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Review: .There's plenty to talk about with The Who's historic show at Fete De L'Humanite, a huge open-air event hosted by L'Humanite, the main newspaper of the French Communist Party. For starters, on the day - Saturday 9th September, 1972 - an estimated 400,000 people were in attendance, a crowd size that dwarves pretty much anything we can think of today, and remains the band's largest ever gig. Taking to the stage as evening set in, they set to with a typically ferocious set, and four of the most standout pieces for the show are immortalised here on record. Unsurprisingly, that timeless anthem of misspent youth, love, rebellion, and hope for change, 'Baba O'Riley', is a dominant factor, although epic finale 'Relay' is perhaps where the might of their rock 'n' roll juggernaut is most felt here.

Review: Well, the festive season is encroaching and so here comes a chance to nab another one of those perennial hits that sets the perfect jovial mood for one and all. Slade's 'Merry Xmas Everybody' might just be the definitive, ubiquitous Christmas anthem, and if you're partial to a bit of wax-based entertainment around yuletide, you can't say fairer than this singalong classic. Pressed up on a fetching marbled 12" with some other favourites for all the family such as 'Okey Cokey', this is your seasonal party soundtrack sorted.

Review: It was probably easy to come up with a catchier title for this collection of treasured recordings from one of the 20th Century's greatest lost talents. But like everything Buckley and music, ease isn't really part of the story, that is unless you're referencing the pure bliss of listening to this legend's voice, which is as easy on the ear as you could ask for.

Comprising tracks that were originally captured for broadcast, they reveal the very essence of what Buckley was about. Heartfelt, open-veined songs that grasp the human condition in astute swoops, by this point in his career the folk and Americana signatures had merged with jazz and abstract elements, presenting an image of a restless artist determined to keep exploring. It's been said before, but we will reiterate; had it not been for the tragic overdose a year after the OGWT recording featured here, we can only imagine where his oeuvre would have ended up.

Review: It's been a solid five years since the epic sounds of America's best plugged-in rock duo last electrified our ears. And be it a reference to the Rolling Stones or even Scorsese, the album turns it up from the start with "Shine A Little Light". Big time rhodes and bluesy folk mentalities are then wrapped up in a low-slung ballad that is "Walk Across The Water". Some fans may still be yearning for the raw energy that catapulted the duo into the limelight with Magic Potion, however high voltage sounds can still be found on tracks like "Under The Gun" and "Lo/Hi" - with gospel elements in this case edging to the fore. Overall there's a slight dance element protruding from this LP in comparison to previous records, begging the question: Can you dig it!

Review: He might be a wise old rock and roll figurehead now just as well known for being a famous friend of former Present Barrack Obama (if you haven't already, check out the pair's podcast, it is well worth hearing) but the age-defying voice behind enduring anthem 'Born in the USA' still knows how to have a little fun. And it comes in the form of this special bit of white festive wax (a picture disc version is also available on Juno) featuring his take on two Christmas classics. 'Santa Claus Is Coming To Town' and 'Because The Night' both get gravelly, epic makeovers that will warm your heart on a cold winter's eve.

Review: Former Hanoi Rocks frontman Michael Monroe formed Demolition 23 in New York in 1993, and their sole album should be considered essential listening for any lover of that ramped up glam-punk sound. 'Nothin's Alright' was an absolute earworm of a lead single from the album, but throughout there's stomping, singalong anthems to get your strut on to. As well as the full original album, this reissue on Wicked Cool also offers up a few demo takes so you can hear how some of these kick-ass jams took shape. One for all Hanoi faithful and lovers of good ol' rock n' roll alike.

Review: "Planes, Trains And Eric" follows Eric Clapton on the Far and Middle East leg of his 2014 world tour. In addition to live footage of the tour, the film features interviews with Eric Clapton and his band members, footage of rehearsals and soundchecks, travel on trains and planes. Through its beautiful impressions and impressions of life on tour, this film makes you feel as if you were part of it yourself.

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Review: Dutch band Golden Earring scored a huge hit in 1982 with 'Twilight Zone.' It's inspired by The Bourne Identity book and spent over six months in the US Pop Charts and was the band's only No. 1 hit in America when it hit the top spot on the Billboard Top Album Tracks chart. The band's guitarist George Kooymans wrote the tune and shares vocal responsibilities with Barry Hay. It's as big as pop rock gets with its soaring chords and big drums, and on the flip is 'When The Lady Smiles' which is another classic 80s anthem.

Review: Iggy Pop's new album Every Loser is his own treatise on punk necessarily requiring a "sense of hopelessness about it". Produced with musician and label owner Andrew Watt, Pop insists that this is "music that will beat the shit out of you". Relentlessly energetic and guitar-smashy, yet also somewhat clean, this is Iggy Pop's personal brand of rock n' roll for a new generation of listeners. Low-end centric and tempered by electronic production, it is full - as ever - of righteous anger.

Review: Confounding critics (and, to a lesser extent, fans) has long been one of Dexy's calling cards, though even by Kevin Rowland and company's standards The Feminine Divine is a surprising set. The surprise lies not in the fact that it exists at all (Rowland publicly exclaimed that he was "done with music" back in 2016), but the sound of the music on show. Alongside the kind of horn-heavy 1970s soul that delighted fans in their early 80s heyday, The Feminine Divine also includes Serge Gainsbourg-esque spoken word vocals, Prince-inspired electrofunk, slow-motion breakbeats, hands-in-the-air house pianos and nods towards the kaleidoscopic, saucer-eyed rush of Ibiza-inspired Balearica. It's hugely entertaining and, for all the welcome musical surprises, still very much a Dexys album.

Review: Sheffield metalheads Black Spiders deliver a riveting debut with Can't Die, Won't Die, squarely laying down the un-f*ck-withable ethic that is 'all killer, no filler'. Known for their hooking slogans such as "eat thunder, shit lightning!" and now "alright, alright, alright", the Yorkshire rippers take after Matthew McConaughey across twelve sonic napalm-drops, burning brightly for a second time after a surprise reunion following a breakup before the pandemic. Upping the usual pace of blues rock to breakneck, rubber-biting tempi, tracks such as 'Driving My Rooster' and 'Destroyer' elicit Red Wally recollections of Motorhead, with a surfeit of restless energy and unmoved movement, as they aim to reclaim the unriddled joy of bird-flipping the audience.