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Stay Free: Live In NYC 1979 (B-STOCK) (heavyweight vinyl LP)
Cat: CL 85128. Rel: 01 Jan 90
Punk/Hardcore
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
On September 21 1979 The Clash took to the stage of The Palladium in New York City and performed one of the most significant gigs of their lives. At that point they'd released their self-titled debut and Give 'Em Enough Rope, and their position as vital progenitors of the British punk explosion was assured on an international level. This particular performance was broadcast on the radio and subsequently became one of the most widely bootlegged of all Clash gigs, but it attained an even more legendary status as the gig where Paul Simonon smashed his bass into the floor, captured on camera and subsequently used as the iconic cover for London Calling.
… Read moreOn September 21 1979 The Clash took to the stage of The Palladium in New York City and performed one of the most significant gigs of their lives. At that point they'd released their self-titled debut and Give 'Em Enough Rope, and their position as vital progenitors of the British punk explosion was assured on an international level. This particular performance was broadcast on the radio and subsequently became one of the most widely bootlegged of all Clash gigs, but it attained an even more legendary status as the gig where Paul Simonon smashed his bass into the floor, captured on camera and subsequently used as the iconic cover for London Calling.
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Review: On September 21 1979 The Clash took to the stage of The Palladium in New York City and performed one of the most significant gigs of their lives. At that point they'd released their self-titled debut and Give 'Em Enough Rope, and their position as vital progenitors of the British punk explosion was assured on an international level. This particular performance was broadcast on the radio and subsequently became one of the most widely bootlegged of all Clash gigs, but it attained an even more legendary status as the gig where Paul Simonon smashed his bass into the floor, captured on camera and subsequently used as the iconic cover for London Calling.
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Review: Everything about Bring Me The Horizon is stadium scale. Heavy metal proudly wearing deathcore and emo patches, from unapologetically direct lyrics through power chords and a vast timbre that makes each track feel ocean deep, fans of the Sheffield outfit will find them on as ferocious form here as at any point in their near-17 year career together.
Firing on all cylinders and then some, from 'Dear Diary' onwards it's a classic case of pissing off the parents and turning things up to 11. Then ravaging the mic in a cannibalistic frenzy. A sign of the times, tracks like 'Itch For The Cure (When Will We Be Free?)' And 'Obey', the latter featuring a guest appearance from YUNGBLUD, reflect increasing use of rave and drum 'n' bass nuances in the metal world right now, while 'One Day The Only Butterflies Left Will Be In Your Chest...' closes on dark, dramatic opera.
… Read moreFiring on all cylinders and then some, from 'Dear Diary' onwards it's a classic case of pissing off the parents and turning things up to 11. Then ravaging the mic in a cannibalistic frenzy. A sign of the times, tracks like 'Itch For The Cure (When Will We Be Free?)' And 'Obey', the latter featuring a guest appearance from YUNGBLUD, reflect increasing use of rave and drum 'n' bass nuances in the metal world right now, while 'One Day The Only Butterflies Left Will Be In Your Chest...' closes on dark, dramatic opera.
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Cat: 405053 8626797. Rel: 22 Oct 21
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Review: It's taken a while for Nick Cave to get round to releasing a follow-up to 2005's self-explanatory B-Sides and Rarities compilation. We'd argue that it's been worth the wait though. The 16-year gap between the releases has allowed for a wider sweep of the iconic artist's archives, so much so that it features no less than 27 tracks stretched across two coloured slabs of wax. Record one focuses on B-sides, bonus tracks and rarities, including a duet with Debbie Harry and a superb live version of 'Push The Sky Away' with the Melbourne Symphony Orchestra. It's the second record that will most excite fans though, featuring as it does unreleased material. There are plenty of unheard songs of course, but also early recordings of such fan favourites as 'Skeleton Tree' and 'Bright Horses'.
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Cat: 060349 7828579. Rel: 04 Jan 24
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Review: Years before anyone had ever heard of CBGB, Max's was *the* place in New York City to see cutting-edge rock acts (and mingle with Manhattan scenesters). Near the top of that list was The Velvet Underground, whose final show with bandleader Lou Reed (until a brief 90s reunion) is documented on the live album Live At Max's Kansas City. The quartet mixed such older favorites as 'I'll Be Your Mirror,' 'Femme Fatale' and 'I'm Waiting For The Man', with new songs like 'Sweet Jane' and 'New Age' from their soon-to-be-released Loaded, with plenty of venue atmosphere heard throughout (there is an audible conversation in which Jim Carroll hits up an audience member for pills). Rhino's Expanded & Remastered Edition of the seminal collection includes both sets performed by band that night in their entirety.
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It was, and this moment was one of 20 shows Petty and his Heartbreakers played at San Francisco's legendary concert hall, The Filmore, during January and February 1997. A residency that set a benchmark for band residencies, the fact none of those dates sounded the same, and instead the group used the platform for a live lab experiment, twisting, reworking, rethinking and, hell, having a damn good time, is testament to their pedigree.
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Review: The Cult's self-titled album (nicknamed Black Sheep to the band's devoted fanbase) is from 1994, just before they broke up for the first time. Apparently, Ian Astbury and Billy Duffy recorded their musical contributions in different sessions - not that you'd know it hearing this cohesive, clear-sighted expression of early 90s rock, a detectable grooviness sneaking in among riffs and vocals. Establishing the band and preparing the way for the hits that followed soon after on Love and the unashamedly AC/DC-esque Sonic Temple, the LP also reportedly includes some of Astbury's most personal lyrics.
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