By the time Judas Priest entered the 1980s – their second decade as recording artists – the New Wave of British Heavy Metal was in full flow. As has been written many times before, their sixth studio album ‘British Steel’ is a genuine metal classic, more than able of standing proudly alongside Iron Maiden’s self titled debut and Saxon’s ‘Wheels of Steel’ as one of the greatest heavy albums of that year. No matter how much great music Priest had up their collective sleeve, that would always be a hard act to follow.
In 1981, Priest had high hopes of repeating ‘British Steel’s’ commercial success with another timeless set. Being the first time the band had actually re-entered the studio with the same line-up, in theory, they should have been a stronger unit than ever. However, the resulting album, ‘Point of Entry’ (released in February ’81) initially sounds weaker than Priest’s previous couple of albums and although parts of it seem very formulaic on the surface, in reality, their seventh LP features a couple of musical experiments that show a band attempting to branch out. Regardless of some interesting material, though, it’s no match for its immediate predecessors (‘British Steel’ and ‘Killing Machine’); that said, it’s far from the bad album its sometimes suggested to be. Continue reading →
Following the essential reissue of Jon Anderson’s 1980 solo album ‘Song of Seven’ at the end of 2020, Esoteric Recordings are set to reissue the legendary vocalist’s 1982 album ‘Animation’ with bonus materials in April.
In the summer of 1979, several young bands with a political conscience and an ear for the Jamaican sounds of the late 60s began to storm the UK charts. The British music scene subsequently experienced one of its most exciting post-punk movements when bands like The Specials and The Selecter became the “new cool” with their brand of energetic ska music. By October, the new movement had reached fever pitch when no fewer than three bands associated with the 2-Tone label appeared on a single edition of Top of The Pops. Decades on, it’s still possible to understand the incendiary effect these bands had when revisiting that footage. Much has been said about Madness’ abilities to give the studio a party atmosphere, but it’s The Selecter’s first appearance playing ‘On My Radio’ which, perhaps, best sums up the pure energy of ska’s second wave in a little over two minutes, with Pauline Black, Arthur ‘Gaps’ Hendrickson and Charley Anderson giving it the full on skank throughout.
Between a world of cancelled and postponed gigs and time spent in lockdown, 2020 has been a troubled year, but nevertheless, time marches on. Unbelievably, we’ve reached December and our traditional countdown to Christmas has begun.
Chris Rea’s extensive catalogue has never been given the credit it fully deserves. While many of his albums have remained available in various territories, only a few have been reissued in a deluxe format. In many cases, that’s not even because there isn’t a lot of non-album material. There are live shows sitting in Euro TV archives, which could be used for both audio and visual extras alongside various b-sides and other material. With a few of the bigger albums receiving 2CD editions in 2019, it would be a real treat to see Rea’s third album, 1980s ‘Tennis’, afforded an expanded reissue. Continue reading →