Following the success of previous albums, 1992’s “It’s A Shame About Ray” and 1993’s “Come on Feel The Lemonheads”, “Car Button Cloth” saw a shift to a darker sound, one more reflective lead singer Evan Dando’s struggles in this period. Whilst much of the power-pop that saw the band garner that initial success is still present, there is a noticeable shift in Dando’s song writing, particularly on tracks such as ‘Losing My Mind’ and ‘One More Time’. The album would be the band’s last studio album for almost ten years and has gained something of a cult following in the years since its initial release.
Lemonheads leader Evan Dando the man is just such a talented tunesmith. Just as you shouldn’t have been fooled by an overreaching, inane record company that marketed him for the teenyboppers as an “alterna-hunk” , nor should anyone dismiss him just because his LPs always have a few outright duds on them like “Secular Rockulidge” , making it seem that he writes too off-the-cuff or is too easily pleased. Nor should you write him off because his lyrics still stray into the sublimely idiotic “Khmer Rouge,Genocide qua” is not clever,
All the more so in the middle of the near-perfect pop single “If I Could Talk I’d Tell You.”. And on the other side of the coin, I could rave about how “Car Button Cloth” is such a mature work, more scattershot but ultimately more satisfying than the well-venerated “It’s a Shame About Ray” and better thought out than the up-and-down, spastic “C’mon Feel The Lemonheads“. The important things are the hooks, which are plentiful and often instantly timeless, and Dando’s voice, which becomes more convincing, sensitive, throaty, introspective, humble, and edgy each time out. And the overall attitude, which is loose but dripping with sincerity, earnestness, and real feeling. Sure, Dando’s got the goods, and songs such as “It’s All True” and “Break Me” are the sort that a million bands would work years at 7-11 to call their own. It almost seems unfair; he’s written so many great ones this decade.
But just as importantly, Dando has perfected the art of just being himself, without pretension, and it’s a hell of a lot more honest and real and enjoyable than a truck load of overhyped, super-hip, underground product this year that, though far more high-brow, is ultimately tight-assed, calculating, suffocating, and worthless in comparison. I’d rather go where the real fun is, and it’s here. Previously reissued as a 2CD set by Edsel in 2013 (with 15 bonus tracks), this new deluxe edition is vinyl only, with the 2LP sets offering 13 bonus tracks on LP 2. The only extra track not on the 2013 2CD deluxe is the unreleased ‘Arise’ which was later reworked into ‘Rancho Santa Fe’ on Dando’s first solo album.
The Lemonheads’ 1996 album, ‘Car Button Cloth’, will be reissued as a 2LP set with bonus tracks early next year in a deluxe cloth-bound gatefold sleeve, “Car Button Cloth”was the band’s seventh studio album, and their last with Atlantic Records.
The first three songs alone are like love at first hearing for this album.
Pretty Lightning are today announcing their new album ‘Night Wobble’ and sharing the lead single ‘Glade Runner’ Their sixth full-length to date and second instrumental record arrives February 21st 2025.
The newly-announced ‘Night Wobble’ LP is a set of downtempo, repetitive grooves that course through dusty spaghetti-western psychedelia, Tuareg-derived desert-blues, library music and progressive. It’s always cinematic but shot through with trippy, off-kilter moments that bring a sense of alien to the widescreen panoramas here – this is an “oozy, woozy cowboy groove”, as they put it.
On lead single ‘Glade Runner’, they add: “The first single ‘Glade Runner’ is track #6 and marks the middle of the trip. We’re halfway through the woods, have crossed some muddy ditches and already made it through the rather earthy part of the journey. We´re now in the glade and just about to reach the portal, from where we take off or sneak even deeper into the forest, you never know.…”
Pretty Lightning will play next year’s Fuzz Club Festival on May 9th-10th at the Effenaar, Eindhoven, NL
Wussy are one of America’s great bands on the order of Wilco or Yo La Tengo, or maybe the weird aunt and uncles of Wednesday and Kevin Morby — strange and messy and beautiful and dark and noisy, with an exquisite core of song writing. There’s no middle ground with Wussy: They are either one of your very favourite bands or you just haven’t heard them yet.”
It features all the regular Wussy folks – me (Lisa), Chuck, Mark, Joe – plus John E. on two songs, and newest member Travis on four songs. Producer and honorary member John Hoffman helmed and steadied the ship (and added some extra flourishes, too). Speaking of honorary members, John Curley recorded some of the basic tracks, and it was nice to have him back on board for those early days, as it was kind of an emotional rollercoaster to start recording again. He helped us navigate those first difficult sessions with a lot of grace and patience. There were many moments where we were all thinking – “is this even gonna work without John E”?
I can’t say enough about how proud I am of these guys and how much they poured their heart and soul into this record. Chuck’s voice and fingerpicking are better than ever. Mark channels some serious Hook-meets-Quadrophenia vibes on these tracks. Joe is the master of both subtlety and explosion – and also adds the coolest synth tracks. Travis – now the youngest member yet oldest soul of the band – stepped in and played some pedal steel parts that literally made me weep.
Wussy’s new album CINCINNATI OHIO – Released November 15th,
The Cold Stares, known for their electrifying blend of blues-rock, their highly anticipated seventh studio album, “The Southern“, released on September 6th via Mascot Records. Delving deep into their Southern roots for the first time on record, the album embodies a true reflection of their heritage. “When it came time to record this album, I thought about everybody giving us this Southern rock tag, and decided to intentionally write songs that explore that,” says singer-guitarist Chris Tapp. “In doing so, I realized that being Southern, for me, is more than an accent, and a setlist of songs. It’s about family and tradition.”
Only a year on from the excellent “Voices”, The Cold Stares are dealing in quantity as well as quality. “TheSouthern” is their impressive attempt at capturing the rock’n’roll geography of its namesake, and it covers a lot of ground. “Horse To Water’s” chorus refrain is seriously contagious; Confession, with its extended jam, sounds like Thin Lizzy and Stevie Ray Vaughan throwing hands in the Wild West.
Though the trio has below the Mason-Dixon Line origins, the group mines a woolier sound than expected. Fuzzed-out guitars, Zep-style riffs, and fleet-fingered Cream-style improvisations abound, as do nods to Delta blues.
“Our version of the South is different,” says Tapp. “When Brian and I were young, we would sit in with these old guys at the local lodge, at the time they were still playing the old hits by Bad Company, Robin Trower, and AC/DC mixed in with country and southern rock – artists like the Allman Brothers Band and Lynyrd Skynyrd. When I heard Free’s ‘All Right Now’ I thought they were from Georgia!”
Drawing from the wild tales his grandfather shared with him, Tapp’s cinematic songwriting weaves narratives as vivid as the Western movies they watched together. These stories of crooked cops and outlaw heroes, and local legends like “Hoppy” who tapped out rhythms while shining shoes, infuse the album with a rich, narrative depth. It is thus fitting that one of the standout tracks is titled “Coming Home,” a song that encapsulates the essence of these tales and the sense of returning to one’s roots.
“We are so proud to tip a hat to Kentucky on this album, and embrace being ambassadors of the South,” Tapp concludes, bringing the journey of ‘The Southern’ full circle—a heartfelt tribute to the land and stories that shaped them.
The band have announced that we will be releasing “The Southern Part 2” in early June 2025. The album was recorded alongside “Part 1” at @memphismagneticrecordingco and mixed by Mark.a.Needham
The first single “Automobile” will drop January 10th. We feel this continuation is our best recording and material to date and cannot wait to share it with you. Also scheduled for release in 2025 is the Christ solo album “Green” in the spring, and another Cold Stares album fall of 25 that will be released and distributed in a “new” way….
Accompanying the releases we have touring booked across the states and a EU/UK tour in June that will cover Germany/France/Belgium/Holland/Denmark and the UK, as well as the Rock_legends_cruise and Keepingthebluesalive cruises. Watch for tickets at www.thecoldstares.com and watch for giveaways and presaves for “Automobile” next week!
Since their formation in 1985 in Abingdon, Oxfordshire, Radiohead has emerged as the trailblazing English rock band that continues to captivate audiences with their distinctive sound and experimental spirit. The band’s lineup features Thom Yorke, a multi-talented artist contributing vocals, guitar, piano, and keyboards, alongside the Greenwood brothers Jonny, whose mastery extends to guitar, keyboards, and various other instruments, and Colin, the bassist.
Ed O’Brien adds his guitar skills and backing vocals, while Philip Selway solidifies the rhythm with his drumming and percussion. A collaborative force, Radiohead has fostered enduring partnerships with producer Nigel Godrich and cover artist Stanley Donwood since 1994, underscoring their commitment to innovation. Widely credited with pushing the boundaries of alternative rock,
Taking the time to explore music of the iconic British band Radiohead. I am among the really few listeners who didn’t get Radiohead in their early days. I gave “OK Computer” the third album release a few spins before but it never clicked. I’m aware of a few of the band’s more iconic singles “High And Dry”, “No Surprises”, “Karma Police” the inevitable “Creep” and the wonderful “Daydreaming” from 2016’s “A Moon Shaped Pool“. Apart from that I always considered Radiohead to be highly overrated. Thom Yorke‘s distinctive vocal performance never really clicked with me.
“Pablo Honey” emerged from three weeks of recording at Chipping Norton Studios. Singles like ‘Creep’, ‘Anyone Can Play Guitar’, and ‘Stop Whispering’ initially had modest impact, with ‘Creep’ eventually gaining international traction. The album’s transatlantic ambition was highlighted by a US tour with Belly and PJ Harvey. I started listening to their debut “Pablo Honey” and I got it, This album is more 90s teen angst than the actual 90s were and not just because it features “Creep“.
Opening track “You” comes with loud guitars and a screaming Thom Yorke. Immediately I get a feeling of “Oh this is gonna be tough” because Yorke’s voice is challenging. Noisy tracks like “Stop Whispering” continue that vibe. This is the sound of an angry young band that is still looking for its path, . There are more melodic approaches like “Thinking About You” . On the other hand songs like “Anyone Can Play Guitar” is a little cringy. As far as I’m informed “Pablo Honey” was considered the band’s weakest release and apparently they did’nt like it either. It’s interesting to witness the beginnings of such an influential band .
“The Bends” Radiohead’s second studio album, released on 13th March 1995 by Parlophone, marked a pivotal shift in their musical trajectory. Produced by John Leckie, with additional contributions from Radiohead, Nigel Godrich, and Jim Warren, the album showcased a fusion of guitar-driven melodies and introspective ballads, characterized by enigmatic lyrics. The recording process spanned RAK Studios, Abbey Road, and the Manor.
“The Bends” is a different situation, general considered to be their peak in terms of classic guitar rock. I find myself remembering tracks like “Just” and “Street Spirit (Fade Out)” The title-track puts the whole teen angst vibe into more ordered territory so I can see why this attracts a lot of people from that generation. I realize that I personally prefer the more melodic side of the band’s earlier work. “High And Dry” is a long time favourite,
I never realized how good “Fake Plastic Trees” is. Well, maybe it’s the strings but this is a hidden treasure. (Nice Dream) as well, despite the noisy ending (strings again). Still, noisier moments like “Sulk” make me shiver… Yorke’s voice is challenging on these songs. Although I actually like 90s guitar music I realize once again how tricky it is for me to connect with that sound. “The Bends” is apparently better than “Pablo Honey” but you don’t need to study Radiohead that much to realize this.
Released on 16th June 1997 by EMI, ‘OK Computer’ is the transformative third studio album from Radiohead. Produced by Nigel Godrich, it was crafted within the confines of their rehearsal space in Oxfordshire and the historic St Catherine’s Court mansion in Bath. Departing from their earlier guitar-focused style, the album’s intricate layers and abstract lyrics set the stage for Radiohead’s experimental evolution. ‘OK Computer’ hauntingly paints a world grappling with consumerism, isolation, and political unease, exhibiting a prophetic insight into the 21st century. Garnering critical acclaim,
It appears to be common sense that “OK Computer” is considered to be Radiohead‘s peak work. Following the first two albums I think it feels like the next logical step. The noisy angst is still there but it’s getting ordered and teams up with abstract structures. That’s the impression I get from the first two songs “Airbag” and “Paranoid Android“. Listening to a track like “Climbing Up The Walls” I can totally get why it influenced so many artists over the past twenty years. However, I still prefer their quieter songs. “No Surprises” remains indestructible and same goes for “Karma Police”.
I might have underestimated “Exit Music” a bit which I mainly know due to a really sweet cover version Vampire Weekend released ten years ago. It also got a better effect when being experienced via headphone’s. Especially “Subterranean Homesick Alien” really starts to make sense. “Exit Music” is a monster of a track and I have now massive respect for it.
The melancholic and melodic Radiohead are more my sound instead of the noisy chaotic ones. “Let Down” is another hidden treasure here. So it’s my favourite of the three albums which shouldn’t be a total surprise. Sometimes complex music needs a bit more time and that’s probably the most valuable lesson I learned on this day.
“Kid A” with it the probably most significant shift in the band’s history. Forget about the noisy guitars, its opening song “Everything In Its Right Place” surprises with a tender electronic beat and a fragile piano. I like where this is going. The title-track of their 2000 album heads for the same direction. This record definitely feels like a similar big break for Radiohead. Things are getting experimental, jazzy (I mean, that brass section on “The National Anthem” way different. There’s room for ambient textures, electronic beats and (again) pretty cinematic string sections. Especially the one on “How To Disappear Completely” instantly clicks with me. This feels more like the sound I associated with Radiohead in my mind.
“Kid A” marked a significant departure from their previous sound. Released on October 2nd, 2000, via Parlophone, it was the outcome of sessions across Paris, Copenhagen, Gloucestershire, and Oxfordshire, produced by Nigel Godrich. Thom Yorke, influenced by electronic, krautrock, and jazz, sought a new direction post the stress of promoting ‘OK Computer’ (1997). The album’s unique sonority was cultivated through modular synthesizers, ondes Martenot, and experimental manipulation of guitar, augmented with abstract, randomized lyrics.
“Kid A” was a challenge but its companion album – 2001’s “Amnesiac” takes things even further. It’s even weirder although there are tracks on it like “I Might Be Wrong” and “Knives Out” which I find quite interesting. Although these two albums are more adventurous and difficult than their predecessors I actually find them more appealing, especially the piano-driven moments. Maybe it’s due to the effect gentle electronic sounds and ambient textures and find it easier to connect with them. These two need a bit more time (and good headphones) but there is something about them which I find quite addictive. Oh, and I always respect musicians who take brave steps towards new directions.
“Amnesiac” Radiohead’s fifth studio album, released on 30th May 2001 via EMI subsidiaries Parlophone and Capitol Records, emerged from the same sessions as its predecessor, “Kid A” (2000), showcasing the band’s progressive sound. Melding electronic, classical, jazz, and krautrock influences, “Amnesiac’s” uniqueness shines. Notable tracks include the collaborative “Life in a Glasshouse” with jazz trumpeter Humphrey Lyttelton.
“Hail to the Thief”, the sixth studio album by English rock band Radiohead, arrived on 9th June 2003 through Parlophone worldwide and a day later via Capitol Records in the US. Marking the conclusion of their EMI contract, Radiohead fused electronic and rock elements in a burst of spontaneity. Recorded in just two weeks in Los Angeles, the album was produced by Nigel Godrich. Thom Yorke’s lyrics drew inspiration from the Iraq war and political climate, woven with influences from children’s literature. The album’s artwork, a Hollywood map, encapsulates the essence.
“Hail To The Thief” is not quite a dramatic twist as “Kid A” back then, more like a continuation of the “OK Computer” formula. Right from the beginning with the opening track “2 + 2 = 5” the record shows that the noisy guitars are back after taking a little break on the two predecessors. Now, it feels as if these two worlds find a way to coexist in some way. I really love the hypnotic way of “Where I End And You Begin” and the ghostly electronica of “The Gloaming” is fascinating. There’s even an almost pop-structured tune on the album with “Myxomatosis” the gritty rocker “There, There“.
Continuing the ride through the discography with 2007’s “In Rainbows” surfaced on 10th October 2007, shattering norms as it allowed listeners to pay what they wished for the download, followed by physical releases. Following their EMI contract’s end post-‘Hail to the Thief,’ Radiohead embarked on the album in early 2005, transitioning from initial producer Spike Stent to longtime collaborator Nigel Godrich. The eclectic recording locations spanned from country houses to London studios. Blending rock, electronic elements, and heartfelt lyrics, the album marked a departure. The innovative release approach drew global attention, lauded for its innovation yet critiqued for precedent-setting implications.
First tracks “15 Steps” and “Bodysnatchers” has got a driven krautrock-infected groove but over the course of the record things are slowing down and these are the moments I always enjoy. “Nude” got that wonderful string arrangement The dreamy and melancholic vibe of “Weird Fishes” and the majestic build-up of “All I Need”.
The musical perfection these guys are delivering on this one show that they are simply really crafted musicians I guess and in that position you might lose your interest in traditional song structures over the years. That’s another aspect Radiohead continue to push themselves forward with these albums and that might also explain the ‘event’ effect you get whenever they release a new album.
Departing from their earlier work like ‘In Rainbows’, this release marked a sonic evolution for the band. Utilizing sampling and looping techniques with producer Nigel Godrich, Radiohead crafted an intricate soundscape that defied traditional structures. The album’s evocative artwork, a collaborative effort by Thom Yorke and Stanley Donwood, drew from fairy tales and nature. While “Lotus Flower” became a viral internet meme, the album’s rhythmically complex tracks required the addition of a second drummer during their subsequent tour.
“The King Of Limbs” from 2011 is a relatively short affair with only eight tracks. It’s more electronic and minimalistic again and I think that was also the time when Thom Yorke and Modeselektor engaged in a friendship, right? Songs like “Bloom” and “Feral” are quite structure-lacking experiments and later on there are some really wonderful moments like “Codex” and “Giving Up The Ghost”. Also liking the laidback vibe of “Separator”, the record’s closing track.
It’s quite a moody and mellow album and maybe that’s when Radiohead entered a more mature phase in the bands devolpment where the noisy elements are less important than the musical and artistic challenge.
We’ve come a long away from “Creep” to something like “Separator”. That’s the thought I have while giving “The King Of Limbs” another spin. It’s fascinating to see how much these guys matured. “TKOL” is a solid but short record and now I only notice how close to a traditional pop song “Lotus Flower”, the record’s lead single, is which I mainly remembered for Yorke’s very artistic music video.
Moving on directly to the bands album “A Moon Shaped Pool”. Produced in collaboration with Nigel Godrich, the album was crafted across RAK Studios in London, Oxford’s own studio, and La Fabrique in Saint-Rémy-de-Provence, France. The orchestration includes Jonny Greenwood’s string and choral arrangements performed by the London Contemporary Orchestra. Addressing climate change, groupthink, and heartbreak, the lyrics resonate as responses to Thom Yorke’s personal experiences.
As I’ve been enjoying the string-focussed moments the most on the past albums I’m in for a special treat on this one as they are way more in the foreground. I knew that “Daydreaming” was a masterpiece and it still is but songs like “The Numbers” and “True Love Waits” are also pretty outstanding. There is some of the most reduced work of the band in recent years on this one. The folky “Desert Island Disk” is a great one and so is the silent piano-driven “Glass Eyes“. They remain musically sophisticated on this album and I think for the first time the beauty of the music itself gets a spot in the limelight. It’s still pretty complex but on “A Moon Shaped Pool” I feel like there’s also a more emotional approach within the band.
I do now have a better understanding on why they are such a holy grail for many music lovers. Each member appears to be a dedicated and highly crafted musician in his field and whenever these forces collide they are trying to push all their ambitions together for the best possible outcome. And it’s not about challenging their audience but also themselves. That’s why they appeal to get better with age, Most of the early stuff feels a bit outdated now and that makes it quite hard to get an emotional connection to “The Bends”, My favourite record of all those so far appears to be “Kid A” loving the overall vibe it provides and the cohesive story it tells.
The discography of English rock band Radiohead have released nine studio albums, one live album, five compilation albums, one remix album, nine video albums, seven EPs, 32 singles and 48 music videos.
Over the years, their discography and artistic evolution have garnered critical accolades, including multiple Grammy and Ivor Novello Awards, and a coveted place in the Rock and Roll Hall of Fame. As Radiohead’s sonic tapestry continues to reverberate, their impact on the musical landscape remains indelible. Listening to the entire back catalogue in such a short time feels a bit like watching a band grow up in hyperspeed mode. Throughout the past thirty years they remained creatively hungry and stubborn. They became one of the biggest cult bands in modern music without delivering a proper hit single following the 1990s while still delivering profound and critically praised music. The valuable lesson here: good music needs your time and attention; it can be challenging but ultimately rewarding.
In celebration of the fiftieth anniversary of Bob Dylan’s classic album “Blood on the Tracks,” the Bob Dylan Center will present Shelter from the Storm, a major multi-artist concert featuring an exciting array of musicians for whom Dylan and his 1975 song cycle remain touchstones of inspiration and wonderment. Emceed by actor Luke Wilson, the concert will highlight all of the songs on “Blood on the Tracks,” as well as a wide assortment of other Dylan songs from his expansive discography. Artists such as Elvis Costello, Diana Krall, Lucinda Williams and more will perform the 1975 masterpiece “Blood on the Tracks” and other selections from the Dylan songbook.
Featured performers will also include Laura Cantrell, Elvis Costello, Martin Courtney of Real Estate, Adam Granduciel of The War on Drugs, Joy Harjo, Robyn Hitchcock, Lonnie Holley, Diana Krall, Paul Metsa, Kevin Morby, Amy Ray of Indigo Girls, Michael Shannon and Jason Narducy, Emma Swift, Sharon Van Etten and Lucinda Williams.
Additionally, three musicians who played with Dylan on “Blood on the Tracks” will perform: keyboardist Greg Inhofer, guitarist Kevin Odegard and bassist Billy Peterson. Odegard will play the same acoustic guitar he played in the session with Dylan. In 2019, Odegard donated the Martin guitar to the Bob Dylan Center, where it has been on display since the center’s grand opening in 2022.
The house band will include indie-rock band Chatham County Line (Greg Readling, John Teer, Dave Wilson); Brad Cook, Phil Cook, Darren Jessee and Doug Keith.
Released simultaneously with the “Aqualung” Redux covers is also the “Best Of Jethro Tull” which scoops up a bunch of vaguely related Jethro Tull deep cuts and gives them to yet more mercurial distortion pedlars to do their imaginative best with. Hashtronaut’s raucous version of “Bungle In The Jungle” and Elephant Tree’s scorched-earth, lo-fi take on “We Used To Know” are the obvious standouts, but as with all of Magnetic Eye‘s multi-band projects, there is no drop in quality to be found anywhere.
Crushing, clever and resolutely out-there (Lowrider and Elephant Tree’s“Nothing To Say” is a disorientating, woozy marvel),“Best Of Jethro Tull” is, as intended, the perfect accompaniment to “Aqualung Redux” and another sparkling feather in the cap of one of the coolest labels around. More of these wonderful things, please.
Those clever bastards at Magnetic Eye Records have got impeccable taste. “Aqualung Redux” is the latest in a series of extravagant tribute albums dedicated to classic albums and great artists of our time, populated by an impressive army of bands from stoner, doom and psychedelic realms. This time around, British prog rock giants Jethro Tull receive the same reverential treatment, as 1971’s seminal “Aqualung” album is dissected, dismantled and reconstructed by another gaggle of hirsute miscreants. Among the crown jewels of prog, “Aqualung”, already had a strong connection to the world of heavy music, thanks to Iron Maidens 1983 cover of “Cross-Eyed Mary”, which appeared as the B-side to “The Trooper”.
Hard to pick a favorite here, as it is a diverse and often strange collection of covers as is befitting a diverse and strange band and album. I’ve always had a soft spot for Ian Anderson and his band and am happy to have this excellent homage to a highly underrated band.
An album full of artful and intelligent songs, “Aqualung” was quietly revolutionary back in 1971, and so it seems fitting that many of the acts on “Aqualung Redux” have been fearlessly imaginative in conjuring their own interpretations. In the hands of stoner rock legend Chris Goss (MASTERS OF REALITY) and Alain Johannes (QUEENS OF THE STONE AGE alumni),the title track is reimagined as a surreal acapella nightmare, with human voices and inhuman noises colliding to form a bizarre but faithful rendition of a much-adored classic. The criminally underrated Huntsmen take a rusty cudgel to “Mother Goose”, turning it into a disorienting blizzard of slow-motion doom and drawing poignancy and pathos from TULL founder Ian Anderson‘s eccentric poetry. Norwegian rock mavericks Motorpsycho give “Up To Me” the lysergic rejig it deserves, replete with rasping flute flurries and a rumbling bassline that rattles along on its own momentum. Big Scenic Nowhere‘s “My God” is an incendiary, garage doom delight. Jethro Tull’s best-known song, “Locomotive Breath”, is given plenty of respect by The Sword, but the band’s delight at the whole thing is self-evident, and vocalist J.D. Cronise does a superb, double-take-demanding Ian Anderson impersonation. Like everything else on “Aqualung Redux”, it works brilliantly and shines fresh light on an album that many ageing rock fans will have listened to a thousand times.
Less a cover album, and more a tribute like For the Masses, this is an eclectic collection of mostly harder musical styles. It’s interesting to hear just how influential Jethro Tull has been.
The Fat Angel Sings 