Cleopatra US Vinyl & CDs

Review: Captain Beyond may not be the first name on everyone's lips when it comes to supergroups, but let's break the elements down before rushing to judgment. Rod Evens, formerly of Deep Purple, Bobby Caldwell, once the Johnny Winter drummer, Iron Butterfly axeman Larry Reinhardt, and Lee Dorman - who was the bassist in that band - coming together to make outside the box guitar-fuelled sounds.

OK, so we're definitely talking about the specialist end of supergroups, but still, the moving parts here are nothing short of impressive. Forming in 1971, and releasing three records through to 1977, this album captures their essence and innovative abilities, melding hard rock, progressive, jazz fusion and space rock without coming across as self-indulgent or overblown. Hardly the easiest thing to pull off when you think about it.

Review: When most people think of mid-1970s San Francisco, The Visitation is the kind of sound that likely springs to mind. Released in 1976 by a then-fledgling band called Chrome, the record is packed with the kind of psychedelic rock that invokes borrowed fantasies of floating high above the Gold Gate City, wings gifted through hallucinatory intake. Or in the throes of a tripped out party, waiting to board Jefferson Airplane. In reality, this was nought but a fleeting moment in the group's history, and what followed betrays a very different side to Frisco at the time, one defined by punk and post punk, giving rise to outfits like The Units. Relish in The Visitation then, because Chrome's brief flirtation with this sound is unarguably incredible and all-too rare.

Review: Th eighth full-length from former Misfits horror-crooner Glenn Danzig's solo project/band served as their first LP to not carry a number, following 777: I Luciferi which angled itself as the closing work of that initial seven volume sequence. Originally released in 2004, Circle Of Snakes continues the descent of Danzig into a rawer, more abrasive form of metallic leaning gothic hard rock, with a notable lowering of vocals in the mix in order to elevate the churning jaggedness of the instrumental rumble. Continuing to eschew the more industrial programming of previous Danzig entries and echoing the stripped back approach of 'Danzig 1' and the increased heaviness of the aforementioned Luciferi, the album would also mark the first appearance of Tommy Victor of Prong on guitars, helping to aid the audible malevolence and ultimately leading to one of the strongest contributions to Danzig's latter day 21st century output.

Review: Released first round time in 2002, Danzig's 777: I Luciferi is a step away from the programmed industrial influences of the two albums that preceded it in favour of a return to the metallic, rawer sound that helped Glenn Danzig stand apart from his horror shadowed punk beginnings. Now, more than 20 years on, this reissue is a reminder of Luciferi as a high watermark in the later work of one of the most controversial figures in metal, punk and hard rock.

Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.

Review: Few pioneering punk acts from the 70s portrayed the debaucherous ethos of the lifestyle more than The Dead Boys, so much so, that drummer Johnny Blitz almost lost his life on April 19th 1978 after being stabbed five times during an altercation. Covering his medical bills by organising a four-day benefit at the iconic New York City venue CBGB's, the band's own performance on May 6th featured New York Dolls' Jerry Nolan handling skin duties for nine songs while the remainder were covered by OG Blues Brother and comedy legend John Belushi (who was an avid supporter of the city's punk scene). Tearing through a set of material made up from Young Loud & Snotty, as well as We Have Come For Your Children (which would be officially released just a month later), with a few Dolls covers for good measure, Night Of The Living Dead Dolls is a piece of authentic punk history, reliably captured with questionable audio clarity just like those attending CBGB shows had come to expect. Complete with additional liner notes detailing the iconic night in full.

Review: Jamaican reggae legend Errol Dunkley celebrates nearly six decades of music with his new studio album, OK Fred - Best Of. This collection highlights Dunkley's enduring legacy and the rich heritage of Jamaican reggae. The album features fresh takes on his iconic hits such as 'OK Fred' and 'Black Cinderella' alongside beloved tracks penned by reggae greats such as Bob Marley and Toots Hibbert. With its mix of classic and cherished tunes, this release honours Dunkley's influential career and showcases what a timeless sound he has always had.

Review: Legends of EBM, Canadian electro-industrialists Front Line Assembly should need no introductions, given their work stretches back to the mid-1980s. Nevertheless, they occupy a relatively obscure space - made for dance floors, but twisted, dark cornered, writhing, distorted dance floors where many fear to tread. With that in mind there will be some newcomers, and The Initial Command is a great starting point because it's the starting point of the band's back catalogue.

Originally released in 1987, this is the first album from an impressive 17-LP-strong body of work. And it's also the most definitive of their sonic style, setting a benchmark for all that would follow. Fiercely original, not least for 'it's time', from the glittering synths and harsh metallic percussion of the unarguably cinematic 'Casualties' and the abrasive white noise on 'Ausgang Zum Himmel', to the punchy breaks and dramatic strings of 'No Control', re-releasing Command is an essential act of unearthing.

Review: Method Man is a bonafide legend of the hip-hop world and with this one he passed down some of his shine by presenting a debut album from Street Life, a then-new prodigy with a thugged out style on the mic. The album has never before been available on vinyl and it packs a real punch with standout singles such as 'Can't Stop, Won't Stop' featuring Method Man, 'Street Education' plus 'A Star Is Born' featuring fellow Wu Tang associate Inspectah Deck. These are raw beats and even more raw bars with next level lyrical skills from an artists who has also appeared on tracks by the iconic Wu Tang Clan, Method Man and more.

Review: Christmas is a joyous time of year but it can always be that bit more special, loved up and warming with the right soundtrack. And they don'y come much more heart rending than this limited edition translucent red vinyl version of The Miracles's A Soulful Christmas album. It's a selection of classics all served up in sophisticated, slow and sentimental fashion from 'The Christmas Song' to 'The Little Drummer Boy' via a brilliant closing mash up in the form of 'We Wish You A Merry Christmas/Auld Lang Syne Medley'.

Review: Ahead of their time? Ruined by excess and ego? A difficult act to market? New York Dolls are one of those stories about the fickle nature of industry and listeners, and the risks of hedonism. Emerging from The Big Apple in 1971, the group had a thoroughly modern sound for the time, combining hard and what was then a very fresh glam rock sound with early punk prototypes, years before people would learn what that means. New York Dolls was the spectacular self-titled debut from the band, put out by Mercury in 1973. Although a commercial failure, it's often cited among the greatest rock 'n' roll records of all time, but despite critical success it did little outside the US, where sales weren't great as it was, and the outfit would only last another few years - with various lineup changes - before calling time. This rare release charts what came before all that, including collector's item demos from their time playing as Actress.

Review: Roots reggae legend Prince Alla returns with a stellar collection of new studio recordings while revisiting some of his greatest hits and reggae classics. This album comes on limited green vinyl and includes fresh takes on fan favourites like 'Bucket Bottom,' 'Lot's Wife' and 'Stone.' It also features Prince Alla's unique renditions of songs originally by reggae icons such as Bob Marley's 'Natural Mystic' and Gregory Isaacs' 'Cool Down The Pace,' among others. This collection offers a great blend of timeless classics and new interpretations that join the dots between different reggae eras and showcase Prince Alla's enduring influence and creativity in the reggae world.

Review: Literally decades long overdue, Volume 3 marks the first new album from Queens, New York hardcore punk heroes Reagan Youth since 1990, following on from their iconic 1984 debut EP Youth Anthems For The New Order, later re-released as Volume 1 with additional bonus tracks, whilst the second volume would be distributed upon the band's initial break up. Inspired by the tumultuous life and crafted as tribute to original vocalist Dave Rubinstein (better known as Dave Insurgent), who tragically committed suicide in 1993 following the death of his mother and murder of his girlfriend Tiffany Bresciani whilst the pair battled severe heroin addiction, the material is further shrouded in misfortune due to the recent death in 2024 of founding guitarist Paul Bakija, who served as primary songwriter working tirelessly on the album for years. Hard-hitting, breakneck paced tracks with zero sign of aging or slowing down, new vocalist Madame St. Beatrice delivers snarling accounts combining rage and earnest concern to a project that many thought would never see the light of day and sadly, literally wouldn't until all original members involved had shifted off this mortal coil.