill the Wine,” included in this release alongside its unedited remix, and earned accolades from fans, fellow musicians, and journalists — including NME’s Richard Green, who called them “the best live band I ever saw.” WAR’s legendary producer Jerry Goldstein adds,…

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While group names can often be random, Nusantara Beat has chosen one that encapsulates its ethos. Nusantara means all the islands that make up Indonesia and dates back to when kings wanted to unite the whole archipelago.
Today, it means unity, many cultures coming together as one. Accordingly, Nusantara Beat mix the rhythms and music of the Indonesian archipelago into one sound.
The Dutch group are well-placed to explore these sounds on their self-titled debut. Bassist Michael Joshua was born in the Indonesian province of West Java and moved to the Netherlands aged 15 while the other five members are of Indonesian heritage. Their musical starting point is Sunda Pop, which in the 1960s blended traditional…

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It takes all of two seconds of Space Junk to realize what Marty Stuart and His Fabulous Superlatives are up to. That alternate-picked run is straight out of the surf rock playbook; Dick Dale would be proud. Stuart has played a little bit of everything over the years, and while he’s more known for country, bluegrass, and rockabilly, the turn to surf rock isn’t out of character (and has been part of his repertoire for years).
For Space Junk, Stuart and the band decided to do a throwback instrumental record. They explicitly took the Ventures as an inspiration, and that’s a good starting point for what this album sounds like. Given Stuart’s natural adventurousness, though, it’s also only a jumping off point for describing this sweeping set of 20 instrumentals.

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The Paris show from June 1976 had never been officially released in full before, so having a polished, band-sanctioned video of it, from the heyday of the band’s European 1976 tour, is a major archival win.
As part of the 2025 Black and Blue reissue, audio (both studio and live) comes with a new mix and remaster, making old material feel more immediate. Even live material reportedly benefits from improved clarity and better balance.
The concert captures the band in a transitional but energetic phase. Tracks like live versions of “Hand of Fate,” “Fool to Cry,” and “Hot Stuff” benefit from raw but spirited playing. One reviewer notes that the live concert “will thrill you even if you own the previously released live album.”

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“You can’t tell a book by looking at its cover,” as Bo Diddley so memorably reminded us. And that cliché applies to the art adorning Americana/blues rocker Randy Lee Riviere’s Farmland Blues.
What appears on the outside like a comfy folk album due to the tranquil painting of a farmhand carrying a sack and a few horses in a field, doesn’t prepare you for the raw, frequently riveting, guitar-based rocking dominating the generous 15 track, hour-long disc.
The singer/songwriter splits time between two professions and locales. He has residences in Montana where he’s a wildlife biologist (some songs reference environmental issues) and Nashville for when he’s in singer/songwriting mode. Also essential to Riviere’s success…

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1. Big Thief – No Fear
2. Patterson Hood – The Van Pelt Parties
3. Edwyn Collins – Knowledge
4. Pulp – Farmers Market
5. Robert Plant – As I Roved Out (feat. Suzi Dian)
6. Stereolab – Melodie Is a Wound
7. Baxter Dury – Allbarone
8. Suede – June Rain
9. Horsegirl – Rock City
10. Annie & The Caldwells – Wrong
11. Jeff Tweedy – Out in the Dark
12. Perfume Genius – It’s a Mirror
13. Bon Iver – Day One
14. William Tyler – Concern
15. Margo Price – Love Me Like You Used to Do (feat. Tyler Childers)

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As we’ve come to expect from Ace’s much-admired series of Jon Savage-curated two-CD collections, this new – and sadly final – volume is a multi-genre delight, taking the listener from house to baggy via post-punk, proto-grunge, minimalist avant-garde, the advent of sampling and more.
Among the many highlights are ‘Mystery of Love’ by Mr Fingers, a track that turned Savage’s head during a trip to New York in early 1986; Hüsker Dü’s ‘Could You Be the One?’ from 1987, a perfect example of their melodic abilities; the action-packed ‘It Takes Two’ by Rob Base & DJ E-Z Rock, which could be heard blasting out of boomboxes all over New York in spring 1988; Paul Oakenfold’s 1989 remix of Happy Mondays’ ‘Wrote for Luck’ into the early baggy classic…

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