Axis: Bold As Love, the second album by The Jimi Hendrix Experience, was released in the UK during the first week of December 1967. In America, it came out in January 1968. Now, it is the subject of a multi-disc box set titled Bold As Love.Why this puzzling new title – “Bold as Love” is the track closing the album – has been chosen is unknown. No reason for losing the word “Axis” is given in the accompanying book, or in the promotional material: which describes this as a “box set containing [the] landmark 1967 album Axis: Bold As Love.”This is not the only mysterious feature of this four-CD/ Read more ...

Having given us Peter Jackson’s monster documentary series The Beatles: Get Back four years ago, Disney have returned to the Moptop well to deliver this spruced-up reissue of the Beatles Anthology. This epic history of the Fab Four originally aired in six-episode form in the US and the UK in 1995, but that was expanded to eight instalments for VHS and LaserDisc releases in 1996.The USP of this latest version is a supposedly new ninth episode, a sort of post-match roundup assembled from mid-1990s interviews with Paul McCartney, Ringo Starr and George Harrison with interpolations from producer Read more ...

When Yard Act headlined the O2 Academy in Glasgow back in 2023, they might have thought returning there as a support act would indicate a career that had taken a wrong turn. That’s where they found themselves on this jaunt with the Hives, though the reality was less a reflection of their status as a band and simply that what was announced as an arena tour for the Swedish garage rockers had been downgraded to a more modest setting. Not that the Leeds quartet seemed affected by it. Singer James Smith was typically verbose as ever, praising his band, their music and Glasgow itself before Read more ...

If you’re old enough to remember LPs and the lost art of reading sleeve notes (let alone writing them), this one’s for you. The titular session man is the fabled keyboard player Nicky Hopkins, whose teeming creativity and dancing digits left their indelible mark across an extraordinary swathe of records from the golden age of rock’n’roll.Among Hopkins’ most recognisable feats are his Jerry Lee Lewis-style romp through the Beatles’ "Revolution", contributions to several tracks on John Lennon’s Imagine including "Jealous Guy", rollicking ivory-tickling on George Harrison’s "Give Me Love", his Read more ...

If you want a peek into a lost world of rock n roll degeneracy and decadence, you won’t find a better glory hole than the grubby, outlandish view offered by the video for “Hey Negrita” from the Rolling Stones’ 1976 album, Black & Blue. It’s on the band’s YouTube channel, Jagger flouncing about in some lime green Latina blouse, vocally molesting pianist Billy Preston on the breakdown, and Keith and new boy Ronnie posing about in shades, their battered guitars locking in to that song’s unspeakably brilliant, filthy, sleazy groove. Black & Blue is not high in the canon of Great Rolling Read more ...

VINYL OF THE MONTHMartel Zaire (Evil Ideas)Montenegro-born, Cyprus-based producer Martel Vladimiroff is a hard man to find out about. His meagre online imprint and extensive global travels make him seem more like “an asset in the field” than a musician. Whoever he is, his new EP, four tracks drawn from his second album of the same name, is a unique idea, well-executed. Inspired by the imperial ravaging of Africa and the ongoing horrors of its modern equivalent, with the Congo as prime exemplar, it’s a conceptual head-trip. A dense gumbo of African field recordings and tribal drums play off Read more ...

Issued in September 1974, Hall of the Mountain Grill was Hawkwind’s fifth LP. The follow-up to 1973’s live double album The Space Ritual Alive in Liverpool and London, it found the band in a position which seemed unlikely considering their roots in, and continued commitment to, West London’s freak scene. Their June 1972 single “Silver Machine” had charted and, irrespective of what they represented or espoused, Hawkwind had breached the mainstream.Nonetheless, Hall of the Mountain Grill didn’t chart high – in the UK, it peaked at 16 in late September 1974: when Mike Oldfield’s Hergest Ridge Read more ...

 According to legend, Glasgow can be a tough place for a support band a crowd do not warm to. Therefore brotherly duo Faux Real were perhaps taking a risk when they elected to bound into the audience during the first number in their Wet Leg support slot. It was greeted with mostly puzzlement from early attendees, but when they repeated the trick 30 minutes later - finding space and sprinting towards each other before jumping into the air with high kicks - the reaction was much more enthusiastic. The pair had mixed up synth-heavy pop of varying quality with relentless, hard working Read more ...

During a false start to “Billy Don’t Fall”, on Sunday night at Birmingham’s iconic Town Hall, Sananda Maitreya took the opportunity to address the packed house before him. He noted that there’s now a King on the throne of England, an American Pope and that “all the white ladies have got big lips and big asses – so, it’s a long time since we were here last.”It certainly is an age since the artist formerly known as Terence Trent D’Arby headlined a UK tour. Twenty-three years, to be precise. In fact, for those who don’t remember that far back, he was once a global superstar to rival anyone who Read more ...

Three of last year’s finest singles were by Luvcat, a classy-but-naughty Eartha Kitt-style bad girl steeped in burlesque-rock’n’roll spirit. In fact, she’s the wanton basque’n’fishnets persona that, during a decadent sojourn in Paris, possessed the soul of Liverpudlian singer Sophie Morgan.The question is, can she engagingly maintain this wordy, filmic conceit for a whole album? The answer is… yes.First, those singles, all golden and placed in sequence early on this 13-track set. Her debut, “Matador”, is a mariachi nightworld chanson of lust and vengeful rage; “He’s My Man” is a sinister Read more ...

The first words are spoken after “Worldwide Epiphany,” the 20th song. “Thank you” is all Todd Rundgren says. With this, the set ends.It wasn’t that he was inscrutable or failing to acknowledge the audience during the previous hour and 50 minutes. A couple of lower-level sections like a catwalk parallel the stage before the front row of the stalls. Rundgren often paced this space, breaching the barrier between those who were there to see him and the performance. But, still, there are no introductions, no badinage.Performing a song like “Fascist Christ” – the set’s 18th – maybe said more than Read more ...

There’s something about hauntingly performed songs written in the first person that can draw us in like nothing else. As songs from Robert Johnson to Leonard Cohen remind us, they can take us into the mental recesses of their subjects – for instance, malcontents and killers – better even than a novel or a movie. We’re kidnapped by the voice.Bruce Springsteen seemed to insist on this more than anyone with his rough and unready 1982 album Nebraska – an echoing prairie lament for lost sanity – and ended up kidnapping himself, to judge by this new biopic that painstakingly traces Read more ...