Tag Archives: box set

VARIOUS ARTISTS – So High I’ve Been: A European Rock Anthology 1967-1973

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When it comes to compilations, the UK rock scene of the late 1960s/early 1970s has been covered extensively – to the point of absolute overkill. It’s easy to feel that this is a part of musical history that no longer needs revisiting, just as many “new” articles on The Beatles, the Stones and Queen now border on being digital landfill. With that in mind, it’s always far more interesting when attentions are turned to overseas acts. Cherry Red’s rather excellent set ‘Living On The Hill’ promised “a Danish underground trip” upon its release in 2020 and subsequently did exactly what it said on the tin, giving the keener rock fan three discs’ worth of genuinely unfamiliar sounds from the North, with Blast Furnace being the compilation’s nearest to a “known” name.

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Fall Sound Archive Vol. 11 – The Unutterable

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In the early 90s, The Fall hit upon a relatively commercial sound on albums like ‘Extricate’ and ‘The Infotainment Scan’, but as the decade wore on, they found themselves somewhat floundering. Unable to capture a distinctive sound, at least beyond Mark E. Smith’s trademark drawl, their albums became a little hit and miss. 1995’s ‘Cerebral Caustic’ traded in their sharper edged approach for something far more lo-fi; the swiftly delivered ‘Light User Syndrome’ sounded like Fall-by-numbers (although they were great on that tour), and 1997’s ‘Levitate’ abandoned most of the band’s post punk and garage tendencies for extra synths and a barrage of dance rhythms, creating the ultimate opinion-divider. The best bits of 1999’s ‘The Marshall Suite’ reminded everyone that the band were still capable of delivering a few bangers (‘Touch Sensitive’ would go on to become one of The Fall’s most enduring tracks), but by the turn of the millennium, it began to seem like The Fall mightn’t deliver a “classic” album ever again.

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Fall Sound Archive Vol. 10: Middle Class Revolt

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In some ways, The Fall’s 1994 release, ‘Middle Class Revolt’ has spent most of its life living in the shadow of its immediate predecessor, ‘The Infotainment Scan’. With the help of a rather spirited cover of ‘Lost In Music’, ‘Infotainment’ found its way into the consciousness of the more casual listener and, as a whole, the album showcased a more commercial sounding Fall at somewhere near their best. In retrospect, ‘Middle Class Revolt’ has actually aged just as well, and a few of the record’s deeper cuts provide a really interesting listen.

The 2025 super deluxe release from Cherry Red Records, wisely, takes a tried and tested approach when it comes to re-presenting the album with a wealth of interesting period extras. Mirroring the ‘Infotainment’ box set, the vastly expanded ‘Revolt’ greets the fans as a six disc tome, with the original long player joined by a disc of studio based extras and a generous four disc helping of sounding live material drawn from different sources.

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VARIOUS ARTISTS – Feelin’ Alright?: Mod, Rock, Funky Prog & Heavy Jazz 1967-1972

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When it comes to curating a period specific, multi disc anthology – particularly covering the exciting, ever evolving sounds of the late 60s and early 70s – there are few that do the job anywhere near as well as Cherry Red Records and their family of associated labels. That said, it doesn’t initially feel as if ‘Feelin’ Alright?’ will be one of their better efforts. By kicking off with Deep Purple’s over-exposed ‘Hush’, reaching for Spencer Davis Group’s ‘I’m A Man’ in record time, presenting what feels like the hundredth compilation outing for Small Faces’ ‘Song of A Baker’, and having the first disc also play host to the titular track from Traffic – tracks that’ll need absolutely no introduction – there’s a strong feeling of deja vu.

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THE DONNAS – The Atlantic Years 2002-2005

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Very few people who heard The Donnas’ third album, ‘Get Skintight’, in the late 90s would’ve believed the band would have been snapped up by a major label, but that’s where Allison Robertson, Brett Anderson, Maya Ford and Torry Castellano (formerly Donnas R, A, F, and C) found themselves just three years and two albums later. Every Donnas album up to that point had showcased a stronger band with a bigger sound, but their ‘Spend The Night’ album (Atlantic Records, 2002) was streets ahead of anything they’d recorded before. Not just in terms of all round punch, but also songwriting chops, and it sort of goes without saying that a much bigger budget worked wonders for the girls’ trashy rock sound.

From there, it was onward and upward for a relatively short time, and The Donnas were praised by fans and critics alike, finally earning their place as the true successors to the pioneering Runaways.

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