Following the release of Crosby, Stills and Nash’s excellent ‘CSN’ LP in 1977, Stephen Stills returned to his solo work. He’d made some excellent albums before [1970’s self-titled album and 1975’s ‘Stills’ are both essential listening, and 1976’s ‘Illegal Stills’, while marred a little by a thin sound, is very enjoyable], so there was no need to think that his next solo LP wouldn’t be of a certain standard. However, in comparison to almost everything he’d put his name to previously, his 1978 release ‘Thoroughfare Gap’ can be seen a big misstep.
PAVID VERMIN – Dumpster Diving
Despite the global pandemic side lining most bands’ plans, Pavid Vermin made the best of the downtime, recording and releasing some great DIY punk straight from Glenn Robinson’s home studio. The resulting ‘Cutting Corners’ LP was, aside from one nasty lyrical faux pas, one of the greatest pop punk releases ever, and its timely follow-up – ‘The Beach Boys Never Surfed’ EP – suggested they’d be more future greatness from this one man project.
FLESH CREEP – Bullets / King Of The Hill
Hardcore punks Flesh Creep made their mark on the first quarter of 2022 with ‘Distributed Lethality’, a brilliant EP that delivered four pieces of unrelenting noise that mixed the classic anger of bands like Discharge, Government Issue and early Black Flag with the more contemporary sounds of UK bands Pizzatramp and Incisions. The fact that the release came packed with speed driven riffs and incendiary vocals would have been enough for it to make an impression, but the fact that Cult of The Fly Records were happy to release the material with a really unforgiving, heavily distorted production job gave the material even more of an edge.
SNAKECHARMER – Anthology
In terms of “supergroups”, Snakecharmer’s first line up was hard to beat. Centring around ex-Whitesnake members Micky Moody (guitar) and Neil Murray (bass), the band immediately came with a solid, classic rock sound that would be partially indebted to their formative years with David Coverdale, but – as was proven by their debut album – they relied far less on nostalgia than their earlier vehicle The Company of Snakes. Much of Snakecharmer’s superior sound not only came from stronger songwriting, but also the presence of vocalist Chris Ousey (ex-Virginia Wolf/Heartland), a man blessed with the kind of range capable of tackling almost everything with ease.
VARIOUS ARTISTS – Climb Aboard My Roundabout!: The British Toytown Pop Sound 1967-1974
What is “Toytown Pop”? The label, coined by fans and collectors, refers to the more mundane and child-friendly aspects of the psychedelic era and psych pop movements. It is chiefly concerned with everyday life, shops, buses, swings in the park, and has an obsession with being home in time for tea. In terms of lyrical concerns and overall concepts, you’d be hard pressed to find anything more…1967.
For those who aren’t regular visitors down the rabbit holes of cult 60s pop, The Beatles’ ‘Penny Lane’ is a good example of this musical niche with its busy narrative driven by people and casual observations, and to a lesser extent, the optimistic tone and bounce of ‘Good Day Sunshine’ could also fit the remit. Obviously, due to licencing agreements and costs – as usual – you won’t find The Fab Four anywhere on ‘Climb Aboard My Roundabout’, but Grapefruit Records has unearthed a whole world of other treats to ensure that this three disc set is a very comprehensive journey through Toytown, and is never less than interesting.