When The Almighty played the Donington Monsters of Rock Festival in August 1992, they were only the opening act, but they played like a band at the top of their game. Those forty minutes still play like one of the era’s most exciting live sets. Particularly notable was the performance of upcoming single ‘Addiction’, taking the band in a heavier direction – a sign of things to come on the soon to be released new album.
WEIRD TALES – Y’all Motherfuckers Forgot ‘Bout Good Ol’ Son Of A Bitchin’ Blues EP
Polish doom blues trio Weird Tales laid down some pretty heavy vibes on their 2019 long player ‘Hell Services Cost a Lot’. Bookended by two lengthy workouts absolutely laden with distortion, it cared not for giving first time listeners anything easily digestible. Lurching through various slow and heavy moods, and with each track seemingly as oppressive as the last, it eventually blurred into a near hour’s worth of sludge. While those riffs were impressive – at least to begin with – a disregard for actual songs meant it was an album for the most committed doom fiends only.
J MASCIS – Fed Up And Feeling Strange (Live And In Person 1992-1998)
As co-leader of Dinosaur Jr and a reluctant figurehead for the slacker movement, Joseph Donald Mascis, Jr. became a hero to a generation. In the early mid-90s his band became favourites of MTV’s 120 Minutes, were fixtures on the festival circuit and were even booked for a live in-studio performance for the BBC arts review, The Late Show. During the first part of their career, Dinosaur Jr were a vital part of the alternative music scene; in their reconvened state and with great albums like ‘I Bet On Sky’ (2012), they continued to provide a huge influence over many bands where the distortion pedal reigns.
Given how much love has been lavished upon Dinosaur Jr over the decades, it’s strange how J’s solo catalogue has barely been afforded such high praise. Far fewer people have taken time to appreciate his ‘Songs For Amma’, his albums with The Fog or the one man acoustic works that have previously circulated. His extra curricular output has been met with such an indifference (by comparison) that even his classic ‘Martin + Me’ live recording failed to get a full UK release back in 1996.
HEAD MACHINE – Orgasm
As the 60s gave way to the 70s, some musical fashions began to take a more aggressive turn. The psychedelia and blues that had been a dominance force on the rock scene had started to fade and while some of the psych bands took the leap into full-on prog rock waters, many psych bands merely just fizzled out. Deep Purple, whose early mixture of psychedelia, rock covers and blues took a harder direction and helped forge what would soon be known as heavy metal; Status Quo – who’d had major success with a couple of brilliant psych-pop singles – floundered for a bit and eventually became a lynchpin of a no nonsense boogie rock sound. In February 1970, the Black Sabbath debut changed everything, killing the last remnants of a 1960s optimism for good. For The Gods – a little known rock pop band who’d released two unsuccessful LPs – the writing seemed to be very much on the wall. In what appeared to be a last throw of the dice, they changed their name and beefed up their sound in an attempt to rejuvenate their ailing career.
Watch: Them Crooked Vultures Live in Germany 2009
In the summer of 2019, Dave Grohl hinted at the possibility of a second Them Crooked Vultures album. At that point, it had been a whole decade since the supergroup’s debut release, but fans had never quite given up hope of a return. Grohl’s comments only served to fuel the rumour mill and in many ways it’s a pity nothing more materialised, as a brand new work involving John Paul Jones at that time would have outshone all of Jimmy Page’s non-existent efforts to mark Led Zeppelin’s 50th anniversary.