Formed in 1969 by The Crazy World of Arthur Brown keyboardist Vincent Crane, Atomic Rooster forged a sound that blended proto‑metal heaviness with blistering Hammond‑organ riffs, explosive guitar work, and punishing drum patterns. Their music often brushed against what would later become doom metal, dark, powerful, and intense enough to shake the peace‑and‑love sensibilities of the era. Across seven studio albums released between 1970 and 1983, it becomes clear just how far ahead of their time they were, even as they frequently remained under the radar.
Compiled by Cherry Red’s Esoteric Recordings, this 2-CD set collects the band’s BBC sessions recorded between 1970 and 1981, including appearances on Radio 1, the Friday Rock Show,…
Category: rock
Despite being friends for many years, The Roaring Waves by prog guitarists Steve Hackett and Marillion’s Steve Rothery is a surprise. Eight years in the conceiving, the pair began it in joint writing sessions at Marillion’s Racket Club studio. For his part, Rothery drew on his band experience. Hackett had a bigger learning curve. They developed the album jointly and separately at their individual studios as well.
With the sea as a unifying theme, the duo conjure an arresting blend of progressive rock, psychedelia, ambient, classical, and electronic music, peppered with cinematic soundscapes and atmospheres appended by lyrical hooks and startling crescendoes. It is not a competetive shredding session. The only vocals are…
When Pulp and Jarvis Cocker (the band’s soul and brain) appeared back in the ’90s, quite a few critics, even with all the praise, didn’t expect either to last long on the music scene, tying Pulp and Cocker to the Britpop “fad.”
Well, that “fad” is still around, and so are Pulp and Cocker. Yet they didn’t succeed because they remained strictly connected to Britpop, as both had wider aspirations, which they were able to reach with some, simply put, brilliant music and lyrics, being one of the rare artists that were able to bring their cross of British/European song trends (and Cocker himself is a sort of an encyclopedia in that respect) worldwide.
So it is no wonder that Pulp is getting their own live documentary – Pulp: What Do You Do…
When Alabama Shakes sauntered in with the Southern groove of ‘Hold On’ in early 2012, the members were barely older than the boys and girls for which they named their debut. Sure, guitarist Heath Fogg was nearing 30, but Brittany Howard sang about the surprise of surviving to 22 from the wizened perspective of just 23. They advanced quickly, shifting in only three years from their elemental and agile soul-rock beginnings to the psychedelic and skywriting Sound & Color. An album borne of audacious vision and confident execution, it recalled the joyful hybrids that have long come from their geographical zone, particularly just north in Muscle Shoals and Memphis. Howard continued that quest with two highly collaborative solo albums,…
…Four albums from the McAuley Schenker Group from the late ’80s and early ’90s. All with bonus material.
After making his debut at a mere 17 years on Scorpions’ first LP ‘Lonesome Crow’ in 1972, guitar maestro and mad axe-man Michael Schenker spent five years as lead guitarist with the inimitable UFO, before forming The Michael Schenker Group (MSG for short) with singer Gary Barden in 1979. With four studio albums and two live records under his belt between 1980 and 1984, Michael returned in 1987 with the ‘Perfect Timing’ album, fronted by former Grand Prix and Far Corporation singer Robin McAuley, and a change of name to the McAuley Schenker Group – but still conveniently shortened to MSG. The new look MSG…
Remastered 3CD boxset gathering together the three albums by Adrian Belew released by Atlantic Records between 1989 and 1992.
…The run of solo albums capped off a remarkable decade for Adrian Belew. In 1977, he was playing in a Nashville covers band called Sweetheart when Frank Zappa – acting on a tip-off from his chauffeur (naturally) – asked him to join his band. Zappa’s exacting standards and crack backing band added up to a crash course in experimental music and Belew flourished. The guitarist caught Brian Eno’s eye, who recommended him to David Bowie. When Bowie approached Belew after a gig in Berlin with an offer to join his band, Zappa was apparently furious. “Quite a guitar player you have here, Frank,” Bowie said, according…
…’Congratulations I’m Sorry (Expanded Edition)’ is the 2026 definitive reissue celebrating the 30th anniversary of the Gin Blossoms’ multi-platinum third studio album. Originally released in 1996, this expanded version features the original 14 tracks alongside 5 bonus tracks.
Co-produced by John Hampton, Congratulations I’m Sorry debuted at 10 upon its release in February 1996 partially on the strength of “Follow You Down,” which became the group’s first Top 10 hit on the Hot 100.
Most observers wondered if the Gin Blossoms would be able to deliver a consistent second album after the departure (and subsequent suicide) of Doug Hopkins, their former guitarist who wrote “Hey Jealousy” and “Found Out About You,”…
‘Normalization’ in Czechoslovakia in the 1970s and 1980s was paradoxical: rather than a return to normality, it in fact meant renewed state control over society, culture, and public life. It followed the Prague Spring of 1968, which had grown out of the political and cultural relaxation of the 1960s, where under Alexander Dubček, reforms aimed to create ‘socialism with a human face’ allowed greater freedom of expression and artistic experimentation. The Soviet Union considered these reforms too radical, however, and in August 1968 Warsaw Pact troops invaded Czechoslovakia, bringing the reform process to an end.
From 1969 onwards, the authorities restricted freedom of expression and cultural activity, and excluded politically undesirable figures…
On August 20, 1976, KISS performed in front of over 42,000 fans at Anaheim Stadium in California. It was the then-rising band’s largest audience to date; only three years earlier, the band had been performing to audiences of ten people. The band are now commemorating the 50th anniversary of a seminal concert with a new collection titled Destroys Anaheim ’76.
Eddie Kramer, who originally recorded the concert, has newly mixed the material from the original multi-track tapes. The album features liner notes by Ken Sharp, who has authored multiple books on the hard rock group, including the New York Times bestseller Nothin’ to Lose: The Making of KISS. The special collection includes unreleased photos and memorabilia imagery.
With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline shaped by her many road trips from her Topanga Canyon home to her part-time residence in her native Vermont (a journey she’s made eight times in the last five years, usually on her own). But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision. Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash)…
Sounds Like Art is an exciting new concert initiative that invites musicians to perform amongst works of art in a European museum of their choice. World-renowned artist Sting performs in the beautiful surroundings of Amsterdam’s Rijksmuseum amongst paintings by Rembrandt, Vermeer and Judith Leyster, and reflects on the works of the old masters.
The 17-time Grammy Award winning artist performs a unique concert amongst masterpieces in the Gallery of Honour. Playing a rare 17th century guitar, Sting, managed by Martin Kierszenbaum/Cherrytree Music Company, reveals his love for the Old Masters and revels in the power of books and reading, while performing in the museum’s spectacular library.
In the latter portion of their recording career, The Cramps seemed to lose their calibration of the giddy perversities that propelled their best music. There’s a distinction to be drawn between being in on the joke, winking, even drooling, and being the joke itself. Songs like “Bikini Girls with Machine Guns” (1990) or “I Wanna Get in Your Pants” (1991) reduced the band’s fascination for the demented kitsch of American pop culture to kitsch itself, repetitions of gestures that were empty in the first place. You can forget what a feral, fearsome force the Cramps were, as the 1970s spilled into the 1980s like fluid from the bottom of a split trash bag. Gravest Gravy features the band on the cusp of that fearsomeness, capturing the results of the Cramps’ 1977 Memphis recording…
As a fearless thought leader named Todd once argued, Weezer have had a far more interesting career than fair-weather fans who stopped listening after their first two albums realize. It’s been a turbulent ride through beautiful highs and brutal lows — sometimes within the same song, as on 2022’s wildly uneven SZNZ EP series. It’s not always been fun, but it’s certainly been interesting.
The missing ingredient, even throughout Weezer’s best post-millennium moments, has been the production. Increasingly, it sounds like frontman Rivers Cuomo makes albums sitting in front of a laptop with his guitar plugged directly into the interface with an amp sim in his DAW. Heavier rock material like 2021’s Van Weezer and the following year’s SZNZ: Summer has never hit quite…
…expanded version features the original 13 tracks alongside live bonus recordings from 1998.
Grunge, however you define it, still dominated the perception of the Seattle music scene following the death of Nirvana’s Kurt Cobain in April 1994. The disparate bands marketed under that reductive banner — most notably Pearl Jam, Alice in Chains and Soundgarden — continued to shift millions of records, and you couldn’t toss a Doc Marten into the air without smacking an Eddie Vedder soundalike in the face as dozens of outsiders rode the flannel shirt-tails of those tentpole bands to varying levels of success. Still, more and more cracks began to surface in Seattle’s seemingly monolithic stranglehold on alternative rock. In the same calendar year as Cobain’s…
Released via Transgressive Records, Sparks Live On the Moon, the band’s first full live album, captures Sparks at the very peak of their live powers. The 20-track album recorded at the end of their 2025 tour, in the moon’s Taruntius Crater, comes complete with an introduction and closing narration by Academy Award winner Cate Blanchett.
The songs on the live album cover material from Sparks albums as early as A Woofer in Tweeter’s Clothing (1972) up to their most recent album Mad! (2025), and it includes a notable songs such as “This Town Ain’t Big Enough for Both of Us”, “The Number One Song in Heaven” and “When Do I Get to Sing My Way'”.
Louder Than War described the 2025 show as “a hundred minutes of energetic, thrilling…
Since 1964, there have been numerous interpretations of The Beatles’ music. Stax, jazz, classical, Motown, country, Bing Crosby, Laibach, and easy listening have all had a go at Beatles cover albums. Mystic Liverpool: The Beatles’ Psychedelic Psongbook may be the most original, and after 60-some years, that is a huge accomplishment. Jah Wobble and his sons, John T and Charlie Wardle, have collaborated on a dub/drone version of Beatles songs, focusing on their more psychedelic tracks, which makes great sense.
…On paper, this might look like it would not work. The complete opposite is true. The use of traditional Chinese instruments, alongside Wobble’s distinct and trademark bass, creates an unusual yet fascinating take on these songs.
