Tag Archives: cherry red records

VARIOUS ARTISTS – Can’t Seem To Come Down: The American Sounds Of 1968

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Between the release of The Beach Boys ‘Pet Sounds’ in May 1966 and the first Woodstock Festival in August 1969, the American rock and pop scenes went into overdrive. With the groundbreaking ‘God Only Knows’, Brian Wilson had shown how grand “pop” could be in the hands of a master; the birth of psychedelia meant that garage rock grew into something much bigger and more interesting than a selection bands churning out variants of ‘Louie Louie’, and the blues morphed into sprawling jams which birthed a generation of guitar heroes. A prolonged period of experimentation arguably reached its peak in 1968, with The Byrds releasing their last works with David Crosby (at least for a time), Moby Grape issuing a double LP (‘Wow/Grape Jam’), the arrival of Spirit’s debut (helmed by the fantastic ‘Fresh-Garbage’), The Velvet Underground’s ‘White Light/White Heat’ proving their Warhol overseen debut wasn’t just some arty fluke, and the Grateful Dead issuing their show piece ‘Dark Star’ as a single. Even Simon & Garfunkel got a little out there on their fourth LP ‘Bookends’, with their masterful folk-pop joined by the vaguely psychy ‘Punky’s Dilemma’, and feeling brave enough to include Art’s audio verité ‘Voices of Old People’ as a key album track.

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WARHORSE – Warhorse

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Between 1967 and 1969, the original Deep Purple released a trio of excellent albums. Those records mixed elements of 60s pop with rock guitar, experimented with psychedelia, and even explored avenues of orchestral rock. The huge proto-metal work of the band’s next incarnation – makers of the classics ‘Black Night’, ‘Smoke On The Water’ and ‘Highway Star’ – has long overshadowed the earlier Purple outings, but tracks like ‘Shield’ and ‘Chasing Shadows’ provided a massive showcase for Ritchie Blackmore’s distinctive guitar work and things to come, whilst the epic ‘April’ proved this was a band with bigger ideas than most, and their ability for making other peoples’ material their own was almost as impressive.

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VARIOUS ARTISTS – Moving Away From The Pulsebeat: Post Punk Britain 1977-1981

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When punk shook Britain’s music scene in ‘76, it came as a revelation. The DIY spirit of the Buzzcocks’ ‘Spiral Scratch’ EP suggested that anyone could be in a band; you didn’t need to have to have years worth of musical training. Music could also be about capturing an energy and a spirit. Punk’s first wave was relatively short-lived. By 1978, guitar driven bands were mixing the less flashy elements of punk with bigger melodies, resulting in the mod influenced sounds of The Jam and the broader power pop of Elvis Costello & The Attractions. Some were even taking punk’s pure drive and creating what would now be considered goth, and bands like Ultravox! and Wire – arguably the greatest bands to be tagged with the term “post punk” – added strange and angular artiness, shaping the sounds of a generation.

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ALCATRAZZ – Rock Justice: The Complete Recordings 1983-1986

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When it comes to reissues, the first three Alcatrazz albums have been more than well served. 1983’s ‘No Parole For Rock N Roll’ was reissued in 2011 with a slew of live tracks, and again in 2015 with a bunch of unreleased instrumental demos; 1985’s ‘Disturbing The Peace’ was given the deluxe treatment in 2016 when it was reissued with bonus tracks and a full length live DVD, and that same year, even 1986’s lesser appreciated ‘Dangerous Games’ was appended with bootleg live recordings.

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THE FALL – Fall Sound Archive Vol 8: The Real New Fall LP (Formerly Country On The Click)

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The Fall’s twenty third studio album had a tricky birth. In 2003, a release called ‘Country On The Click’ was almost ready to make its way into the world, but plans changed at the eleventh hour. Depending on which stories you believe, the original release was either cancelled because Mark E. Smith was unhappy with the final mix, or shelved because it’d somehow found its way onto file-sharing services and bootlegged. Either way, a second version of the record – now titled ‘The Real New Fall LP (formerly Country On The Click)’ – made it onto Britain’s record shop shelves in October of that year.

Initial reviews were generally positive, and over the years, it’s become somewhat of a fan favourite in “later period Fall” terms, and it’s pretty easy to hear why. The bulk of the material adopts a fairly typical “Fall sound” – if, indeed, there ever was such a thing – but the arrangements are often superb, and Smith appears in particularly great form throughout, armed with lyrical barbs and a suitcase worth of obtuse lyrical references that serve some superb riffs and angular noises. It doesn’t seem to matter which way you approach ‘The Real New Fall LP’, it plays very strongly.

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