The early recordings by Dinosaur Jr are among the band’s most critically lauded, but a case could be made for 1993’s ‘Where You Been’ being the band’s finest and most consistent work. The first album to feature bassist Mike Johnson (replacing Sebadoh’s Lou Barlow, following his well publicised falling out with Dinosaur main man J Mascis), its material took on a slightly more commercial edge at times. The word “slightly” is more than apt here, however, since J’s vocal drawl would remain a stumbling block for those not entirely sold on the band’s sound, and a couple of noisier workouts ensured the heart of “older” Dinosaur was never far away. Nevertheless, the album connected with a broader audience than some of the band’s prior works, with ‘Start Choppin’ breaking into the UK top 20, and the album’s promotion including an appearance on the BBC arts programme The Late Show on February 23rd 1993, just two weeks after ‘Where You Been’ hit record shop shelves.
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Fall Sound Archive Vol. 11 – The Unutterable
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.
ALAN WHITE – Ramshackled
Taking some well earned time between band projects in 1975, the five members of the then current Yes embarked on solo ventures. As you’d expect, each release had elements which tipped the hat towards the mothership – especially strongly in the case of Chris Squire’s excellent ‘Fish Out of Water’ – but the freedom of writing alone and working with other musicians also brought a fresh angle. When heard as a whole volume of work, those five albums – Squire’s ‘Fish…’, Jon Anderson’s fanciful ‘Olias of Sunhillow’, Steve Howe’s underrated ‘Beginnings’, Patrick Moraz’s ‘I’ and Alan White’s ‘Ramshackled’ – make for an interesting listen. In some ways, the finest elements from each can be cobbled together to make a great Yes album that never was.
Predictably, the releases from Anderson, Squire and Howe all achieved UK success upon release, charting at #8, #25 and #22, respectively. Moraz’s rather complex ‘I’ has gained cult status over the passing decades, but White’s sole venture has often been considered the runt of the litter.
Fall Sound Archive Vol. 10: Middle Class Revolt
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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THE DONNAS – The Atlantic Years 2002-2005
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.