Review: Deko reconsecrate Angel's debut LP on the band's formative 50th anniversary, coinciding with a fresh wave of tour dates from the theatrically inclined glam-prog rockers. Originally signed to Casablanca after being spotted by then-A&R Gene Simmons, the Washington, DC band's first album leaned heavily into lengthy, keyboard-drenched pomp, a sound more progressive than the tighter glam stylings that followed on On Earth As It Is In Heaven and Sinful. The lineup at the time included Frank DiMino, Punky Meadows, Gregg Giuffria, Mickie Jones and Barry Brandt, building stage staples like 'Tower'. On this limited blue-black swirl vinyl edition, we've liner notes from journalist Dave Reynolds and a small selection of bundles signed by the four surviving original members.
Review: Detroit rock monster Alice Cooper's band hit their stride in 1971 with this raw, swaggering major-label breakout, now reissued on Rhino's high-fidelity imprint. The set blends garage rock grit with theatrical flair, laying the foundation for what would later be called shock rock. Powered by Bob Ezrin's debut co-production, the groupiAlice Cooper, Glen Buxton, Michael Bruce, Dennis Dunaway and Neal Smithideliver hard-edged anthems laced with surrealist angst and proto-punk snarl. Tracks like 'I'm Eighteen' - the track that John Lydon auditioned for the Sex Pistols with - and 'Caught In A Dream' balance noise and nuance, while deeper cuts like 'Sun Arise' and 'Is It My Body' play with form and stagecraft. A new interview with Ezrin offers insight into the sessions and his early relationship with the band. Recut for audiophile listening, it's a vital snapshot of early 70s US rock, reissued with care and context.
Review: Who can forget Maneskin's triumph for rock on the Eurovision stage as they brought the win for Italy in 2021? In Damiano David, the Italian band have a natural born frontman who is now having his Harry Styles moment and stepping out on his own and forging a distinctive solo career to rival the day job. Despite being labelled a glam rock outfit, Maneskin's pop element always shone brightly and so for his debut solo album David has tapped more heavily into that side of his. David's embraced co-writes and in terms of the production he has thrown the kitchen sink at it to get a massive sound. 'The First Time' has more hooks than a fisherman's tackle box and a sweeping epic Sprinsteen-esque feel. Another highlight 'Next Summer', lets David's vocals star, but the arrangement is unexpectedly massive. Despite its sparse beginning it turns into an orchestral showstopper indicative of the seemingly vast resources the label have had to craft this beauty.
All The Time In The World (alternative mix) (3:47)
First Sign Of Madness (4:27)
Uncommon Man (instrumental version) (6:57)
Above And Beyond (instrumental version) (5:26)
Apres Vous (instrumental version) (5:22)
Hell To Pay (instrumental version) (5:10)
Review: Previously only available across scattered formats, this compilation pulls together B-sides and bonus material from Deep Purple's 2013 sessions, pressed to vinyl for the first time. 'Hell to Pay (Radio Edit)' kicks things off with a focused jolt of energy, trimmed but still packing that familiar weight. 'It'll Be Me' dives into straight-ahead rock'n'roll, while the alternative mix of 'All the Time in the World' leans more wistful, swapping polish for immediacy. Instrumental takes of 'Uncommon Man' and 'Apres Vous' highlight the band's musicianship with renewed clarityiespecially Don Airey's organ flourishes and Steve Morse's precise guitar work. The live 'Green Onions / Hush' medley, recorded in Gavle, rounds things off with a punchy, well-oiled performance. Maybe not quite as legendary as their highest peaks, tt's nevertheless a window into the band's creative overflow: muscular, melodic and still sounding sharp.
Lahaina (feat Mick Fleetwood, Jake Shimabukuro & Henry Kapono) (4:17)
Review: Multi-genre acrobats and 70s American rockers The Doobie Brothers are back with more silky smooth signature harmonies from their home base in California with Walk This Road, a ten-tracker that unites core members Patrick Simmons, Tom Johnston, John McFee and Michael McDonald. It was produced by John Shanks and does a fine job of working each member's unique songwriting style into a cohesive collection. Themes of recovery, reflection and spiritual awakening run throughout, with Simmons describing it as "waking up to see the important things you've been missing." The title track has the legendary Mavis Staples and stands out as a fine soulful anthem of unity and hope that will resonate in any era.
Lahaina (feat Mick Fleetwood, Jake Shimabukuro & Henry Kapono) (4:17)
Review: The Doobie Brothers make a triumphant return with a revitalised lineup, uniting founding members Patrick Simmons, Tom Johnston, John McFee and Michael McDonald for their latest release. With a legacy built on infectious harmonies, impeccable musicianship and a genre-blending approach, the band has long been a staple in American rock and pop. Their newest project, produced by John Shanks, reflects both their storied past and evolving present. The album touches on personal themes of growth, recovery and a deepening understanding of life's essential truths, each track showcasing the band's uncanny ability to weave Americana, rock and soul into an expansive yet cohesive sound, while collaborationsiincluding a stirring appearance from Mavis Staplesiadd emotional depth. Tracks like 'Angels & Mercy' and 'Learn To Let Go' embrace themes of growth and recovery, while the title track, featuring Staples, offers a sense of hope and unity. As ever, the Doobies navigate complex emotions with timeless ease, proving that their distinct blend of optimism and introspection still resonates deeply, even after decades of musical evolution.
Review: Originally released in 1969, Beck-Ola marked a shift toward denser, heavier territory for English guitar royalty and Yardbirds regent Jeff Beck, following the bluesy bite of his debut Truth. This was the first album to bear The Jeff Beck Group diadem officially, and the last to include both Rod Stewart and Ronnie Wood. With covers of Elvis-era rockers like 'All Shook Up' and 'Jailhouse Rock' offset by the stormy original 'Plynth (Water Down The Drain)', the record took up as a louder, more forcible sound-space, one cracking the US top 15 and bagging Beck's place in the post-Yardbirds firmament.
Review: Between 1969 and 1970, Elton John recorded a wide range of cover versions as part of his early career as a session musician and budget label contributor, and this new Iceni compilation tracks some of the very best of that era. Working frequently with producer Paul Brooks and arranger Zack Laurence, he lent his vocals to low-cost soundalike records covering contemporary hits. Be these Beatles or Rolling Stones redos, or personal takes on Simon & Garfunkel through Creedence Clearwater Revival, none were widely credited at the time, and yet they reveal John's vocal adaptability and emerging style, revealing a familiarly trodden path for many a musical mega-greats: as did Johnny Cash all the way through to Justin Bieber, you can make a sure start with covers.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.