Tina Turner - Good Hearted Woman – The Definitive Edition

In 1974, as her successful career as half of Ike and Tina Turner was winding down, Tina went into the studio to record her debut solo album.  Jack Millman came on board as the investor on the album and had the idea for her to record a country album with songs that could be performed on variety shows.  Once the album was finished it was sent to label executives and while United Artists was interested in signing her, they were not interested in the finished album.  Instead of that, they wanted country songs with a slower tempo that would be picked by their A&R staff, and they also wanted a different producer.  Millman reached an agreement with the label that he would keep the rights to the album and Tina could sign with them.  As a result of this, she ended up recording Tina Turns The Country On, which ended up being nominated for a Grammy.  In 1979 Millman released the original album on his Wagner Records label and over the years it has been re-released on CD numerous times under several different titles, but the sound quality on these has tended to be poor.  This newly released “definitive edition” uses a transfer of the master tapes and has been released on both CD and vinyl.  While I haven’t heard any of the earlier releases, so I can’t compare them, this new version sounds great.  As for the music, the album opens strongly with a powerful vocal performance and gorgeous string arrangement on “Lay It Down,” followed by a pure, classic country performance of Kris Kristofferson’s “Lovin’ Him Was Easier.”  Next up is a rollicking, good time take on the title track, which was actually written by Waylon Jennings and Willie Nelson after Jennings saw a newspaper ad that called Tina a “good hearted woman loving two-timing men.”  Originally a hit for Brenda Lee, “If This Is Our Last Time” is a slower track with a softer vocal performance (except for chorus) and the nice addition of horns.  While her take on “Stand By Your Man” sticks pretty close to the classic arrangement, she makes it her own with her powerhouse, soulful vocals.  Written by Will Hoover and originally recorded by Waylon Jennings, the lesser known “Freedom To Stay” is an absolutely gorgeous tune with a great arrangement and a strong, deeply emotional vocal.  Those gritty, emotional vocals continue on the next track, “We Had It All” and are the perfect complement to the string arrangement.  Her cover of “Soul Deep,” best known from the version from The Box Tops, is a fun take on the tune that walks the line between soul and country.  On “If It’s Alright With You” she adds a a bit of a rock edge, as she also does on the closing track, her take on another classic, Loretta Lynn’s “You Ain’t Woman Enough To Take My Man” where she gives a spirited performance with a bit of an attitude and a touch of funk.  In addition to songs being remastered, the album cover now features the photograph that Tina personally selected back in 1974, and the booklet has some great insight into the story behind the release.   It should also be noted that this release has now rightfully been added to the discography page of her official website and has support on her social media platforms.  

(Explore Rights Management)

ARK Identity - Deluxe Nightmare

On his latest EP, Deluxe Nightmare, Toronto’s Ark Identity (Noah Mroueh) lays out six lush dream-pop soundscapes, but with elements of everything from alt rock and psychedelia to the grungy rock of the title track (strangely reminiscent of Nirvana if they were more of a dream-pop band).  Although there isn't a bad track here, some of the high points include the hypnotic “Still In Love,” which has a bit of a Squeeze feel, the delicate at times “I’m Still the Same,” with its gentle piano accompaniment, and “Can’t Stop Loving You.”

(ARK Identity - Facebook)

Mozart Estate - Tower Block In A Jam Jar

Following ten years as the leader of Felt, Lawrence (last name Hayward, but going by only his first name) went on to form Denim, which was then followed by Go-Kart Mozart, whose second album Tearing Up The Album Chart, was released in 2005.  Many years after its release, Lawrence said that the album was really just a collection of demos from a rough period in his life dealing with drug addiction and mental health issues, and said he wanted to remix and re-record them, which brings us to Tower Block In A Jam Jar from the now renamed band Mozart Estate.  With the exception of “At The DDU,” which now has new lyrics and is titled “A Lorra Laughs With Cilla,” and “England & Wales,” which was dropped and replaced with a new version of “Selfish, Lazy & Greedy,” a track that was originally on Go Kart Mozart’s debut Instant Wigwam and Igloo Mixture, the album is a complete revamping of that earlier release.  Following the success of last year's book about him, Street Level Superstar: A Year With Lawrence, he found himself with a whole new set of fans and said “This is an album for people who have never heard Mozart Estate or Go-Kart Mozart before – it’s for people who picked up the book and got into me that way. If you’re one of those then this record will knock your socks off!!”  The album kicks off with “Summer Is Here,” which opens with harmonies that are semi-Beach Boys like, although a bit quirkier, then turns into a super chipper summery pop tune full of chirpy keys and “la la la’s.”  In a perfect world it would be a summertime hit.  “Selfish & Lazy & Greedy” is another super catchy song that sounds like it would’ve fit in with the early eighties pop scene (I can imagine a video for this song blasting all day long on MTV).  With lyrics that are primarilly Lawrence running through strange band names from the sixties and seventies, “Fuzzy Duck” has a bit of a pychedelic country sound completed by the noise of a duck quack running through the whole song, and “Electric Roll” is an upbeat pop track with a chorus that strangely reminds me of Elton John.  “A Lorra Laughs With Cilla” starts off like a lost T Rex gem, exploding with glam guitars and handclaps before adding some chirpy keys about halfway through and then slowing to a close.  The gorgeous “Glorious Chorus” is midtempo pop with an emotional vocal performance and choral backing vocals with some Supertramp-like piano, and “Donna and the Dope Fiends” is more bouncy pop but juxtaposed with lyrics about scoring drugs.  The upbeat, synth driven rock of “Delta Echo Echo Beta Alpha Neon Kettle” changes things up with a sound that is a bit reminiscent of The Cars, but with a touch of Lou Reed, as does “Transgressions” a short blast of manic electropop.  The extremely quirky “On A Building Site” is apparently considered by many to be too much of a novelty track, but to me sounds more like it would be the perfect singalong from an off-the-wall children’s show (I can imagine them popping up performing this on Yo Gabba Gabba if it was still in production).  Although initially coming across as straight-ahead seventies melodic punk they add some strings and keys towards the end of “Listening to Marmalade” to give it a little more texture, and “City Centre” closes things out perfectly with some non-stop, raucous seventies pop glam with a modern-day rock edge.  Tower Block In A Jam Jar is nothing but wall to wall earworms, any one of which you might find stuck in your head after a listen or two.   

West Midlands Records

  

The Needmores - Side X Side

Led by Lenny Grassa, formerly of The Leonards and Popular Creeps, Detroit’s The Needmores have recently released their debut EP Side X Side.  The title track kicks things off with a raucous, garage rock punch, power pop hooks and is just a little on the rootsier side of things. “Let It Ride” is up next and is a little mellower with a nice easygoing groove, followed by the classic power pop sounds of “Lookin’” with its hook-heavy beat.  The EP closes with “Echoes,” a high energy track with a bit of that raw Detroit garage rock edge once again. 

(The Needmores - Facebook)

 

Bangles - Watching The Sky

Along with bands like The Dream Syndicate, Green On Red, Rain Parade and The Three O’Clock, the Bangles were initially part of LA’s Paisley Underground scene, bringing together influences from jangly guitar-driven psychedelia, power pop and garage rock.  From 1984 to 1988 they released three albums that eventually found them shifting towards a more radio-friendly pop sound that while losing some of what made them special, did give them seven top thirty songs in the US (including two that reached number one and two more that topped at number two).  Watching The Sky, the new four CD box set, collects these three albums along with twenty-two bonus cuts consisting of B-sides, single versions, remixes and extended versions.

The band was initially formed by Susanna Hoffs (guitar and vocals) and sisters Vicki (guitar and vocals) and Debbi Peterson, who then added Annette Zilinskas.  Originally the Colours and then the Bangs before becoming The Bangles, they released their eponymous debut EP in 1982 (included here amongst the bonus tracks on disc four).  While the promise of what was to come could be heard here, they really found their sound on 1984’s All Over The Place, their full-length debut, which featured new bassist and former Runaway Michael Steele replacing the departed Zilinskas.  Hoffs and the Peterson’s trade off on vocals from song to song and the album is absolutely brimming with great vocal harmonies, the aforementioned Byrds-like jangly guitars, pop hooks galore and a bit of a loose, ragged rock edge and punk energy (“Silent Treatment”) that sadly seemed to fade away a bit over the next two albums.  While there really isn’t a bad track here, some of the highlights are the infectious pop gems “Hero Takes A Fall” and “James,” the very Byrds-y “Dover Beach,” their outstanding covers of The Merry-Go-Round’s “Live” and Katrina and the Waves’ “Going Down To Liverpool" (an excellent showcase for their great vocal harmonies), and closing track “More Than Meets The Eye,” a complete shift from the rest of the album with its haunting string arrangement.  Disc one also contains three bonus tracks, and while the first two are the single version of "Going Down To Liverpool" and a remix of "Hero Takes A Fall," the definite can't miss is their outstanding cover of The Grass Roots’ “Where Were You When I Needed You," which was originally released as a b-side.  

Although their sophomore album Different Light traded in a lot of that ragged edge of the debut in favor of a more polished, poppier sound, it also resulted in the most successful and best-selling release of their career.  It not only hit number two on the album charts, but also contained four top thirty singles, including the number one “Walk Like An Egyptian,” which anyone not living under a rock knows.  Ironically, the song was written by Liam Sternberg and was brought to the band by producer David Kahne.  Rumors are the band was less than thrilled with including the song on the album, and while it was their biggest hit it really is totally different than anything else they recorded.  It was also one of several tracks that used a drum machine, something else that moved them away from the charm of the debut.  Having said that, there is plenty to like here.  First off are the remaining singles - “Manic Monday,” a keyboard-driven piece of sunshine pop penned by Prince (as Christopher), a somewhat psychedelic cover of Jules Shears’ “If She Knew What She Wants,” which has more great vocal harmonies, and the bouncing pop tune “Walking Down Your Street.”  Some of the other highlights are the faster-paced, high energy “In A Different Light,” the slower, minimalist “Return Post” with its harmonies and subtle funk groove, “Angels Fall In Love,” which reminds me of earlier Tom Petty, a great cover of Big Star’s “September Gurls” and the hauntingly, dark acoustic guitar driven “Following.”  Four more bonus tracks close out disc two, with remixes and edits of three album tracks plus a fun live medley of “Walking Down Your Street” and “James.”

In 1988 they released Everything, their third and final album of this era (after disbanding a year later they reunited in 1998 and have released two more albums).  Although not as successful as its predecessor, the album did contain two more hit singles, including the biggest seller of their career, “Eternal Flame,” which ironically like most of their hits was pretty far removed from their original sound.  Having said that, for what it’s worth, it’s a good, emotional ballad.  A couple of other notable facts about the album were a new producer, Davitt Sigerson, who got their attention for his work on the Boomtown record from David + David, and a major change in the songwriting process.  Unlike the previous releases, the album contained no covers, but there was more emphasis on co-writers like Vinnie Vincent, Rachel Sweet and the songwriting teams of Billy Steinbert and Tom Kelly and Dan Navarro and Eric Lowen, with only two songs written without a co-writer.   Sigerson’s production was again more pop and polished but also brought back more of the garage rock and folky psychedelia.  Opening track “In Your Room” is a great example of this, mixing the shinier production with catchy psychedelic pop full of mellotron, organ, sitar and more.  The folk-tinged pop of “I’ll Set You Free” and The Byrds meet The Beatles sounds of “Waiting For You” both bring back the jangly, chiming guitars of their earlier days.  The Vinnie Vincent co-write with Vicki, “Make A Play For Her Now” is a beautifully arranged rock track with some rootsy undertones and a driving beat with some great twelve string guitar from Vincent that actually sounds a lot like The Church.  “Some Dreams Come True” and “Crash And Burn” are a couple of fun upbeat rockers, the former having a dance beat with touches of psychedelia and blues and the latter more of a garage rock vibe.  Several tracks find the band exploring new directions.  “Bell Jar,” is an interesting psych pop tune that’s a little dark and faster paced with equally dark lyrics and noises and sound effects.  The gorgeous “Something To Believe In” is moody and atmospheric, bringing to mind artists like Kate Bush, and elements of Zeppelin, most notably in the guitars and stomping drums, are in big, loud rocker “Watching The Sky."   In a salute to her stint with The Runaways, Steele’s “Glitter Years” is a more straight-forward rock track with hints of Bowie-esque glam.

The final disc here contains twenty bonus tracks starting at the very beginning with their debut single (released as The Bangs and recorded by Hoffs and the Peterson sisters) featuring the infectious Sixties garage rock of “Getting Out Of Hand” and the bouncy “Call On Me,” sounding a bit like something The Monkees would have recorded.  Their debut EP is up next and features the addition of Annette Zilinskas on bass.  While their feet are firmly planted in the psychedelia of LA’s Paisley Underground on every song, they also still manage to show plenty of diversity over the five cuts.  There’s the garage rock of “The Real World” and their cover of New Zealand garage rockers The La De Da’s “How Is the Air Up There?,” an insanely fun ragged and raw track made even better with some harmonica, the strong Beatles influence on “I’m In Line,” the punk drive of “Want You” and the power pop of “Mary Street” that’s a strong precursor to where they went on the next album.  The remaining tracks include numerous single mixes, b-sides and extended mixes, including four different versions of their powerhouse cover of Simon and Garfunkel’s “Hazy Shade Of Winter” that was produced by Rick Rubin and was part of the soundtrack for the move Less Than Zero (don’t miss the Shady Haze version, which is the song played backward). Rounded out with a CD booklet that details the band's history, Watching the Sky shows that there was really alot more to the Bangles than you might think if you just knew them from the hits.  

(Cherry Pop)

Libby Ember - I Kill Spiders EP

I Kill Spiders, the debut EP from Montreal's Libby Ember is an outstanding collection of four songs that walk the line between atmospheric dream pop and folk-tinged indie pop.  They are full of captivating melodies and are highlighted by her warm, expressive vocals.  Her lyrics are smart, and often introspective and personal, tackling things like the little decisions we make that make up who we are (“I Kill Spiders”), dealing with a failed secret relationship (“Alibi”) and the self-doubts and mind games of young love (“Fortune Cookies”).  Lines like “Could it be true that all of this is happening cause I kill spiders in my room” and "Just tell me that I’m annoying just so I’d know for sure that I can stop looking for signs in the fortune cookies I buy at the store” really show the creativity of her lyrics.  I've had this EP on repeat quite frequently and really look forward to hearing more.  

(Libby Ember)

Wrathchild America - Climbin' The Walls / 3-D

Wrathchild America initially formed in 1978 under the name Atlantis and then Tyrant. They went through a handful of member changes and then when Brad Divens joined in 1983, after a couple of years in Kix, his studio experience allowed him to help with song construction and give them some direction.  Unfortunately, while they had a pretty good reputation as a live band, by the time their debut album was released in 1989 (delayed by a year due to another band named Wrathchild, hence the “America”) musical tastes were changing and they never really got their just due.  They did manage to release a second album in 1991, but with the explosion of grunge, it was even less successful and Atlantic Records dropped them.  This newly released double CD includes both of these releases along with two bonus cuts.  

From the time Divens joined until they signed their major label deal, the band focused on rehearsing and playing live.  They often played five nights a week and since the clubs wanted covers they learned how to play alot of different styles.  Due to this, there ended up being a lot of variety and diversity on their debut album Climbin’ The Walls.  The album opens strongly with the title track, a fast-paced thrasher that also has some interesting tempo shifts throughout.  Hell's Gates is up next and is a hard-charging track, that sounds a little like Iron Maiden if they had more of a thrash edge.  It has some impressive guitar work along with Shannon Larkin's drumming.  The aforementioned diversity comes into play with "No Deposit, No Return," a fun, kind of gritty rocker with a hint of blues and a really nice slower acoustic passage about halfway through.  The album's instrumental track "Hernia" does a great job of showcasing the musicianship of the band, but the song itself is a little lackluster.  The nearly six minute “London After Midnight” is probably the most interesting track on the album.  The foundation of the song is very Iron Maiden sounding, but with a strong goth element, as you might expect by the title.  With its B horror movie lyrics, "Candy From A Madman" is straight ahead rock somewhat in the vein of NWOBHM, but with an instrumental interlude that is almost whimsical.  "Silent Darkness (Smothered Life)" has elements of classic rock, metal and thrash with more dark horror lyrics, this time about being buried alive during a prank and then returning from the grave for revenge.  Their cover of Pink Floyd’s time doesn’t stray too far from the original but does have more of a metal edge especially in the crunching guitar work.  Closing out the album is “Day Of The Thunder,” a driving rocker that is somewhat reminiscent of Iron Maiden both lyrically and musically, although not as heavy.  Climbin’ The Walls is a solid debut, but with one big drawback for me, which is the thin and somewhat flat production.  

While the debut had some diversity, their sophomore release 3-D, which was produced by in demand producer Alex Perialis, took things to another level in both quality and diversity, making it hard to believe it’s the same band.  “3-D Man” gets things going and is an aggressive, in-your-face track that sounds like Metallica if they played jazz.  With its walking bass line “Spy” is a super funky rocker that is extremely well-played and just makes for a fun listen.  Melding funk and technical metal, “Gentleman Death” is an album highlight with some very strong guitar work, followed by “Forever Alone,” a solid groove metal track that was a precursor to where they would go in Souls At Zero (more on that later).  The six minute “Draintime” is an impressive track with a lot of prog tendencies shifting back and forth from softer acoustic passages to heavy power metal.  “Surrounded By Idiots” is a fun, funky trash tune with a lot of twisting, turning instrumental passages that brings to mind Anthrax and Scatterbrain.  The six and half minute “Desert Smiles” is a very dynamic song with constantly shifting tempos that go from intense thrash to an acoustic guitar instrumental section and even throws in some talkbox before segueing into the brutal, absolutely in your face “What’s Your Pleasure?,” which will have you thinking Anthrax.  The instrumental “Prego” (as in “it’s in there” from the old pasta sauce commercials) is a fun, all over the place, instrumental that crams in about every style of music known to man.  It really shows the band’s musical prowess, even sounds like the theme song to some offbeat old school cartoon at times.  Probably one of the album’s weakest tracks is “Another Namelesss Face,” a bluesy rock tune with a metal edge that’s a little too plodding and missing the fun edge that can be found on the rest of the album.  The album wraps up with “//,” a straight-ahead, breakneck paced thrash tune with an inexplicable reggae section in the middle.  Also included on disc two are a fun cover of Albert Collins’ blues track “I Ain’t Drunk, I’m Just Drinking,” which sticks pretty close to the original, but adds a little metal punch, and an edited version of “Surrounded By Idiots.”  It's a shame their timing was just a little off, because listening back to these albums it's apparent that if they were released a few years earlier, they would be much better known.  Interestingly, once they were dropped from Atlantic Records in 1992, the band changed up their style. renamed themselves Souls At Zero and released a couple more albums under that name.  Following that band, Larkin went on to drum for Ugly Kid Joe and then played with Godsmack for over twenty years, while Divens became an in-demand audio engineer, working with artists like Motley Crue, Cyndi Lauper, Garbage and HIM.

(Dissonance Productions)

da nang - Kids EP

On their new EP Kids, Toronto three-piece da nang lay out four solid cuts of alt rock, emo and post-punk with an ever-present sense of melancholy that often reminds me of bands like The Smoking Popes and Sugar.  Several of the songs have an undercurrent of tension and along the way there are also elements like the jangly guitars in “Your Feed” and the strong pop melodies of the title track to keep things fresh.  Nostalgia is a common theme with well-crafted lyrics dealing with things like first love and heartbreak, birthdays and getting older.  

(da nang - instagram)

Snips - The Solo Years 1978-1981

Following his stint as lead singer of Sharks (see the review of their box set Car Crash Supergroup back in February) and then Baker Gurvitz Army, Steve “Snips” Parsons released a couple of really strong solo albums, Video King and La Rocca!  These two releases, along with 31 previously unreleased tracks (27 unissued BBC live and session recordings), have now been compiled in the outstanding new three-CD box set The Solo Years 1978-1981.  

Disc one opens with the album Video King, which was produced by Steve Lillywhite and featured John Bentley (later in Squeeze) and Mick Dyche on guitar, Graham Deakin (John Entwistle's band The Ox) and Jackie Badger (Mother Superior) on bass.  It’s a fun collection of tunes that find him shifting more towards New Wave in its early days especially on songs like the punchy, upbeat opener “Love Is Blind”, the midtempo “Film Club,” “Walking” (co-written by former Sharks bandmate Chris Spedding who later covered it) and they super infectious, keyboard driven “Eat It Up,” which sounds like it should’ve had an accompanying  video playing over and over on MTV in its infancy.  The quirky “Stravinky’s Shoes” also follows that path, but with its use of sax it has moments that bring to mind Psychedelic Furs and Spear of Destiny (interestingly it also has a passage that pops up a couple of times that is very reminiscent of Talking Heads “Psycho Killer” which came out at almost the same time).  There are also several tracks that harken back to his work with the Sharks.  “Video Kings” and “Dracula” are more straight-ahead rockers with a bluesy edge that are perfect examples, as is the slow, bluesy “Babaloomah.”  “Under Suspicion” is an easygoing, almost loping, cut that mixes some rootsy elements with the New Wave, and closer “Animal Century” is almost six minutes and is a big sounding song with storytelling lyrics.  Disc one also has fourteen bonus tracks starting with “Smash Your TV,” an upbeat power pop song with a touch of glam, that was the b-side to the “Waiting For Tonight” single.  Next up are four previously unreleased tracks that appear to be demos, although there is no context given.  The first three are listed as re-recorded versions of albums tracks "Radio Kings" ("Video Kings" on the album), "Dracula" and "Babaloomah."  They are a little more ragged and the first two are heavier.  The fourth is “Taxi,” a really strong rock track that also sounds a lot like his work with the Sharks.  The remaining nine bonus tracks on disc one are a live set from November 22, 1978, recorded at the Paris Theatre in London for the BBC’s Andy Peebles Show.  The recording itself is really good, and the band is tight and sounds great, playing a selection of songs from both albums along with a couple of energetic rockers “Flow My Tears” and “Music Breakout.”

Since Video King failed to have alot of sales, their record label Jet wouldn't pay for a second album, and the band was disbanded.  Snips continued to cut demos and when he recorded the song "Nine O'clock," everyone thought he had a hit, which led to him getting a deal with MAM Records for three singles.  At this point he teamed up with Midge Ure as producer, guitar and synths and along with Steve Young (Holly And The Italians) on drums and Jackie B on bass, they recorded a new version.  The song went into heavy rotation on radio and had great reviews, but the label didn't press enough copies (stores were saying they sold out in three days) and the momentum was lost.  To try to make up for it, EMI gave him an album deal, resulting in his second album La Rocca!  Production on the remaining tracks was handled by Spedding, who also played guitars and keys, with Badger returning on bass, Bill Nelson (Be Bop Deluxe) on synths, and Clem Cattini and Dave Mattacks (Fairport Convention) on drums.  Overall, the album moves even further in the new wave and power pop direction, but with more experimentation than the debut.  The aforementioned "Nine O'clock" kicks things off and was definitely a missed opportunity.  It's an insanely catchy power pop track with a bit of an edge that has hit single written all over it.  Driven by a pulsing electronic beat and with a lot of synth washes mixed in, the experimentation is very evident on the title track.  The new wave influence is strong on cuts like punchy rocker “Skies Of England” (a tribute to Brian Jones) and the upbeat power pop songs “Backs Of Millions” and “Happy Sometimes."  “Telepathy” shows the quirkier side and the laid-back “The Rain” has a bit of New Romantics moodiness. “Dark Outside” and “Work” are a couple of rockers that have a soulful rootsy grit.  The album also contains a cover of Larry Wallis’ “Police Car,” which has an interesting arrangement, slowing it down and giving it a dark, more intense sound.  Disc two is rounded out with six more bonus cuts originally released as singles.  “What’s Your Number” was the b-side to “Nine O’Clock” and is an early Elvis Costello-ish New Wave track.  Their cover of Holland Dozier Holland’s “You’re A Wonderful One” (originally sung by Marvin Gaye) is a fun, R&B-tinged pub rock cut punctuated with some great sax with the heavier, kinder darker “Mr Dillinger” on the flip.  The catchy New Wave power pop “Lolita” was the b-side to “Telepathy” and lastly is the “Tight Mix” version of album track “Tight Shoes” that is a lot better than the album version, which to me is a little lackluster, with “Noise” and its infectious driving beat on the back.  

The third disc in this set is titled BBC Recordings and contains eighteen previously unreleased tracks recorded for the BBC during three different sessions.  The first set was again recorded for the Andy Peebles Show, this time on February 16, 1979.  Along with "Flow My Tears" and "Music Breakout," which were also on the earlier session, but never released in studio versions, are an energetic "Nine O'clock" and "Twelve O'Clock," which is a tad mellower, but just as catchy.  The last two sets were recorded for BBC in Concert, starting off with a seven-song session recorded on March 5, 1980, and featuring Midge Ure on keys.  In addition to tracks from the sophomore album and a single B-side they also played three songs that were never released.  “Mr Machine” is a dark rocker with a strong noisy electronic element that shows Ure’s influence, while “I Am The Line” is more pop-tinged New Wave rock and “Rat Catcher” is a taut, midtempo track.  The final seven songs are from a session that was recorded on January 6, 1981.  This time they stuck pretty much with tracks from La Rocca!, with the closing “Kustom Car Kommandos,” being the only track not on the album.  It’s a fun, super catchy, manic paced track, and it’s a shame it never got properly recorded in the studio.  The various bands on all three shows sound great and the recordings are outstanding, definitely making them a great addition to the box set.  Rounding things out is a booklet with detailed liner notes written by Snips.  

(Lemon Recordings)

Fuller - Fuller EP

With five songs running just over twelve minutes on their self-titled EP, Germany’s Fuller (featuring members of Heim, Somewhere Underwater, Prison Shank, G.L.O.W. and Paulinchen Brennt) show that sometimes basic, no-frills rock is all it takes.  The production is simple and somewhat lo-fi, bringing to mind Dinosaur Jr or Built To Spill, with the vocals a little low in the mix so they are just above the instruments.  The songs are largely power pop gems at their core (opener “Mew” is one of the catchiest tunes I’ve heard in awhile), but with a ragged, fast-paced punk energy that gets straight to the point.  Even though the EP is short, you’ll have no problem hitting the repeat and listening over and over again.  

(Fuller - Bandcamp)

Atomic Rooster - Circle The Sun

Atomic Rooster was originally formed in 1969 by organist Vincent Crane and drummer Carl Palmer (both members of the final lineup of The Crazy World Of Arthur Brown).  The band was active from 1969 to 1975 and then again from 1980 to 1985 and went through several lineup changes over that time, with notable members including Chris Farlowe, Ginger Baker, John McCoy and Bernie Torme.  During this time, Crane was the only constant member before sadly passing away in 1989.  Then in 2016, with Crane’s widow giving permission to use the name, Steve Bolton (a member in 1971 and 1972) and Pete French (a member in 1971) brought the band back to life with a new line-up.  Since then, the band has gone through several more member changes and now with the lineup consisting of Bolton, Adrian Gautrey, Shugg Millidge and Paul Everett (due to his inability to keep up with their touring, French left the band in late 2023), they have released Circle The Sun, their first album since 1983.  Driven largely by Gautrey’s organ, the album does the band’s name proud, bringing to mind the classic Atomic Rooster sound, but with a modern-day edge.  They waste no time showing this with opener “Fly Or Die,” a high energy, fuzzed out, blues-tinged rocker.  The title track is up next and follows a similar path but with a bit of a chugging, funk swagger.  The hypnotic “Never 2 Lose” is a slower track, that is darker and a bit ominous with great swirling keyboards, while “Follow Me” with its twisting and turning tempo shifts takes things in more of a prog rock direction.  “Rebel Devil” and “First Impression” (check out the keys on this one) are straight-up classic rock tunes that are a couple of the more hook-heavy tracks here. “No More,” meshing goth and psychedelia, and the slower “Pillow” (with a powerful vocal performance that is somewhat reminiscent of Mark Lanegan) are darker and heavier with a sound that harkens back a little to their Death Walks Behind You album.  “Last Night” finds them sliding sideways into some slinky soulful funk rock that really showcases Gautrey’s versatility on the keys and brings us to the rollicking closer “Blow That Mind."  Circle The Sun is a welcome return for Atomic Rooster and hopefully not the last we will hear from the band.

(Esoteric Antenna)

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)

Alan White - Ramshackled (Remastered and Expanded)

In 1975 the decision was made for the five members of Yes to each release a solo album, and although the albums released by Jon Anderson, Chris Squire, Patrick Moraz and Steve Howe were largely well-received, drummer Alan White's Ramshackled wasn't quite the same story.  While the others stuck close to the prog rock that fans were expecting, White’s release had minimal focus on that genre and was quite diverse stylewise, which for the most part didn’t appeal to their fans.  Another interesting aspect of the album was the fact that while it was released as his solo album, he only played drums and percussion.  This meant that everything else, including the songwriting and vocals, was handled by a group of musicians he had worked with before, primarily consisting of guitarist Pete Kirtley, bassist Colin Gibson, keyboard player Kenny Craddock and flute/saxophone player Bud Beadle (the five of them were in a short-lived band called Simpson's Pure Oxygen right before White joined Yes).  Now, fifty years after it was first released, the album has been remastered and reissued, and while it’s not without its weak spots, it is actually pretty good.  The album opens strongly with the catchy "Ooh Baby (Goin' To Pieces)," an upbeat soulful rock track with a great vocal performance from Alan Marshall, and “One Way Rag,” a seventies era midtempo classic rock cut with a touch of R&B (this could almost be classified as Yacht Rock).  Next up is "Avakak," the first of two instrumentals.  It's a jazzy rock track (more on the jazz side) with shifting tempos that again brings to mind prog a little, starting off slower and then kicking into more of a jaunty tune with horns.  With Jon Anderson and Steve Howe guesting on vocals and guitar, and lyrics taken from a William Blake poem, “Spring - Song Of Innocence” is a beautiful, laid-back and dreamy track that is very atmospheric and the most Yes-like song on the album.  Yacht Rock once again comes to mind at moments on “Giddy”, a fun, upbeat tune with a bit of a rock edge.  On “Silly Woman” he delves into reggae, but it really doesn’t work and is one of the album’s low points.  The second instrumental is “Marching Into A Bottle,” a stripped down, baroque folk tune consisting of acoustic guitar, flute and woodwinds with some very basic percussion.  While White’s percussion, which includes a little steel drum,  really stands out on “Everybody,” the upbeat soul tune is another of the weaker cuts here.   Closing the album out is “Darkness Parts 1-3,” a three-part song and another of the the more prog tracks.  It starts off soulful and bluesy and then shifts into more of an orchestrated jazz-rock sound before wrapping up with a quieter, bluesy section that is accompanied by orchestration, keys and some trumpet.  There are also two bonus tracks included here that are just single versions of “Ooh Baby (Goin’ To Pieces” and “One Way Rag.”  If you are a Yes fan looking for another Yes album then keep looking, but if you are looking for a fun and diverse Seventies era album do yourself a favor and check out Ramshackled.  

(Spirit Of Unicorn Music)

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)

Fanny - Rock and Roll Survivors & Rock and Roll Survivors Live Opera 1974

In 1973, shortly after the release of their fourth album, Mother’s Pride, two of Fanny’s four members left the group.  They were replaced by Patti Quatro (big sister of Suzi) on guitars and vocals and Brie Brandt (originally Berry), who had been a member of the pre-Fanny band The Svelts, on drums.  This new lineup, rounded out by original members Jean Millington on bass and vocals and Nickey Barclay on keyboards and vocals, released one more album Rock and Roll Survivors before calling it a day.  Newly remixed and remastered, the album has now been reissued in a deluxe version containing three live bonus covers and a previously unreleased live recording of their Rock And Roll Survivors Live Opera.  While it’s definitely not their strongest record and has a few weaker cuts, Rock and Roll Survivors is still quite a good album and even contained what would end up being their highest charting track with “Butter Boy, which hit number twenty-nine on the US charts.  It is a catchy, somewhat poppier song, with doo wop vocals and even fingersnaps that was written by Jean Millington and was inspired by her relationship with David Bowie.  Another high point is the title track, which opens the album, and is a solid pop-tinged rocker with some slower interludes that has a touch of soul and strings.  “Rockin’ (All Nite Long)” is a hard rocker driven by fuzzy guitars, driving drums and Deep Purple-ish organ, and “Get Out Of The Jungle” is a solid rock tune with a bit of a bluesy side.  Opening with a funky bass and then kicking in with a sultry vocal from Quatro, “Beggar Man” continues with a slow burning funk groove.  As they had done with all their preceding albums, this one includes several covers.  Their completely rearranged take on “Let’s Spend The Night Together” is a funkier version with some great honky tonk piano, but at the end of the day is one of their weaker covers.  As for “Sally Go ‘Round The Roses,” an often-covered song that was originally a 1963 one-hit wonder for the Jaynetts, they give their version their own stamp, but it still has a bouncy pop sound that isn’t too far removed from the original.  Lastly is “I’ve Had It, which was the album’s first single and hit number seventy-nine on the charts.  Originally a doo wop song released by The Bell Notes in 1958, in their hands it becomes more of a glam rock song.  Disc one closes out with three covers recorded live by the new lineup at the Whiskey-A-Go-Go on New Year's Eve in 1974.  Although it’s unfortunate that these recordings are a little rough, they show just how strong the band was when they played live. All three songs (“Back In My Arms Again,” “Young and Dumb” and “Oh Darling) have a raw, muscular sound that honestly would’ve been nice to hear more of on the studio album.  

As for the second disc in this set, it contains a previously unreleased recording of the Rock and Roll Survivors Live Opera.  It was recorded on an in-venue cassette machine during their 1974 US tour and is the only surviving copy from that tour.  They wanted their performances to have more substance, so the show was a combination of songs (many that were never released) and scripted sections with full staging and costumes.  As with the live covers on disc one, it once again shows the band firing on all cylinders live, and the songs come across heavier and muscular (a handful of the songs are from Rock and Roll Survivors and they are far less pop than the album versions).  It would have been interesting to see where they went from here and to hear studio versions of the new tracks, but luckily they were at least preserved on these live tracks.  It should be said that the recordings are again a little rough, but are very listenable, sounding like a good bootleg.  

(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!)