One solution might be to ask shops to write to each thief in advance, to re-assert their rights to their products, and to opt out of having them taken.
Such a solution recognises the unique challenges and balances the rights of the…
One solution might be to ask shops to write to each thief in advance, to re-assert their rights to their products, and to opt out of having them taken.
Such a solution recognises the unique challenges and balances the rights of the…
More accomplished but also more bloodless than Warm Jets. The move towards instrumental textures as mood objectives rather than song colour means compositions arriving in a completed state and without development over their duration. Sometimes this works -
More accomplished but also more bloodless than Warm Jets. The move towards instrumental textures as mood objectives rather than song colour means compositions arriving in a completed state and without development over their duration. Sometimes this works -
The glacial opening feels cumbersomely portentous in this context, but this is so immaculately put together at a recording level that a certain aloofness feels forgivable. It's grumpy though, and cynical - but the sense of grove is intact. The best bit is...
The glacial opening feels cumbersomely portentous in this context, but this is so immaculately put together at a recording level that a certain aloofness feels forgivable. It's grumpy though, and cynical - but the sense of grove is intact. The best bit is...
My first go at listening to Springsteen and I wasn't expecting so much Meat Loaf. It's a pretty murky roar of sound though. Which might be why my favourite is the track with breathing room, Meeting Across the River a fantastically empathetic piece of...
My first go at listening to Springsteen and I wasn't expecting so much Meat Loaf. It's a pretty murky roar of sound though. Which might be why my favourite is the track with breathing room, Meeting Across the River a fantastically empathetic piece of...
This album is great. A warm bath of distraction and teasing overload. It's so good that - no joke - the spaces between the tracks also sound amazing. It's great when it's on, and it's great in a different way when it stops.
This album is great. A warm bath of distraction and teasing overload. It's so good that - no joke - the spaces between the tracks also sound amazing. It's great when it's on, and it's great in a different way when it stops.
I like the calm and reflective side 1 better than the thrashy side 2 - basically the stuff that sounds most like their first album, except I think lead track Isi is better than any of that. What the thrashy stuff misses is the sense of space, and small sounds within it, or...
I like the calm and reflective side 1 better than the thrashy side 2 - basically the stuff that sounds most like their first album, except I think lead track Isi is better than any of that. What the thrashy stuff misses is the sense of space, and small sounds within it, or...
I always think I remember less of this than it turns out I actually do, so this sneaks up on me in a pleasant way helped by the deliberately unfixed in-the-moment takes. More living than live, and never finished. Faves Speaking Out, Borrowed Tune, Tired Eyes
I always think I remember less of this than it turns out I actually do, so this sneaks up on me in a pleasant way helped by the deliberately unfixed in-the-moment takes. More living than live, and never finished. Faves Speaking Out, Borrowed Tune, Tired Eyes
On surface better than Band in the Run, but maybe not so good over length - I prefer 80% of this. McCartney's Beatles-filtered stylistic conceits mostly work, and the band has the muscle elsewhere to balance out the ones that only nearly do. I love the mellotron...
On surface better than Band in the Run, but maybe not so good over length - I prefer 80% of this. McCartney's Beatles-filtered stylistic conceits mostly work, and the band has the muscle elsewhere to balance out the ones that only nearly do. I love the mellotron...
So maybe it's just the horns that are solely Parliament. This has gone up in my estimation - I can appreciate that I Owe You Something Good isn't slow, it's heavy, that No Backstage Pass is a Cosmic Slop style nightmare, and those two centrepiece...
So maybe it's just the horns that are solely Parliament. This has gone up in my estimation - I can appreciate that I Owe You Something Good isn't slow, it's heavy, that No Backstage Pass is a Cosmic Slop style nightmare, and those two centrepiece...
The horns, keys, girl group backing vox and here the incredible gulping throttling bass sound sets this apart from Funkadelic, even as the similarities are clear - I Misjudged You does right what America Eats It's Young tried and couldn't. But this feels...
The horns, keys, girl group backing vox and here the incredible gulping throttling bass sound sets this apart from Funkadelic, even as the similarities are clear - I Misjudged You does right what America Eats It's Young tried and couldn't. But this feels...
Wakeman tried to split the difference between the approach of his first two albums - an indistinguishable narrative told through individual character pieces. These are often prefaced by a chorale giving..
Wakeman tried to split the difference between the approach of his first two albums - an indistinguishable narrative told through individual character pieces. These are often prefaced by a chorale giving..
This is such a confident album, and I love that here. The title track is great, but my faves are Win with it's sunlight through steam cloud saxophone, and the attempt in Fascination to give every instrument the sound of a Clavinet. Bowie shows a lot of...
This is such a confident album, and I love that here. The title track is great, but my faves are Win with it's sunlight through steam cloud saxophone, and the attempt in Fascination to give every instrument the sound of a Clavinet. Bowie shows a lot of...
The Showbiz Kids comp has 5 tracks from Katy Lied, and there is not one of them that I like. Black Friday comes closest but flubs musically on the 'don't let it fall on me' line. I've never paid attention to what came from where before, so this is semi-useful information to me!
The Showbiz Kids comp has 5 tracks from Katy Lied, and there is not one of them that I like. Black Friday comes closest but flubs musically on the 'don't let it fall on me' line. I've never paid attention to what came from where before, so this is semi-useful information to me!
Swaggering, enormous, and getting by on heft the first disc of this is unstoppable. The supposed variety of the second disc fights against Bonham's heavy and homogenising clump, but still has it's moments. But the good stuff is among the band's best, and..
Swaggering, enormous, and getting by on heft the first disc of this is unstoppable. The supposed variety of the second disc fights against Bonham's heavy and homogenising clump, but still has it's moments. But the good stuff is among the band's best, and..
It's good when played straight - I like the first four tracks best, but slow down and bloat, the kind of thickening of instrumentation against the spare originals, takes a toll. By the end it sounds like it may have been more enjoyable to make than to listen to -
It's good when played straight - I like the first four tracks best, but slow down and bloat, the kind of thickening of instrumentation against the spare originals, takes a toll. By the end it sounds like it may have been more enjoyable to make than to listen to -
I think the common perception of this as T.Rex's least successful album needs quantifying - the distance is not great, and this is in no way bad. Actually this is a much happier and more focused record than Zinc Alloy. Bolan's reformated sound is more harmonious - ..
I think the common perception of this as T.Rex's least successful album needs quantifying - the distance is not great, and this is in no way bad. Actually this is a much happier and more focused record than Zinc Alloy. Bolan's reformated sound is more harmonious - ..
I've never really jibed with this before, but on this pass I had to go round another 3 times because it was all so good. Bob is in great voice here, and how did I miss that Idiot Wind was humourous more than bitter? Maybe held directly against his 60s...
I've never really jibed with this before, but on this pass I had to go round another 3 times because it was all so good. Bob is in great voice here, and how did I miss that Idiot Wind was humourous more than bitter? Maybe held directly against his 60s...
I like this better than Future Days, and Damo's absence surprisingly isn't a hinderance. The violin work adds a different and very worthwhile dimension to the sound and for the first half these tunes have that Can nag and pull. Chain Reaction feels like it should...
I like this better than Future Days, and Damo's absence surprisingly isn't a hinderance. The violin work adds a different and very worthwhile dimension to the sound and for the first half these tunes have that Can nag and pull. Chain Reaction feels like it should...
I like this better than Walls and Bridges. The trilogy of did-you-hear-my-band-broke-up/can we get back together songs hit Ringo's underdog sweet spot - Husbands and Wives, All By Myself, and Call Me especially as it threatens to tumble into a half speed...
I like this better than Walls and Bridges. The trilogy of did-you-hear-my-band-broke-up/can we get back together songs hit Ringo's underdog sweet spot - Husbands and Wives, All By Myself, and Call Me especially as it threatens to tumble into a half speed...