Both Joplin and the band are raw and powerful. The cover versions are incredible. Album art by Robert Crumb. Not sure about the audience sound effects, but a great album nonetheless.
Didn’t know it was a musical. ML has great range and power. JS obvs a talented arranger. Campy nonsense. Title track is the best.
Like a funky companion piece to MG’s What’s Going On? Positive vibes against the worst of the world. Photo that the cover is based on (by Margaret Bourke-White) is brilliant.
Maybe stunning 30 years ago. Felt a bit overblown and indulgent. Made me want to listen to Nirvana. BC is now a wrestling promoter.
What you get when an ex schoolteacher and an ex social worker try and do Bob Dylan & The Shadows. Sound like every holiday turn I’ve ever heard. Punk wasn’t even cold at this point.
Patchy but very listenable. Some really great, heavy tracks.
Just the sort of 80s, American, MOR, soft rock sound that has never done it for me.
Like a fever dream of RnB, hip hop, jazz funk, soft rock and disco. Reminds me of Parliament/Funkadelic and mid-70s Mothers.
The singles were, I suppose, the sound of the summer nearly 20 years ago. The rest of the album is pretty forgettable.
MW sounds great at 71 and there’s no doubt these musicians are at the top of their game. Strangely the electrification (Judas!) makes it more rock and somehow less blues.
Monumental sound of the MkII line up with Gillan’s powerful vocals. Featuring tracks from the first 3 MkII albums and is none-more-metal. Even has an extended drum solo!
Interesting percussion and time signatures aside, this appears neither accessible nor interestingly avant guard.
Understated, laid back and dreamy. The combination of funk rock and orchestration is very effective. Love, illicit sex and death in less than half an hour.
Pleasing enough indie garage-rock. Part of the early noughties indie rock revival that included The Hives, Rapture, Franz Ferdinand etc. Darlings of the NME at the time, there’s very little to date it.
Pleasantly inoffensive summer vibes. Best song is the Os Mutantes cover. The sort of album that you could put on at a barbecue and not upset anyone.
A real find for me. Thrilling from start to finish. Stooges, Ramones and garage influences. Nice use of organ and harmonicas alongside the buzzsaw guitars.
Insipid MOR bollocks. Like a homeopathic Joni Mitchell.
Decent enough late 60’s country rock with an as-live feel. Guitar interplay is really good.
80s jazz-pop hell. Apparently the first album to be recorded entirely digitally. Sounds completely sterile.
Epic landscape, Ennio Morricone style motif, keyboards sounding like horns. There’s sadness, anger and loss in the lyrics before the sax solo brings the love. The last few bars then become corporate and dark sounds begin. Welcome to the Machine… Country blues guitar herald Roy Harper in a big Stetson singing in American accent, Have a Cigar. Title track is angry and spikey. Shine parts 6-9 doesn’t quite echo the majesty of the opening. Brilliant nonetheless.
Lovely, funky, jazzy, bluesy, psychedelic stuff.
Almost perfect indie-rock album. Rips through a flurry of great songs in 38 minutes. Mean girls with guitars.
The sort of stuff that yanks listen to on rawk radio stations. I’d have punched Peter Grant in the face for this shit.
Both Joplin and the band are raw and powerful. The cover versions are incredible. Album art by Robert Crumb. Not sure about the audience sound effects, but a great album nonetheless.
Less gothy and more pop-funky than I expected. PMs Bowie-esque stylings are at the fore. Especially on the Deram/Newley sounding ‘Of Lillies…’
Definitely puts the NW into NWOBHM, this has a punky prog sound that owes as much to The Stranglers as it does to Sabbath. A very assured debut.
Pleasant enough. CK has a nice voice but not much soul. It’s Too Late is a stand out. 70s easy listening versions of great songs CK wrote with her husband Gerry Goffin and writing partner Toni Stern.
I get it. She had a pretty good voice and could write a song. Unfortunately the hype takes over and she becomes a legend for a generation. A Good Jewish Girl Gone Bad, the new Frank, Dinah, Ronnie, the first millennial to drink her way into the 27 club… In another world, I’d applaud her performance in some jazz dinner club, but I wouldn’t have bought her CD at the end of the night.
Aggressive, spiky and raw. Produced by Steve Albini, this brilliant album still sounds fresh and urgent today.
Poetic, melancholy and timeless. Some beautiful songs but ultimately rather dour.
Not at all what I expected. A rich tapestry of musical styles and ideas. Snappy and bristling with creativity and detail.
Lovely voice. Fine instrumentation. But God it goes on. I fear that by the time Isaac had seduced me I’d be asleep.
Multilayered and moody instrumentals from the Magazine man. A dark ‘soundtrack’ that puts me in mind of Roy Budd’s ‘Get Carter’.