It’s a little bit funny having all these bands placing themselves back in the Rock / Metal map with a second album released over a quarter of a century after their (back then) promising debut LP. I by no means judge on their decision; it’s just that so many years have passed by that it’s a little bit awkward buying the -x- band’s follow-up as a dad the same time you got the debut when you were at the age of you son! Still, as long as the music’s good, who shall complain…
~ metalkaoz.com
All copies of the September 2024 issue of Uncut come with a free, 15-track CD – On The Highway – that showcases the wealth of great new music on offer this month, from Mercury Rev, MJ Lenderman and John Murry & Michael Timmins to Enumclaw, Harlem Gospel Travelers and Krononaut. Now dive in…
Journey to the Centre of the Earth is one of progressive rock's crowning achievements. With the help of the London Symphony Orchestra and the English Chamber Choir, Rick Wakeman turns this classic Jules Verne tale into an exciting and suspenseful instrumental narrative…
15 original albums with Dizzy Gillespie, Fats Navarro, Buck Clayton, Freddie Hubbard, Charlie Parker, Gene Ammons, Wardell Grey, Melba Liston, Ben Webster, Duke Ellington, Bud Powell, Hampton Hawes, Billy Higgins, Max Roach, Billy Eckstine and Herbie Hancock, among others…
Big Apple-based Scepter Records was among the handful of independent labels to have survived the British Invasion of the 1960s. Their longevity was rooted in a solid roster with something for every taste, ranging from the intricate harmonies of R&B vocal girl groups to loose raucous frat rock with practically everything in between. Remarkably, Scepter was not helmed by a business-savvy entrepreneur or a veteran music industry renegade. In fact, a middle-aged suburban housewife and mother was actually behind the scenes calling the shots. At the insistence of her daughter Mary Jane, Florence Greenberg was introduced to four of Mary Jane's mates who had performed in their school's talent show.
It was always going to be a dangerous mission. Trevor Churchill’s brainchild, THE GOLDEN AGE OF AMERICAN POP, had been in development for some time and the prototype was about to be launched into the fray with a bundle of seemingly undifferentiated repertoire. The potential embarrassment factor was high with risk of heavy flak on the way and snipers on the ground in the landing zone. Trevor was calling for volunteers. There was a lot of nervous shuffling among the ranks. Some of the lads took to studying their toecaps, while others took an inordinate interest in the state of their cuticles, or tried to look inconspicuous by melting into the background.