Last year, Paul Weller compiled a collection of his favourite soul tracks. A highlight of That Sweet Sweet Music was Jon Lucien’s affecting “Search for the Inner Self.” Originally issued on 45 in September 1971, it’s a long-time favourite of deep-digging soul enthusiasts. As is Lucien’s dance floor-filler “We got Love.” However, the latter cut was not issued when it was recorded – or even soon after.

In an era of excessive production for live shows, it is striking to see a band of Big Thief’s stature walk onto a stage this large and offer almost nothing but the songs themselves. No grand entrance, no visual shenanigans, no swag. Just four musicians, a handful of instruments, and darn good songs. 

In just over three years Olivia Dean has gone from taking the st

Ace bass-player Jasper Høiby achieved fame with his band Phronesis, recording and performing sophisticated yet accessible jazz, and establishing themselves as leaders in the crowded piano trio field. With 3Elements, and new collaborators, he is continuing to explore the seamless and inspiring combination of composition and improvisation that has characterised his work to date.

In these times of genocide, illegal invasions and a class war which the ultra-rich are emphatically winning, we clearly need a woman to point out the nonsense that we have just come to accept as the way things are meant to be. That woman is Carsie Blanton.

Record Store Day 2025 is this Saturday! At theartsdesk on Vinyl we’ve been playing through exclusive RSD goodies. Check the reviews. Then check head to your local record shop! See you amongst it. 

I apologise for the lack of current pop, particularly female pop singers, both established and rising. I spent time chasing such material but none arrived. Our RSD Special, then, lacks this tasty sliver of seasoning, but is still extremely tasty. 

“Do You Believe in Magic.” “You Didn't Have to be so Nice”. “Daydream.” “Did You Ever Have to Make up Your Mind?” “Summer in the City.” “Rain on the Roof.” “Nashville Cats.”

It’s not too much of a stretch to suggest that Tori Amos might inhabit a music genre populated by one artist. That doesn’t make her tunes indescribable though. There’s the mezzo-soprano vocal range backed by neo-classical piano, a bit of a jazzy groove and a light sprinkling of Kate Bush vibes. However, once Amos’ music has been experienced, any and all of her songs are instantly recognisable as coming from her canon, no matter whether they’ve been heard before or not.

It’s not often I feel guilty about making an assessment of a set almost instantly after making it. The support act for the first full-band live show in the UK by NYC alt-pop sensation Jamie Krasner aka James K, was Ryley Walker. Singer/guitarist Walker is well established in US alternative circles to say the least – he’s made a dozen-odd albums, and collaborated with everyone from experimental/improv mainstays (Bill McKay, David Grubbs) to straight-up musical royalty (he toured as a duo with the former Pentangle bassist Danny Thompson).

The opening track is Hoyt Axton’s “Evangelina.” After first appearing on the 1976 album Fearless it was re-recorded and issued as a flop UK single in July 1980. The new version had also been an OK-selling US single in 1980. The reason this deeply atmospheric, velvety, yearning country marvel had UK sales potential after it came out on minor-league British imprint Young Blood was due to radio play: radio play on the BBC’s Radio 2.