Kasabian are a huge selling band but, much like Elbow, most of their output hovers somewhere between generic radio filler and just plain dull. The idea of a Kasabian covers EP isn’t necessarily one that should excite: if you love Kasabian – for whatever reason – chances are, you’d want to spin the original tunes; if you hate Kasabian, hearing someone else recycling their often forgettable songs probably isn’t anywhere near the top of your priority list.
The fact that Kasabian are a generic radio filling non-entity didn’t deter singer-songwriter Sophia Marshall. The one time Have-Nots vocalist went to school with three members of the band and uses that as a springboard for her first covers EP of 2018. The cryptically titled ‘lin-dah’ finds the Leeds songstress taking three Kasabian songs and remoulding them in her own image. For something which, on paper, sounds less than pleasurable, the results are…impressive to say the least. Continue reading →
During his earlier years, Bryan Adams released some great albums. His fourth album (and international breakthrough) ‘Reckless’ remains a cornerstone of any AOR/melodic rock collection, sounding every bit as great as it did in 1984. Its massive hits – ‘Run To You’ and ‘Summer of 69’ – have stayed in regular radio rotation around the world ever since and deservedly so. 1987’s ‘Into The Fire’ seems overlooked by comparison but is almost equally strong, while 1991’s ‘Waking Up The Neighbours’ – despite a leaning towards a Def Leppard backing vocal sound, courtesy of Mutt Lange – showed The Groover From Vancouver still very much at the forefront of the AOR scene with much to give.
In early 2014, the announcement finally came that the Led Zeppelin catalogue was to be reissued with bonus material, with the first three albums potentially appearing before the summer. Prior to this exciting announcement, the only extra material Zeppelin fans had seen officially includes a couple of extra tracks on two box sets, a couple of live recordings and a few extra tracks inserted into the running order of the band’s live opus ‘The Song Remains The Same’. Meanwhile, almost every other major rock artist saw their catalogues reissued with bonus materials galore, and in some cases – The Who and Hendrix, especially – several times over. Having been denied this treatment for so long, the idea of the entire Zeppelin catalogue being overhauled and awarded bonus discs of unreleased material provided much cause for celebration.
Following Eric Clapton’s 1992 appearance on ‘MTV Unplugged’, in terms of inspiration, his recorded output floundered for two decades. While three albums of blues covers (one made up of standards, two of Robert Johnson numbers) are full of enjoyable moments, the rest of his post- ‘Unplugged’ work hardly ever hints at any former glories. At best (as with parts of 2001’s ‘Reptile’), these albums represent a once-fiery musician drifting into late middle age with wishy-washy results, while at worst (1998’s ‘Pilgrim’ and 2010’s ‘Clapton’), the albums are full of easy listening material which the younger Clapton possibly wouldn’t have given the time of day. On his pompously packaged eponymous release of 2010, the clean and sober Eric Clapton had a fixation with 30s and 40s jazz standards and – in comparison to his much younger self – had largely become a musical irrelevance. A somewhat legendary irrelevance, perhaps, but fact is, ‘Clapton’ (the album) presented very little that would interest anyone but the most died in the wool fan…and even some of those found the record to be often forgettable.