Forester - Young Guns EP

Meshing punk energy with a piano-driven alt rock groove, “You Were Born,” the opening cut on Young Guns, the new EP from Edmonton’s Forester is the perfect combination of hooks and angst.  Largely stripped down to acoustic guitar and vocals with some strings and keyboard / piano accompaniment, that sense of taut, intensity continues on “Sons Of Dirt,” and while still raw and high energy, there is a playfulness to “Daredevil Youth,” which is a nostalgic look back at the freedom of their younger days.  It should be noted that Keenan Gregory’s piano really gives the songs here an added element that really sets them apart.  While they've been around for around fifteen years, somehow Forester have flown under my radar, but that has definitely changed after listening to this EP. 

(Forester - Facebook)

The Outer Limits - Just One More Chance – Anthology 1965-1968

Over the course of the four years from 1965-1968, The Outer Limits, led by songwriter and multi-instrumentalist Jeff Christie, released three singles that showed great potential for a promising career, and also took part in a package tour in 1967 that was headlined by Pink Floyd, The Jimi Hendrix Experience, The Move and The Amen Corner.  Over the years, those singles have become highly collectible, and now they are included in this new two-CD collection, along with thirty-one bonus tracks (fourteen of which are previously unreleased) that were also recorded during this time.  The set opens with their debut single “When The Work Is Through,” an upbeat pop tune with some soulful undertones and a horn section that was actually written by Godfrey Class, a student at Leeds University, and included on the 1965 Leeds Students Charity Rag single.  Found at the end of disc one is their second single “Just One More Chance,” a catchy, upbeat pop tune with a touch of psychedelia and some really cool twinkling organ, and the flipside “Help Me Please,” which found them shifting in more of a freakbeat direction.  Their final single was “Great Train Robbery,” a gorgeous, orchestrated chamber pop track with storytelling lyrics, that is reminiscent of early Bee Gees.  It has all the makings of a hit, but the BBC wouldn't play it due to the similarities to the real 1963 Great Train Robbery, and that coupled with some personnel changes contributed to the end of the band a short time later.  It was actually released twice a few months apart on Instant Records and then Immediate Records in a longer version that added some sound effects to the beginning (both are included here).  “Sweet Freedom” is the b-side to both versions and is a solid pop tune that’s heavy on the keyboards and has some great harmonies.  Also included on disc one are the aforementioned fourteen previously unreleased demos compiled by Christie.  The band display so much diversity here, and there are so many that had the potential to be hits.  They show a soulful side in the bouncy pop of “But Not For Me” and “Time Stands Still,” the upbeat Motown of “Keep On Dreaming,” and the horn-driven “My Baby Loves Me.”  Hints of The Beatles show up in “She Said” and the organ heavy “Anna.”  There’s a touch of The Kinks in the dark, garage rock of “Misery,” and there are two versions of “The Dream” with its organ-driven bluesy psychedelia.  “Someday Somehow” is a quirky, almost cabaret sounding, track with very lively piano, and “Chinatown” is a captivating track that is also driven with the piano.  There are also demos of “Sweet Freedom,” “Just One More Chance,” and “Great Train Robbery.”  The last two are stripped down and interestingly all three are missing the keys, organ or strings and orchestration, respectively, that really sets their single versions apart.  

The remaining sixteen bonus tracks are on disc two and were originally released on the 2008 compilation Floored Masters - Past Imperfect.  They are more proof of just what a missed opportunity this band was.  Cuts like “See It My Way,” with its Merseybeat sound, the ballad “Epitaph For A Non Entity,” and the upbeat pop of “Man In The Middle Of Nowhere” find them once again tapping into The Beatles’ influence.  The jangly guitars and vocal harmonies on “Run For Cover” bring to mind bands like The Byrds, and “Mr Magee’s Incredible Banjo Band” is another track reminiscent of early Bee Gees.  “Tomorrow Night” harkens back to the days of skiffle, and “Funny Clown” is solid Sixties pop rock with more great harmonies.  Other highlights include the bouncy upbeat pop of “Look At Me” and “Days Of Spring,” the propulsive driving rock of “Any Day Now” and the heavier “Paper Jake.”  Rounded out with a booklet containing a new interview with Christie, Just One More Chance is a fantastic deep dive into a band that deserved better.  

(Cherry Red Records)

Judy Dyble - Darkness To Light – The Recordings 2004-2006

Following a stint in the band Judy and The Folkmen in her teens, Judy Dyble was vocalist and a founding member of Fairport Convention.  She was only in the band from 1967 to 1968, and appeared on their debut album, before moving on to Giles, Giles and Fripp with her then-boyfriend Ian McDonald.  She recorded some demos with them before leaving the band following the dissolution of her relationship with McDonald.  Her next project was the duo Trader Horne with Jackie McAuley (ex-Them), who released an album and two singles before calling it a day.  This was followed with a stint with the group Dyble, Coxhill & The MB's (also known as Penguin Dust), whose other members were Lol Coxhill (saxophone), Phil Miller (guitar) and his brother Steve, but unfortunately, they never recorded anything.  At this point, Judy got married to music journalist, DJ and lyricist Simon Stable and they focused on raising a family and running a cassette duplication business until he passed away in 1994, when she started working as a librarian.  During all these years she largely disappeared from the music world with the exception of a few vocal sessions and a couple of guest appearances with Fairport Convention at their Cropredy Festivals.  Then, what initially started as Marc Swordfish wanting to sample her voice for the next Astralasia album, evolved into 2004's Enchanted Garden, her first solo album and first recorded work in thirty-four years.  That also marked the beginning of what would become a trio of albums they would record together.  Those three albums have now been collected in the outstanding new box set Darkness To Light - The Recordings 2004-2006.

When the Enchanted Garden recording process started, Swordfish would send her rough loops, then she would fill in the lyrics and harmonies, and he would edit the recordings with contributions from other musicians including violinist, keyboardist and arranger Simon House (Hawkwind, High Tide, Third Ear Band).  The end result is a captivating release that meshes folk (largely thanks to her vocals) with psychedelia, trance, prog and space rock.  Opener “Summer Gathers” is an absolutely gorgeous track that sets the stage perfectly.  Throughout the album other elements are tossed in like the slow, funky groove on “Rivers Now," the soulful sounds of “Going Home," and the sitar and tabla on the title track, which give it an Indian flair.  Other highlights include the ethereal “For You,” where her vocals drift over strings, electronic beats and keyboard washes in dream-like bliss, and the haunting sax-driven “Neu! Blue."

While the next release Spindle follows a similar path, there is less emphasis on the samples and more on the instruments.  The album opens with a killer take on Pink Floyd’s “See Emily Play.”  The high energy version borders on electronica and features some great violin from House and keyboard solos from Swordfish.  “Misty Morning” harkens back to her original folkier side, and has a great guitar solo, but still has a bit of that Swordfish touch, as does the largely acoustic “Fingest”, a captivating track driven by traditional, rootsy instrumentation.  Another high point is the enchanting “Shining”, which features a gorgeous guitar soundscape from guest guitarist Robert Fripp.  “Honeysweet” is a darker track that is enhanced brilliantly with Harold Asher’s dulcimer, and album closer “Thank You My Dear” is a super catchy, sprightly and whimsical tune complete with the brilliant use of jew’s harp and tambourine adding to the effect.

Largely picking up where Spindle left off, Whorl was the last of the three albums with Dyble and Swordfish collaborating.  “Starlight” opens things up and is a lilting track on the folk side, with more of a traditional band sound and more great dulcimer from Asher.  The hypnotic “Breathe The Same Air” mixes things up a bit driven by a slow, soulful jazz beat and horns.  Following “The Teller,” a mesmerizing melding of folk and psychedelia, is a cover of the King Crimson song “I Talk To The Wind.” Dyble originally recorded an early version of the song with King Crimson in 1976 (released on the compilation album The Young Person's Guide To King Crimson) and her version here is stunning, featuring some stellar guitar from Fripp.  She really makes the song her own, while keeping the core of the original intact.  The swirling “The Last Kiss” throws in a Middle Eastern groove and closing track “Forever Shining” is a variation on “Shining” from the preceding album that again features a gorgeous Fripp soundscape.  Also included in this outstanding box set are nine bonus tracks, with notable additions including an instrumental dulcimer mix and Robert Fripp demo version of “Shining.”  Following these three albums, Dyble decided to move in a different direction and recorded several more albums before passing away in 2020.

(Esoteric Recordings)

exPorter - New Rubber Girlfriend 

Even though it only has six songs, New Rubber Girlfriend, the latest EP from Santa Barbara’s exPorter shows an impressive array of diversity while still maintaining a strong sense of cohesiveness.  “Mustash Sally” gets things going and is a solid blast of high-energy pop punk. Shifting in darker direction, “Letting Go” is somewhat reminiscent of Weezer with a very taut sound that conveys the tension of the lyrics before exploding in the chorus.  The fuzzy, bluesy guitars of “Southern Kingsnake” give it a stoner rock vibe, but if stoner rock had more of a pop slant.  The West Coast roots of the band really come through on “805” an upbeat power pop tune with just a little bit of grit.  The simple, largely acoustic guitar and vocals track “Flowers” is an infectious lo-fi pop tune that brings us to the strangely titled closer “She Won’t Stop Eating Batteries,” which sounds like a long-lost nineties alt rock tune that is so familiar you will feel like you have heard it before.  

(exPorter)

J Mascis - Live At CBGB's

As the title states, J Mascis Live at CBGB's was recorded at the famed venue on December 2, 1993 and documented his first solo acoustic show.  Originally released in 2006, and long out of print, it has now been reissued on transparent red vinyl.  Over the course of thirty-seven minutes, Mascis performs twelve songs consisting of Dinosaur Jr tracks plus covers of Lynyrd Skynyrd’s “Every Mother’s Son” and Greg Sage’s (of The Wipers) “On The Run”.  Dinosaur Jr are known for the extreme volume of their shows as well as the fuzz and feedback of Mascis’ guitar work, so it’s interesting to hear these songs stripped down to their core.  While his distinctive vocals aren’t for everybody, for those of us that do like them, you can really hear the emotion and nuances that sometimes get lost a little in their full-band versions.  As for the set list he does a great job of touching on everything from the early days up to their most recent release at that time and the two covers are perfect choices for him.  Considering it’s his first solo acoustic performance, he does sound a little nervous at times, but for the most part he sounds surprisingly relaxed and even introduces many of the songs.  

(Cherry Red Records)

Bagdad - They Don't Know EP

Formed in 2023 by a couple of high school friends, guitarist/vocalist Franciszek Drobiński (guitar, vocals) and bassist Wojciech Stach, and later rounded out by drummer Jakub Gadamski, Polish three-piece Bagdad have recently released their debut EP They Don't Know.  While it does have a few short bursts of energy, the Cobain like vocal delivery and droning guitars of opening track "Valley Of Dry Bones" are quite reminiscent of Nirvana's slower moments.  With it's infectious beat, the fuzz rock of "Somewhere, Nowhere" is the most upbeat and "pop" (using that term loosely) track here and really highlights their diversity.  The midtempo "Knight Errant Block" starts off somewhat restrained and then becomes even more introspective about halfway through before letting oose at the end.  The dreamy "Ash Pan Nocturne" is a gorgeous cut of swirling slowcore with a taut undercurrent rearing its head at times.  The seven plus minute "Heartland" closes out the EP and is a very introspective track at first, building to a slow, but much noisier instrumental ending about halfway through.  With elements that include slowcore, grunge, pop, fuzz rock, and post-punk They Don't Know is quite an impressive debut.

(Rite Field Records)

Girlschool - Running Wild & Live In London (CD/DVD)

Girlschool initially formed in 1978 when school friends Kim McAuliffe (vocals/rhythm guitar) and Enid Williams (vocals/ bass) teamed up with Kelly Johnson (vocals/lead guitar), and Denise Dufort (drums).  They meshed hard rock with punk energy for a sound that caught the ear of Motorhead's Lemmy and resulted in the band supporting them on the 1979 Overkill tour, signing with their management and label and even releasing a single where they recorded Johnny Kidd & The Pirates' "Please Don't Touch" together along with covers of each other's songs.  They released four albums and a handful of singles over the next few years and also went through some lineup changes with Gil Weston (formerly in the punk band the Killjoys with Kevin Rowland of Dexy's Midnight Runners fame) replacing Williams in 1982 and guitarist Cris Bonacci and keyboard player/vocalist Jackie Bodimead replacing Johnson in 1984.  This last lineup change not only saw them go from a four-piece to a five-piece, but it also saw them shift towards a more polished, mainstream sound, something that had been hinted at on the preceding album Play Dirty.  That brings us to Running Wild & Live In London, which was originally released on VHS and then later reissued on DVD (under several different names including Play Dirty Live and Live From London), and has now been released for the first time on CD along with the DVD.  The show was recorded at The Camden Palace in London on December 7, 1984, and was released to support the upcoming release of Running Wild (the set included five songs from that album), which in hindsight was an interesting time in the band’s history with the aforementioned shift to a five-piece and the change to their sound.  When the album was released in February it was only released in the States and when its follow-up was released in 1986 they had gone back to their earlier sound, and were back to a four-piece with Bodimead no longer in the band.  In addition to the Running Wild tracks, the remainder of the set draws primarily from Hit and Run and Play Dirty with only two songs taken from other albums.  Interestingly, not only did their earlier tracks maintain the heavier and faster punk-tinged edge in the live show, the newer more AOR / hair metal tracks tended to also be a little heavier live.  As for the performance, the band definitely knew their way around the stage and sound great here giving an enthusiastic, high-energy show.  Even though this lineup was very short-lived, Running Wild & Live In London is a great representation of the band, especially at this point in their career.  (Unfortunately, I haven’t had access to the DVD, so I can’t comment on that part of this release)

(HNE Recordings)

Bee Blackwell - Nine Lives EP

After initially posting emo and grunge covers online in 2023, Bee Blackwell released the three-cut EP Calico later that year.  She followed that up with three singles, “Dumb,” “The Same,” and “Signs” in 2024 and is now back with her second EP Nine Lives.  She describes her music as “‘90s alternative meets 2000s emo,” which pretty much hits the nail on the head here.  It’s very rare that a song becomes an instant earworm the first time I hear it, but that’s exactly what happened when i hit play on the opening track “Claws.”  Fuzzy guitar driven alt rock with sugary sweet pop hooks and Blackwell’s vocals that fit the song perfectly, make this a track that should be blasting out of everybody’s radio this summer.  A little slower and more introspective, but still not lacking in melody, “Cowboy” adds a little bit of grunge.  Although a little more upbeat “LALALA” moves in more of a shoegazer direction and closing track “More” once again slows things down and is a bit darker.  My only complaint here is that opener "Claws" is so infectious that I wish there was a little more like that.

(Bee Blackwell - Bandcamp)

 

Skids - The Singles

The Scottish band Skids were formed in 1977 with an original lineup comprised of Richard Jobson, Stuart Adamson, William Simpson and Thomas Kellichan.  While they never really took off in the States, they had quite a successful career in the UK with nine songs hitting the top 100, three of which were Top Twenty.  The band made their debut in February 1978 with the three-cut single Charles.  The title track (later re-recorded and included on their debut album Scared To Dance) has a punk edge with a driving, almost military beat and buzzsaw guitars.  On the flipside was "Reasons", some ragged punk a la The Skids and the Oi! sounds of "Test-Tube Babies."  After signing with Virgin Records the band went in with producer David Batchelor (known for his work with the Sensational Alex Harvey Band) and recorded "Sweet Suburbia," a song to me that really shows them finding their sound (and Stuart Adamson locking in on that distinctive guitar sound) and carries over to the faster paced b-side "Open Sound".  Next up was the Wide Open EP, which was led by one of their most iconic songs, the anthemic "The Saints Are Coming," which not only is used as walk-on music for the rugby team the Northampton Saints, but it was also covered by the likes of Green Day and U2.  The remaining tracks on the EP are "Of One Skin," a bouncy punk song with some interesting slowed down sections, the working man punk of “Night And Day” and the more mid-tempo “Contusion,” with its laid-back beat.  Hitting number ten on the UK charts, "Into the Valley" was their biggest single and is another infectious anthem that can also be heard at soccer stadiums.  Recorded live at the Marquee Club in England, "TV Stars", is the b-side and is a fun song primarily consisting of them chanting a list of names with the crowd joining in.  It is still included in their current shows with updated names.  With production from John Leckie and Bill Nelson (ex-Be Bop Deluxe) their next single "Masquerade" was another big hit reaching fourteen on the UK charts.  Although it has a touch more of a punk edge, it shows signs of where Adamson would head next in Big Country, and “Out of Town” on the flipside is another distinctive, hard-driving tune with plenty of hooks.  There was also a limited 50,000 singles that included a second disc with "Another Emotion," which has that familiar Skids sound and "Aftermath Dub,” a dub version of "Masquerade" that to me is pretty much a mess and a definite misfire.  Following the departure of drummer Kellichan, “Charade” was the first single to feature new drummer Rusty Egan (ex-Rich Kids) and takes their sound and adds a bit of an electronic element.  Non-album b-side “Grey Parade” is a darker, haunting tune with waves of synths that at that time was a definite shift in direction, but a sign of where they would be heading.  Although it was originally on the Days In Europa album, "Working For The Yankee Dollar" was remixed by Mick Glossop for the single release and is another great Skids singalong anthem, with the rollicking punk track "Vanguard's Crossing" on the flip (there were around 50,000 copies of the single that came with a free 7" containing "All The Young Dudes" and "Hymns From A Haunted Ballroom" recorded for the BBC, but they were unable to license them for this release).  The next single was "Animation" and it was the last to feature bassist William Simpson who by this time had left the band to be replaced by Russell Webb (fill in drummer Egan also left after the single's release).  While it sounds like the Skids, it still shows them expanding on the sound in some new directions, most likely due to the input of producer Bill Nelson.  Having said that, the flipside "Pros and Cons" is pure synth heavy new wave.  Featuring new members Russell Webb on bass and Mike Baillie on drums, "Circus Games" was the first single from album number three The Absolute Game.  It's an interesting track that musically follows along a similar path to many songs on the previous album, but also has a fun, almost children's song like singalong chorus that also included sections sung by children.  Also taken from the album, the b-side "One Decree" again has a very strong Big Country feel.  “Goodbye Civilian” is a very catchy, upbeat track that comes close to new wave electropop, but still maintains a little of the rock undercurrent.  The strangely titled b-side Monkey McGuire Meets Specky Potter Behind Lochore Institute is an interesting high energy punk instrumental with some jazz flourishes.  Probably even more than on any cut before, “Woman In Winter” ended up being the band’s last charting single and again is a precursor to Adamson’s influence on Big Country.  It was backed by a live version of “Working For The Yankee Dollar.”  Their fourth album Joy, found the band whittled down to Jobson and Webb with guest musicians.  "Fields" was taken from that album and included appearances from The Associates' Billy Mackenzie and Alan Rankine.  They also shifted their sound going in more of a folk direction with largely acoustic instrumentation.  That song and the non-album b-side "Brave Man," which has more of an electronic edge and doesn't really fit in on Joy are here in both 7" and 12" versions.  The band's final single was "Iona" (released for some reason in versions that are two different lengths), which was the last Skids' song featuring Adamson on guitar and also had an appearance from Mike Oldfield playing bagpipe samples.  It's a powerful Celtic-tinged anthem that is completely unlike anything they've done before, as is the b-side, the haunting “Blood and Soil,” with its sparse instrumentation (mostly keys and percussion) and a chant like vocal accompaniment.  Also included with this great collection is a sixteen page booklet detailing the story behind each single.  

(Captain Oi!)