2024 - The Cure - Songs Of A Lost World (Deluxe Edition) @320
Robert Smith starts at the end for The Cure's first album in 16 years. 'This is the end / Of every song that we sing' is the cheery opening line, and a repeated refrain of 'nothing' closes things some 50 minutes later (the full line is 'Left alone with nothing / The end of every song'). It's safe to say that the godfathers of gloom haven't altered their disposition in the intervening years, and we're all the better for it.
Songs of a Lost World is a true return to the desolate beauty of their 80s heyday. The opening pair of songs, Alone and And Nothing Is Forever, could've fit neatly onto Disintegration with their lengthy introductions (vocals rarely appear earlier than two minutes into any song), the cinematic sweep of the keys and guitar, Smith's languishing laments, the way beauty is eked out of the darkest corners.
Smith wrote, composed and arranged the whole album, something he only did previously on The Head On the Door. And though Songs may be lacking an earworm like In Between Days, the sonic blueprint is just as cohesive as the 1985 classic. The band's collective strengths are brought to the fore on each perfectly constructed ode to grief, memory and impermanence; the plaintive piano of I Can Never Say Goodbye, the screeching guitars of Warsong and Endsong, the martial percussive bounce of Drone:Nodrone.
These songs were written against a backdrop of family bereavement (I Can Never Say Goodbye is as poignant as it is heartbreaking), but Smith's reckoning with time and mortality is never self-pitying. Rather, he can view his nihilistic tendencies in the fullness of experience; love may be a fragile thing, but it's ultimately worth the pain it can cause. (TheSkinny)
"Originally released in the UK by Tad's Record label and Vista Sounds in 1982 and 1983 respectively as Shank I Sheck Vol. 1, this one-riddim LP has been reissued by Tad's Record. Produced by Ranking Joe and Tad A. Dawkins, the 12-track album has been released under the new title King Tubby's Shank I Sheck. The track order has been rearranged, but the artists and their songs remain the same. The album features classic tunes from reggae greats such as Dennis Brown, Sugar Minott, Horace Andy, Linval Thompson, Ranking Joe, and Tristan Palmer. The Shank I Sheck riddim showcased on this album is a reinterpretation of a ska instrumental by trumpeter Baba Brooks, produced by King Edwards."
Members of Vibes Private Club, I will be posting the 13 track Vinyl rip of this comp later today in flac.
Sexy toffee anyone? No, it’s not me trying to offload left over Easter confectionary. “Sexy toffee” is broadcaster Gaby Roslin’s description of UK singer and songwriter Kat Eaton’s voice. Jools Holland’s opinion is less surreal; “A fabulous vocal talent”, he says.
A certain respected music publication who was ahead of media coverage in praise of Ms Kat, is quoted on her marketing bumph as saying: “Soul drenched and powerful. Bluesy, jazz-tinged and oozing with sheer class.” That music publication is none other than us: Music Republic Magazine.
We are and have been long-term admirers of this Welsh-born Sheffield lass and her vocal and writing talents – and that admiration is boosted with the recent release of her delightful new album, “Honestly”, via Kartel Music Group.
Having spent a decade based in London with husband and musical partner in crime Nick Atkinson, who co-wrote the songs here and produces “Honestly”, Kat is now back home in Sheffield, when she is not globe trotting on tour with her red hot band or in the studio crafting smashing stuff such as these 10 strong tracks.
Kat has toured the UK/EU supporting the likes of Jools Holland, Paul Carrack, The Teskey Brothers, Marc Broussard and Mamas Gun, alongside selling out multiple headline shows, co-writing with the likes of Caro Emerald, Ruby Turner and Roberta Campos, and breaking through to new territories via national radio play worldwide, and is very well respected soul and jazz performer.
After her acclaimed 2021 debut album “Talk To Me”, the new one “Honestly” is more of the same: classy, sweet and soulful – all 10 original songs penned by Kat and Nick Atkinson. Her band is a powerhouse of talent; musicians who have played with the likes of George Benson, Ed Sheeran, Marc Ronson, Sir Tom Jones, Sir Van Morrison, Amy Winehouse and Gregory Porter.
Kat’s voice is perfect for mainstream radio [that caters for discerning music loving adults], and it has that velvety scrumptiousness a la Karen Carpenter, and raunchy and raw blues thang a la early Elkie Brooks. But Kat is definitely in her own lane in what she does and how she does it.
The set opens with strong values on “Addicted”. “Bad Advice” delivers gospel vibes – Kat likes her gospel style songs – including jaunty hand claps, and “Step By Step” is yet more gospel flavours. Not really a duff cut here.
The superb horn arrangements/performances from Trevor Mires (Trombone), Jim Hunt (Saxophone) and Louis Dowdeswell (Trumpet) are the icing on the cake across this record. The production values faultless; Kat’s vocals sound crystal clear and have not been messed about with as regards “the talent button” – aka reverb. This is a singer’s singer and auto- tune would be a cuss word if anyone with a mental impairment suggested it. Phrasing, tone, pitch: spot on throughout.
Nick’s guitar chops are well measured and a snug fit for this material. He wrote the Kat Eaton single lifted from the album, the lovely “Time We Said Goodbye”. Kat says the song is “….about moving on, specifically for us, on and out of London to live back up North to be closer to our families. It’s only been a year so it’s still bittersweet. We miss the buzz of London, but this album wouldn’t be what it is if we’d stayed”. It follows previous singles “Bad Advice” and “Addicted”.
Current single, “Ain’t No Mardis Gras” was from an idea inspired when Kat heard someone saying “ain’t no mardi gras” on a podcast, and she knew she had to get it into a song. A purely a capella track, (with hand claps and foot stomps) and its about sticking to who you are, “know your tribe, and don’t be pushed into being someone you’re not.” It features Natalie Duncan on backing vocals . Kat and Natalie Duncan’s backing vocals add superb value across the album.
Seems the word is out about Kat and her musical skills; since she has released new music, streams have shot up to in excess of six million on Spotify. Kat calls that “wild”. Once you hear her voice, these songs and this album; you’ll probably call it well deserved. We do, honestly.(Music Republic Magazine)
* The In-Fuzzed are a French garage rock band from Perpignan. Formed in June 2018 by members of Hair & The Iotas and El Vicio.
Recorded between February and June 2023 at WattHaus Studios (l'Art Ou Cochon), Perpignan, France. Dedicated to Will "From The Grave" Le Goff (1972-2023). *
Listening now to Texas’ career-spanning Very Best Of 1989-2023 compilation from last year, it’s evident that this successful Scottish band with Sharleen Spiteri at its helm has always had a fad-free no-nonsense and timeless soul/blues authenticity at their heart, something likely the key to their longevity and ability to fill arenas. For this latest album, after all, Texas went to the Fame Recording Studio in Muscle Shoals to refine – as opposed to define – their songs, with the help of producer, keyboardist and Southern soul heavyweight Spooner Oldham.
This guy’s CV includes playing on Aretha Franklin albums, co-writing credits with Dan Penn, and if that wasn’t quite enough to shout about, Oldham has also worked with both Neil Young and Bob Dylan. As for The Muscle Shoals Sessions? Of the 12 Texas songs deconstructed in Fame, I Don’t Want A Lover, In Our Lifetime and a superb cover of Charles & Eddie’s Would I Lie To You are more than enough to show that Texas and Spooner Oldham is a combination which fits like a glove.
* This was the only album released by this fine LA Garage band, the back cover is from the 1986 original release on discogs, I don't keep any art work for albums or CD's , my only interest is the music!! *
* This 1986 album by The Primates remain as the only recording ever released by these four 60s r&b and garage fans.
Combining great originals (‘I Ain’t Like You’, ‘Bad Luck’, ‘Born Loser’) and versions (check their great take on Q65’s ‘I Got Nightmares’ or Neil Sedaka’s ‘I Go Ape’), “We Are The Primates” remains as a wild, raw, party album that every fan of garage music should own.
Originally published on Greg Shaw’s very own Voxx (Bomp! sublabel focused on revival garage/psychedelia) and produced by Shaw himself, this valuable musical document portraits the essence of the L.A. 80s garage scene. *
* The band were Brett Miller and Ted Edlefsen, sporting Vox guitars, and Erik Bluhm on vocals, with Brian Corrigan on the drums. *
Nigerian Afro-pop sensation Yemi Alade is set to dazzle the world with her latest album, Rebel Queen. This release marks her sixth studio record and tenth overall, further solidifying her status as one of Africa’s reigning musical queens.
Rebel Queen is a testament to Yemi’s deep-rooted love for her heritage and her unyielding drive to innovate within the industry. The album intertwines vibrant Afro-pop with influences from dancehall, amapiano, lingala, and more, presenting a rich auditory experience. Through tracks sung in Yoruba, English, Igbo, French, and Swahili, Yemi not only celebrates her African roots but also extends her influence globally.
The 16-track collection includes standout collaborations with iconic artists like Angélique Kidjo, Ziggy Marley, Innoss’B, and Konshens, showcasing Alade’s ability to blend genres seamlessly and align with global stars. Each song, from the celebratory ‘Happy Day’ to the introspective ‘Tomorrow’, reflects a unique facet of Yemi’s artistic vision.
Yemi’s creative process for Rebel Queen was inspired by a blend of traditional African rhythms and contemporary sounds, aiming to capture the essence of African music that resonates across generations. As she prepares for her African Rebel tour, starting at Pop-Kultur Berlin on August 30, the African superstar continues to set the bar high with her dynamic performances and profound musical contributions.
With Rebel Queen, Yemi reaffirms her place as a global music powerhouse and a champion of African culture.
