Rockaway (2017)

ONE THING Lemmy Kilmister, Phil Campbell and Mikkey Dee liked to do over their years together in Motörhead, was grab a favourite song by another artist and give it a good old fashioned ‘Motörheading’. To run them through the Motörizer if you will. To rock them, roll them and even give them an extra twist and edge. In celebration of some of those finest moments, the band will release Under Cöver, a collection of some of their best covers, and a collection which will include the previously unreleased version of David Bowie’s timeless classic “Heroes”. Recorded during the Bad Magic sessions in 2015 by Cameron Webb, and was one of the last songs the band recorded together.

Loud and proud as always, Motörhead’s "Under Cöver" is the ultimate raucous Rock'n'Roll rager, with the boys reminding everyone that they even did other people's songs better than they did! From the Rolling Stones to Twister Sister, "Under Cöver" brings together the "Motörheading" of firm rock favourites, and also features their epic take on David Bowie's "Heroes" which has never been heard before.

This collection of Motörhead doing other people’s songs covers most of the bases of a band who were always happy to thunder through a cover (soundtracks, tributes, B-sides, even if it was rare to see them do covers live; I remember a Ramones tune at the House Of Blues when Joey Ramone died, but not many more). There’s a demo version of The Ramones’ Rockaway Beach included here, which is as scratchy and worn as you might imagine and, remarkably, lacks any of that patented, and much missed, Motörhead kick.

Tracks is a four-disc box set by Bruce Springsteen, released in 1998 containing 66 songs. This box set mostly consists of never-before-released songs recorded during the sessions for his many albums, but also includes a number of single B-sides, as well as demos and alternate versions of already-released material.

Margo Guryan Died in 2021. Her Music Keeps Getting Rediscovered. “Words and Music,” a new anthology, shines light on a little-known but increasingly beloved master of pop and jazz songwriting. In the late summer of 1970, Elton John arrived at Los Angeles International Airport for his debut U.S. shows and was greeted by another wildly talented piano-playing singer-songwriter: Margo Guryan. Her husband, David Rosner, worked for the company that signed John, and together they helped him get sorted in the run-up to his legendary performances at the Troubadour, kicking off a long, spectacular career. Guryan’s career proved less of a spectacle. After modest success as a jazz-pop songwriter, she recorded one album of her own, with Rosner’s encouragement. “Take a Picture” was alive with dazzling melodies, lyrical wit, strikingly intimate vocals and marvelously florid arrangements — a small masterpiece of the microgenre known as sunshine pop. But Guryan was a reluctant performer who refused to tour, and her album, released in 1968, was a commercial flop, after her label barely promoted it. And yet, in a unique twist on a familiar story, the 11 songs of “Take a Picture” became a shared secret around the world; pirate pressings overseas earned her the sobriquet “The Soft Pop Queen of Japan.” In 2000 the LP was officially reissued, followed by others collecting her demo recordings — lean performances that could pass for 21st-century indie-pop.

Margo Guryan Died in 2021. Her Music Keeps Getting Rediscovered. “Words and Music,” a new anthology, shines light on a little-known but increasingly beloved master of pop and jazz songwriting. In the late summer of 1970, Elton John arrived at Los Angeles International Airport for his debut U.S. shows and was greeted by another wildly talented piano-playing singer-songwriter: Margo Guryan. Her husband, David Rosner, worked for the company that signed John, and together they helped him get sorted in the run-up to his legendary performances at the Troubadour, kicking off a long, spectacular career. Guryan’s career proved less of a spectacle. After modest success as a jazz-pop songwriter, she recorded one album of her own, with Rosner’s encouragement. “Take a Picture” was alive with dazzling melodies, lyrical wit, strikingly intimate vocals and marvelously florid arrangements — a small masterpiece of the microgenre known as sunshine pop. But Guryan was a reluctant performer who refused to tour, and her album, released in 1968, was a commercial flop, after her label barely promoted it. And yet, in a unique twist on a familiar story, the 11 songs of “Take a Picture” became a shared secret around the world; pirate pressings overseas earned her the sobriquet “The Soft Pop Queen of Japan.” In 2000 the LP was officially reissued, followed by others collecting her demo recordings — lean performances that could pass for 21st-century indie-pop.