Profile for The Mancunian Candidate > Reviews

Personal Profile

Content by The Mancunian ...
Top Reviewer Ranking: 74,185
Helpful Votes: 440

Learn more about Your Profile.

Reviews Written by
The Mancunian Candidate "The Cellar Tapes - visit for details"

Page: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8
Up the Bracket
Up the Bracket
Offered by DVD Overstocks
Price: £5.91

2 of 3 people found the following review helpful
5.0 out of 5 stars A Culture Shifter, 26 May 2009
This review is from: Up the Bracket (Audio CD)
In the early 2000's, it was very difficult to not pick up a copy of the NME or Q Magazine without catching some mention of The Libertines on the front cover, a band who really did capture the imaginations of an entire generation of British youngsters, with the legend first beginning with their debut single What a Waster, and a staggeringly dazzling debut LP in 2002.

Up The Bracket released on Rough Trade in late 2002, was really Britain's first proper response to the recent dominance of American acts like The Strokes and The White Stripes on the world stage, and what an extraordinary debut it was. Produced by Clash guitarist and legend of British Punk Mick Jones, this album marked a revival in fortunes for the British scene, moving away from the ballad drivel left in the wake of (What's The Story) Morning Glory? towards a more livelier and electric take on how music should be.

Driven by the talented song writing team of Peter Doherty and Carl Barât, The Libertines begin their inspired debut with the track Vertigo, setting the listener up nicely for one of the most unfailing albums ever made. The constant nature of the album continues with Death on The Stairs and the barraging Horror Show, one of the most under appreciated songs from the album I feel, with Pete Doherty giving a fine performance.

Track four, Time for Heroes, is probably one of the most quintessential Libertines songs on this record, this song is not really about the tune but once again is more about the lyrics and vocals of Doherty. Track five is the stomping Boys in The Band and firmly pins Barât's credentials to this album, this song cannot help but be instantly memorable.

Radio America is very different to the previous five songs on this album and shows another string to the Libertines' bow, it is an acoustic song with Doherty giving a beautiful and lingering performance, the same can be said of Doherty's performance for track eight, with a helping hand from Barât, Tell The King is simply gorgeous. In-between these beauties is track seven, which thrillingly takes us back to the typical energizing Libertines which by now we're used too; Up The Bracket is a seriously pounding and exciting number.

As The Libertines are London lads, the cockney elements does sometimes creep into their music, and that certainly can be said of the belting The Boy Looked at Johnny, which is what a hybrid of The Kinks and The Clash would probably have sounded like.

The last three songs on this record are in themselves gems, particular track twelve, the magnificent The Good Old Days and the finale, I Get Along, rounding off this masterpiece nicely.

The striking thing about this record is the consistency of it; there really is not one bad song to be found on this album. It's also worth pointing out, that like with all landmark albums from over the decades, they really do come out of nowhere and scream era defining, this album is undoubtedly one of those culture shifters.

With Up The Bracket we have an album which invokes a bygone age when British music really was something to behold, something which was missing from British music in 2002, safe to say we are probably due a similar kick right about now.

Gypsy Punks Underdog World Strike
Gypsy Punks Underdog World Strike
Price: £7.49

5.0 out of 5 stars Genre Crosser, 26 May 2009
A refugee of the Chernobyl disaster in the mid eighties, Ukranian Eugene Hütz finally settled in New York and its vibrant Slavik community in the early 90's. Finding like minded people, he soon found himself as the leader of a motley group of gypsy musicians calling themselves Gogol Bordello. The band were a Gypsy Punk sensation in downtown Manhattan, with a debut album and a European tour soon taking place in the early 2000's. However it really wasn't until 2005 that the band really took off.

Gogol Bordello's third album was released in the summer of 2005 on Side One Dummy records; Gypsy Punks Underdog World Strike was nothing short of exceptional. Combining Western music with Eastern European influences, the album's backbone is one of pounding rhythm and outstanding vocal content whilst celebrating Punk in its mildest forms with the accordion and the fiddle, all in all making this album one of the best albums of the century so far.

The album begins with Sally, fusing the fiddle with a beat and snarl that will have you wondering what on earth is going on here, well believe you me you haven't heard anything yet. For track two I Would Never Wanna Be Young Again takes the previous track and injects it with steroids. A truly frantic number which like many tracks on this LP can only be described as truly unique to Gogol Bordello.

Not A Crime follows track two, the first proper sing-along on the album, an instant get out of your chair Grandma effort, it is almost hoedowny but mixed with Punk, Ska and Gypsy roots, like most of this album it borders on the indescribable.

With classic albums, you need a good set of songs one after the other right through the middle, and Gogol Bordello do not disappoint with regards to this record. With Immigrant Punk, Dogs Were Barking and Oh No following each other in close succession, there is no doubt that this album is quite an exceptional piece of work

Track nine, Start Wearing Purple, is probably the most accessible song on the record, a song which will more than likely have you singing it to yourself during the first few weeks after purchase. It's a rather enjoyable number which was the first single released from this record (Double A Side with Sally), and no wonder, the ending isn't bad either with Hütz bellowing from the back of the room, brilliant stuff.

Gogol Bordello with this album have brought to the table a special and incomparable album which not many bands from across the entire history of music could have ever produced. The term banded around to describe this album is "Gypsy Punk", but I think that it is selling this album very short to even attempt to describe it in just two words. Even after writing this lengthy review I feel I haven't done this album the remotest bit of justice.

With so many genres, themes and undercurrents running through it, Gypsy Punks Underdog World Strike really is something you should get your hands on today.

Every Damn Time
Every Damn Time
Offered by Fulfillment Express
Price: £9.93

3 of 3 people found the following review helpful
5.0 out of 5 stars Proper Music at its Best, 26 May 2009
This review is from: Every Damn Time (Audio CD)
Formed in 2004 in Nashville, Tennessee, the Black Diamond Heavies are the millenniums very own Garage Blues Kings. Originally a traditional band with guitars and stuff, they soon whittled themselves down to two members with John Wesley Myers on keys/growls and Van Campbell on the drums. This two-piece soon became notorious for making a racket with their raw and fiery live sets which soon earned the band a small but passionate following in the Southern States.

In 2007, the Black Diamond Heavies released their first LP; Every Damn Time released on Alive is a real hell raising album, which considering that the number of instruments being used is the bare minimum is actually quite the achievement. In my view the key to the brilliance of this album is the production quality, which is none existent; all the mistakes and imperfections are kept in meaning that none of the energy, fire and passion that the band had quickly earned a reputation for is at all lost.

The album begins with some frantic percussion from Campbell; Fever in My Blood quickly descends into a pulsating rhythm which is soon joined by some keys from Myers, it all seems rather frenzied, a point made worse when Myers adds in his vocals to the piece, which as demonstrated here with this song, are one of the most rasping vocals in the modern era. With all these points considered I therefore come to the conclusion that this song is bloody marvellous and precedes the rest of the album wonderfully.

And what an album it is, raw and proper as nature intended, exemplified yet further by the third track on the album; Leave it In The Road starts with a car crash of percussions, it really does sound like the drum kit is being sent to heaven after a horrible ordeal with a psychopath with two sticks, brilliant stuff. After this exciting start the song just cannot help but ooze filthy bluesy goodness from all four corners, its tremendous stuff with Myers again giving it some venom with the vocals and keys.

Track five is also outstanding but for different reasons, it really is the first attempt on the album for a bit of melody from Myers, and probably as intended he fails miserably, thankfully though no one cares, Poor Brown Sugar is still grouchy and raucous, but this song has a particular swaggering element to it, which after the thumping efforts elsewhere comes as a welcome rest bite.

The album finishes in the spirit of the rest of the album, foot tapping, raw, relentless, marauding and unforgiving, Guess You've Gone and F**ked It All Up most definitely sums up this entire album. If you like your music frantic, rough round the edges and loud whilst rapped in a blanket of Blues and Garage, than look no further than this stunning debut from this remarkable two piece, proper music at its best.

Enter The Vaselines
Enter The Vaselines
Offered by Fulfillment Express
Price: £13.68

14 of 15 people found the following review helpful
5.0 out of 5 stars Dying For It, 26 May 2009
This review is from: Enter The Vaselines (Audio CD)
Eugene Kelly and Frances McKee otherwise known as The Vaselines, were the little known Scottish outfit championed by Kurt Cobain. Unrepentantly 80's Indie with a hint of Velvet Underground production standards, their existence was somewhere between 86 and 89, with a legacy today that is as subtle as their musical output.

There have been a couple of attempts to document The Vaselines work over the years including the excellent All The Stuff and More on Avalanche in 2003, but in 2009 Sub Pop really have surpassed them all with the release of Enter The Vaselines. With 36 tracks including all the well known, the not so well known, the unreleased and the live, this really is a Mecca for all fans of the band as well as those who have not yet had the pleasure of listening to one of the finest bands to come out of the 1980's.

The album begins with the rampant Son of a Gun, a song which starts with a growl from the guitar followed by the beats of the tinniest drum sound known to man, it also has some of the most shockingly bad lyrics known to man, but rather oddly, as a song it's actually quite brilliant.

The album moves forward with Rory Ride Me Raw, a song which we can only assume is about riding a lion although I fear it may have vulgar undertones. Speaking of which, the third track on this album; You Think You're A Man is also crammed with vulgar undertones, in fact saying that the whole album is pretty much filled with them.......but in a fun way obviously.

Track four, Dying For It, is really the first time on this album The Vaselines lose their low-fi feel and go somewhat raw and stompy, and to be fair they do come out the other side with an incredible song. As well as this song there is Teenage Jesus Superstar which again shows more of the uncivilised nature to The Vaselines sound, but no question like most of the songs on this album, it remains marvellous.

There's also a lovely moment with Frances McKee on track five, despite her flattish voice, there is no doubting the sweetness of her vocals and with Molly Lips we have a full illustration of her unique qualities as a singer.

The most famous of all Vaselines songs is of course Jesus Wants Me For A Sunbeam, a song propelled into the public consciousness by Nirvana. Here the original version oozes with charm and grace, quite rightly loved by Cobain, its understated character is its strength.

What Sub Pop has triumphantly done here is to have gone to town with The Vaselines and produced the definitive anthology of this very much underrated Scottish act, an act that to this day remain on the fringes of popular culture, a place which suits them perfectly. Fun and quirky, graceful and sweet, raw and unvarnished, The Vaselines are one of the greats of the 1980's indie scene in Britain, a must for all.
Comment Comment (1) | Permalink | Most recent comment: Jun 1, 2012 8:34 PM BST

Revolution + 4 Bonus Tr.
Revolution + 4 Bonus Tr.
Offered by Media Hessen
Price: £23.33

1 of 1 people found the following review helpful
5.0 out of 5 stars A Journey of Proper Music, 26 May 2009
Formed in The Hague in 1965, Q65 were a five piece blues act like no other. For those of you not aware of the best band ever to come out of Holland, Q65 were basically the providers of the filthiest blues this side of the Atlantic in the sixties, England included. They could be described as the Dutch Yardbirds, but I think that description is such an injustice that I now refer to The Yardbirds as the English Q65 instead.

Q65 were Wim Bieler on grouchy vocals and brash harmonica, Frank Nuyens on guitar, Peter Vink on bass, Joop Roelofs on the other guitar and Jay Baar on drums, you must promise me that you will remember their names because in 1966 they released their debut on Decca; Revolution was nothing short of the best downtrodden and grimy Blues outing of the decade and quite possibly of all time.

This journey of proper music begins with The Life I Live, a number with a hint of vocals from the heart but still with the riffs coming out of the guitar that fit the bill for the rest of the album. Bieler really does tug on the heart strings with this song, you can hear the torment in his voice, yet strangely despite all these feelings brought on from the music, the whole song remains low key, a point I will come back to later.

The superbly titled I Got Nightmares follows the opener; this number differs slightly from the grimy blues more akin to the rest of the album as it actually borders on US Garage-Psyche more than anything else, and track four, Mr Pitiful, actually involves a Saxophone of all things, so this band is far from a one trick pony. But back to the blues, track five is a cover of I'm a Man; I don't recall ever hearing a bad version of this classic number, and Q65 don't let us down here either.

Also far from letting us down is track eight; Down in the Bottom is a brilliant song, like The Sonics, Q65 attack their songs with a good old fashioned shelling, however there is an air of subtlety about the Q65 sound, a bit like Skip James backed by a cannon, if that's a good analogy. That said, there is nothing subtle about Spoonful, what a song and what a vocal, proper grit!

The album is rounded off nicely with a tremendous 13 minute cover of Sonny Boy Williamson's Bring It on Home, a stunning rampage of music. As with all these forgotten gems, it has been subject to a reissue over the years, with the latest offering providing 18 songs, not bad really.

Sadly this would prove to be the bands only album release in the 1960's, the band was sent into a spiral after their lead singer was drafted into the Dutch army. But enough of the history lesson, what we have here is a proper hidden gem from the continent, pure unadulterated filth from a band who must surely deserve your attention sooner rather than later.

The Piper At The Gates Of Dawn
The Piper At The Gates Of Dawn
Offered by Market garys Dvd's
Price: £10.48

8 of 8 people found the following review helpful
5.0 out of 5 stars The Holy Grail of British Psychedelia, 26 May 2009
Pink Floyd were formed in London in 1965, the darlings of the UFO Club, they were at the forefront of the emerging Psychedelic movement coming out of England during the post Beat period. A group of talented musicians, they were led by a charismatic guitarist from Cambridge called Syd Barrett.

On the back of the success of the single, Arnold Layne, in 1967 the band cut their first LP, and as it turns out the only Pink Floyd album to fully include Syd Barrett in its conception and creation. The Piper at the Gates of Dawn was released on EMI during that magical Summer of 1967 and is now heralded in the same bracket as Sgt Pepper as a game changer, an album that changed the nature of music forever, this despite the album appearing on paper to be not very accessible at all.

That said this album is obviously something special, mixing whimsical and fairytale like lyrics with the avant-garde and space rock, creating a sound quite clearly new and dynamic. The album begins with Astronomy Domine, surely one of the most fascinating songs to come out of 1967, it literally has everything you can ask for if you're a connoisseur of space rock or Psychedelia in general.

Following this staggering opener, the album moves to Lucifer Sam, a surprising song for Pink Floyd. The descending riff is actually more akin to Swinging London than it is to Underground London, but Syd Barrett's eerie voice takes the song back into the vibe of the album as a whole.

Track three on this album actually is my favourite song from the LP; Matilda Mother is a song performed by keyboardist Richard Wright. It is naturally a beautiful song, spooky and fairytale like and arranged flawlessly to create a masterpiece if ever there was one. Roger Waters has a chance to shine on this album too, taking the album from fairytale and the space age to the realms of West Coast, with Take Up Thy Stethoscope and Walk.

But this album at the end of the day is tilted in favour of the talents of Syd Barrett, songs like the marvelous The Gnome and the closer, the bizarre Bike, a song so silly and off the wall that there was really only one person on the planet in 67 who could have written it, sheer Barrett, sheer brilliance.

A remarkable album, The Piper at the Gates of Dawn is considered by many to be the holy grail of British Psychedelia, a staggering creation from a band on top form. In later years the band would lose their leader but still re-emerge as the figureheads of the Progressive Rock era. Barrett would go on to attempt to launch a solo career but sadly his demons would catch up with him in the end. But the fact remains, in 1967 Barrett and Pink Floyd created something quite wonderful, a must for us all.

Gil Gilberto
Gil Gilberto
Offered by Japan-Select
Price: £20.65

5.0 out of 5 stars A Truly Remarkable Man, 26 May 2009
This review is from: Gil Gilberto (Audio CD)
Some call him the pure definition of World Music, others call him thee individual who drove the Tropicalia movement forward with his unrivalled fusion of Samba, Classical and Rock n Roll, whatever the case, there is no doubting the mans musical ability and more importantly the threat he posed with his talents to the powers that be in the Brazilian government.

Gilberto Gil made his musical beginnings in the fifties, but did not release a solo album until 1967, by this stage the Tropicalia movement was in its infancy but very much a happening thing. Men like Caetano Veloso and Gilberto Gil were really only just starting to push the boundaries of musical endeavour in 67, but by 68 the authorities could be left in little doubt that the noises coming from Brazilian youth were slightly disconcerting to say the least.

A string of landmark albums from Brazil came one after another between 67 and 69, we have already covered Os Mutantes' debut in 68 and I am sure there will be yet more mentions in the coming months from the cellar of other efforts, but it is to Gilberto Gil's second release, Frevo Rasgado, that we turn to today, arguably one of the best World music albums of all time and a serious contender for one of the greatest pieces of work ever released full stop.

Joyous, exciting, exuberant, raucous and boardering on the Psychedelic, this album begins with the title track; Frevo Rasgado I guarantee from the very first notes will instantly make you feel good about life. Its vibe is unquestionably Brazilian, but please have no fear, this is not over the top Rio carnival time, the Samba elements are hidden behind a very controlled Brass and Horn section, creating a rather excellent opener, which sets you up nicely for the rest of the album.

Backed by Os Mutantes on a couple of tracks, Gil injects these songs with an energy and life which is very difficult to compare with any artist on the planet at that time or since. For example Pega a Voga, Cabeludo and Domingo No Parque, these songs really do go places, indeed a triumph for the Tropicalia movement, they are so jolly and cheerful, marvellous stuff.

All that said, the elements going into Gil's writing throughout this album is not unique to Brazil or even for that matter to Western music in the late sixties, but Gil's major achievement with this release must surely be to have raised the bar for mixing classical elements into modern music, even dare I say it as a result giving George Martin a run for his money. An example of this is Track Four; Marginália II has so many elements going on with it that each individual listen of this song provides something new each time.

Ultimately Gil would find himself exiled for a few years by the Brazilian government in the late sixties, a victim of the power of his own music. But instead of being a bad thing, he found himself in England rubbing shoulders with the likes of Pink Floyd, opening the door for a whole new chapter in his musical development. And now after helping depose of a Government, he himself dabbles in politics, even becoming a Minister, all things considered, a truly remarkable man.

Price: £7.49

4 of 4 people found the following review helpful
5.0 out of 5 stars The Darlings of The UFO Club, 26 May 2009
This review is from: Tomorrow (Audio CD)
Tomorrow were a London four piece formed in 1965, they have been mentioned in the Cellar before of course for their contribution towards the Mark Wirtz's forgotten masterpiece, A Teenage Opera. Following similar lines as The Kaleidoscope, Tomorrow despite being an integral part of the London Psychedelic scene during the late 1960's, are now largely forgotten.

When we talk about the seminal Psychedelic albums of the 67/68 period, people think of Piper at The Gates, Sgt Pepper and even Soft Machine's Volume 1, all of which are heralded for their key contributions to the scene. Here in The Cellar however, we like to talk up albums like Tangerine Dream and S.F. Sorrow, giving them pride of place amongst these other landmark albums. But today I bring you another edition, Tomorrow with their self titled debut released in 1968 on Parlophone, produced by the great EMI magician Mark Wirtz.

The album begins with My White Bicycle, this was the first single for the band, it is also a track which fully utilises backward guitar phasing with wondrous results. It is a fine opener and is surprisingly accessible, creating a useful bridge between the sound coming from the UFO Club and the musical pallet of mainstream audiences.

There are a couple of songs which were recorded during Mark Wirtz's Teenage Opera sessions. As that fine piece of work was shelved for 3 decades by EMI, these belting songs instead get their first airing on Tomorrow's debut, some cracking songs like Colonel Brown and the beautifully decorative Auntie Mary's Dress Shop, not to mention the superb Shy Boy.

The title of best track on this album I think must go to track four; Real-Life Permanent Dream has one of the best sitar riffs going, it is an amazingly trippy effort which is not alone on this LP for that particular vibe. The final track on the album for example is awfully trippy, Hallucinations, leaves London and instead has hints of the West Coast about it with its use of harmonies and lyrical content, joyous!

Tomorrow would see limited success with this album in 1968 and disbanded the same year. Lead guitarist Steve Howe would go on to join Yes, the drummer 'Twink' would join The Pretty Things, whilst singer Keith West had a decent solo career in the seventies. But Tomorrow in 1968 left us with an album which captures the mood of 1967/68 in London perfectly, in that it is ever so jolly and marvellously trippy. In time it must surely rank alongside the great British albums from the period, but there's only one way to find out, Enjoy!

Tangerine Dream
Tangerine Dream

14 of 15 people found the following review helpful
5.0 out of 5 stars The Sound of Tomorrow, 26 May 2009
This review is from: Tangerine Dream (Audio CD)
Coming out of Acton in West London, The Kaleidoscope were initially signed to Fontana for 12 months in 1967. The story is that on listening to the band's first set of sessions, Leslie Gould (MD of Fontana's parent, Philips) was dismayed by the laxness of the label and demanded that The Kaleidoscope's contract be extended for a further four years.

The Kaleidoscope on being signed got to work on their debut album, staying long into the night perfecting the sound and at the same time earning the reputation for being the hardest working band at Fontana. Despite the shaky start with the label, it became very apparent that the entire company had become slightly obsessed with The Kaleidoscope, indeed championing them as the sound of tomorrow.

Despite a couple of initial singles doing nothing in the charts, the label pushed ahead and quite rightly released The Kaleidoscope's debut album in November 1967; Tangerine Dream was and still is nothing short of brilliant. The band was rightfully delighted with the record, the label was smitten with it and disc jockeys couldn't get enough of it. Yet like so many bands on The Cellar Tapes, the album is now largely forgotten and cast to the crates for the collectors.

So what does the sound of tomorrow sound like in 1967, a year which afterall gave us Piper at The Gates and Sgt Pepper? Well Tangerine Dream is certainly just as special and due to its whimsical and fairytale like nature, it does stand away from these two other seminal releases from that year.

When you listen to the truly beautiful Sky Children and the equally lovely Dear Nellie Goodrich, you cannot help but sit there in a cold sweat mulling over why this band is not held in the same esteem as some of their more illustrious peers.

This album in my eyes is the standard for what people consider to be British Psychedelia, its nonsense that hardly anyone knows this fact. All the songs are lovingly produced with excellent orchestral arrangements, whimsical lyrics, gorgeous harmonies and easily accessible music experimentation. From Dive into Yesterday, Flight from Ashiya and Dream for Julie, the material here really does stand the test of time.

After the release The Kaleidoscope toured and toured and toured, crisscrossing Europe, all the while receiving the staunch backing of the label and critics alike, but still sales were low. It was at this point that the label suggested maybe a single should be written and released quick, and despite the band not necessarily being tuned to that style of writing, a belting single was indeed released Jenny Artichoke. The stations once again lapped it up, but yet again it failed to sell.......WHY???

But thankfully this failure stopped with the public, Fontana sanctioned a second LP, the equally brilliant Faintly Blowing. As I said in the review for that album, as music lovers we do have the power to readdress these crimes of history; it is no exaggeration to say that The Kaleidoscope has proven with this debut and their follow up, that they no doubt deserve your attention at the next possible opportunity, spread the word.

Get The Picture?
Get The Picture?
Price: £22.91

2 of 2 people found the following review helpful
5.0 out of 5 stars Rhythm and Blues in its Purest Form, 26 May 2009
This review is from: Get The Picture? (Audio CD)
Standing, or collapsing in some cases, seamlessly more primal and dirtier than The Rolling Stones, The Pretty Things in the mid sixties were the ultimate band for scaring not just the parents, but also shocking the entire fabric of British society. In later weeks, we will of course be visiting The Pretty Things self-titled debut in 1965, but today it is to the follow up, Get The Picture? released on Fontana Records in December 1965.

The Pretty Things had already established themselves at Fontana for being totally uncontrollable and mercilessly unapproachable in the recording studio, The Pretties therefore found themselves having the freedom to sound pretty much as they saw fit, a luxury that many of their peers at the time could only dream of.

The Pretty Things' self-titled debut in 1965 was an extremely raw outing, the musical equivalent of carpet-bombing. With Get The Picture? we begin to see a real development of the band towards control and using their arsenal for to-the-bone R&B in a more humane way, if such a thing could ever exist.

The album begins with the soft and gentle-ish You Don't Believe Me, which is actually quite timid for this band but with the snarling vocals of Phil May, its unquestionably a Pretty Things attempt to try and at least be tender, but by Track Two the true nature of the beast is unveiled with Buzz The Jerk with its dirty bass riff, the filthy guitar of Taylor and almost sinister vocals, proper!

The title track then follows in a similar vein, and should set you up nicely for what else is contained within the vast majority of this album. We'll Play House, Rainin' In My Heart and LSD (That's right, in 1965) all have that hard edged aggresive approach not matched by many British bands at the time.

Other highlights include Cant Stand The Pain, which undoubtedly shows hints of the promise that this band will fulfil in later releases. This is further exemplified with London Town, with the vocal style of May definitely having an impact on Peter Doherty of Libertines fame in later life.

As is the way, in later years there have been extended reissues of this album to include the glorious singles and rarities The Pretty Things were also recording at the time this album was made, the best of which is the pure filth of Come See Me, this really is an outstanding version.

I don't think I am alone, but since my first listen, I have always loved the way The Pretty Things produced their early stuff, particularly here with this album, there is no over production if any, there is no thrills, no tricks and no conning of the audience, its just proper Rhythm and Blues in its purest form, and for me, that's all you can ask for really.

Page: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8