Posts Tagged ‘Cherry Red Records’

Intended to capture their explosive and hugely popular live set in the studio, “A Different Compilation” sees Buzzcocks, led as ever by Pete Shelley and Steve Diggle, re-visit 24 of their best loved songs, bringing a new energy to those familiar tunes.

Performed with all of the energy and pace of a live show, and captured in a raw and uncompromising state, ‘A Different Compilation’ sits as a perfect companion to the original recordings, and was a huge hit among fans on its original release. All of these songs in their original studio versions. It was a brave thing for Buzzcocks to revisit these old songs and give them a new coat of polish, but it works nicely. Pete Shelley mentioned that many of the earlier recordings sounded like demos, and he is right to an extent. However, the original recordings sounded crisper and less ‘muddy’. Some of the songs have a new slant, others are faithfully reproduced, but all in all this makes for a thoroughly enjoyable listening experience. It’s refreshing to hear these newer live versions. Production is more grungy and heavier sounding. Apart from that they have not attempted to embellish them which is good. Noticeable tracks are Boredom sung by Shelley and Love is Lies which is more electric than the original acoustic version. 

A Different Compilation” sits as a perfect companion to the original recordings, and was a huge hit among fans on its original release. Now available on vinyl for the first time, and spread across two glorious pink LPs, this is the perfect opportunity to revisit some old friends and see how well they’ve grown!

Now available on vinyl for the first time, and spread across two glorious pink LPs, this is the perfect opportunity to revisit some old friends and see how well they’ve grown!


The core of Trapeze can be traced back to Midlands band Finders Keepers in the late 1960s, featuring future Whitesnake guitarist Mel Galley, future Judas Priest drummer Dave Holland and the mercurial talents of Glenn Hughes on bass and vocals. After being discovered by The Moody Blues, they were snapped up for their own label, Threshold Records.
Trapeze would record three classic albums for Threshold; the self-titled “Trapeze” in May 1970, “Medusa” in November 1970 and “You Are The Music We’re Just The Band” in 1972.

By the time of their second album, Trapeze had scaled down to the classic power trio of Galley, Holland and Hughes, finding their definitive sound with a unique blend of blues, soul and hard rock, earning them plenty of fans in America.

One of Trapeze’s major strongholds in the States was Texas, so we’re lucky to be able to present a complete 1972 show from Houston recorded live in concert to promote their third record. Featuring ‘Way Back To The Bone’, ‘You Are The Music’ and ‘Keepin’ Time’ from “You Are The Music We’re Just The Band”, the remainder of the set was taken from second LP, “Medusa”. This double live LP includes truly epic renditions of ‘Jury’, ‘Seafull’, ‘Your Love Is Alright’ and the title track of “Medusa”.

Glenn Hughes would leave Trapeze to join Deep Purple in 1973, with Mel Galley and Dave Holland carrying the Trapeze banner for the remainder of the 1970s, periodically reforming this classic three-piece line-up. Glenn would eventually form Hughes / Thrall Band, join Black Sabbath, enjoy a successful solo career, collaborate with artists as varied as Gary Moore, Joe Lynn Turner and the KLF, founding Black Country Communion and California Breed, and currently fronts The Dead Daisies.

Released through Cherry Red Records, 12th June 2021 Limited Edition 180 Gram Gatefold Double LP

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L7 formed in Los Angeles in 1985 when Suzi Gardner (guitar, vocals) and Donita Sparks (guitar, vocals) joined forces with Jennifer Finch (bass, vocals). An all female band in a traditionally male-dominated, often sexist rock arena, L7 were happy to court controversy through spirited, occasionally infamous live performances, whilst playing songs often infused with humour as much as bite and bile. Having emerged from L.A.’s art punk scene, their music was a mixture of hard rock, alternative and punk, but they are arguably most synonymous with the grunge movement of the late 1980s and early 1990s.

Packed with bonus tracks, artwork and memorabilia, “Wargrasm: The Slash Years 1992-1997″ includes new, extensive liner notes based on interviews with the band.”

From the L7 album “Smell The Magic”,

Through Rock For Choice they proved to be a band with a sociopolitical conscience too. Their music was a mixture of hard rock, alternative rock and punk rock, but they are arguably most synonymous with the grunge movement of the late 1980s and early 1990s. Releasing their self-titled debut on Epitaph Records (home of The Offspring and Bad Religion), their grunge credentials were cemented by the release of second record “Smell The Magic” released on Seattle’s Sub Pop, some-time home for many grunge lynchpins, including Nirvana, Soundgarden and Mudhoney, among many others.

In 1990, the classic line-up was completed by Dee Plakas on drums. Signing to Slash Records (Faith No More, Violent Femmes), they released their major label debut “Bricks Are Heavy” in 1992, produced by Butch Vig (Nirvana, Smashing Pumpkins, Garbage). Lead single ‘Pretend We’re Dead’ gave L7 a massive worldwide hit, especially in the States, followed by the singles ‘Everglade’ and ‘Monster’. The expanded edition of “Bricks Are Heavy” includes ‘Pretend We’re Dead’ (Edit), ‘Lopsided Head’ (B-Side), ‘Used To Love Him’ (B-Side), a cover of the tongue-in-cheek Guns N’ Roses track and ‘Freak Magnet’ (B-Side).

Touring with Nirvana and Hole, as well as appearing on the main stage at Lollapalooza, L7 followed up “Bricks Are Heavy” with “Hungry For Stink” in 1994. Featuring the single ‘Andres’, this expanded edition features ‘Baggage’ (Live), ‘Punk Broke (My Heart)’ (B-Side), ‘Stuck Here Again’ (Edit) and ‘Interview’ (B-Side).

During the recording of their third album for Slash record, Jennifer Finch left the band, eventually replaced by Belly’s Gail Greenwood. Their fifth record, “The Beauty Process: Triple Platinum”, was released at the beginning of 1997, and although their shift in direction received plenty of critical praise, it was their last album for Slash Records. ‘Off The Wagon’ was issued as a single, with the B-Sides ‘Guera’ and ‘Worn Out’ included as bonus tracks, alongside ‘Drama (Piss Off Version)’.

 L7 would record one more album during the 1990s before calling it a day in 2001. They would reform in 2014, touring extensively, and enjoying a creative renaissance, releasing their seventh album “Scatter The Rats” in 2019.

Packed with bonus tracks, artwork and memorabilia, “WARGASM – THE SLASH YEARS 1992-1997” includes a new, extensive liner note based on interviews with the band.

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Among the crop of Creation Records bands in the mid-1980s, THE LOFT seemed the most likely to break through. Following the success of The Smiths, guitar-based independent pop was in vogue, Alan McGee’s Creation label was turning heads – its bands blending 60s psychedelia, the melodic end of punk and a new sound which would soon be immortalised on NME’s C86 cassette. And in this London quartet, Creation had their answer to bands like Television, The Only Ones or early Modern Lovers, offering taut, off-kilter songs with an irresistibly deadpan cool.

Sadly, after just two singles, 1984’s downbeat debut ‘Why Does The Rain’ and the punchier sequel, ‘Up The Hill And Down The Slope’ – an indie hit which the band performed live on TV show The Oxford Road Show, The Loft dissolved, with various members founding new bands The Weather Prophets, The Caretaker Race and The Wishing Stones. They left behind seven studio tracks, a BBC Radio 1 session for Janice Long and one track from a Creation LP documenting the scene’s roots in small club The Living Room.

However, The Loft’s legend endured, eventually prompting a reunion in the early 2000s with all four original members – singer/songwriter/guitarist Pete Astor, guitarist Andy Strickland, bassist Bill Prince and drummer Dave Morgan. Alongside various well-received live shows, that led to a new single, ‘Model Village’ (2006) and more recently a session for Gideon Coe on BBC 6 Music (2015). The Loft’s reputation as founding fathers of a new breed of mid-80s indie pop continues to grow to this day, with the band often cited as an influence.

Compiled and coordinated by the band, “Ghost Trains & Country Lanes” expands on previous retrospectives of The Loft, adding those reunion recordings (including three previously unissued tracks), the Gideon Coe session and several live recordings from that historic performance at The Living Room back in 1984. (including many exclusive songs which were never recorded in the studio).

• With new sleeve-notes by Danny Kelly, this is the definite tribute to The Loft. And with the release on 20th March of Creation Stories, the film adaptation of Alan McGee’s autobiography, the timing couldn’t be better.

Released 23rd April on Cherry Red Records. 2 CD, 8 new songs, 17 previously unreleased recordings, 30 tracks including a Living Room club set from ‘84.

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Chapterhouse were a British shoegazing/alternative rock band from Reading, Berkshire, . Formed in 1987 by Andrew Sherriff and Stephen Patman, the band began performing alongside Spacemen 3. They released two albums entitled Whirlpool (1991) and Blood Music (1993). After the band split in 1994, Sherriff later formed Biocom. The group temporarily reformed in 2008 after being asked to join Ulrich Schnauss onstage to perform his cover version of their song “Love Forever” at the Truck Festival in Oxfordshire. The band finished the brief reunion with two gigs in London (2009–2010) and tours in North America and Japan in 2010.

Chapterhouse took the unusual step of rehearsing and gigging for well over a year before recording even a demo tape. Initially lumped in with the British acid rock genre, this became modified to shoegazing, despite early sojourns including supporting Spacemen 3. They were deemed to have joined fellow shoegazers such as Lush, Moose, Ride and Slowdive.

Bassist Jon Curtis left early on to study, being replaced by Russell Barrett . Chapterhouse signed to the newly formed Dedicated label, releasing a series of singles, including “Pearl”, which featured guest vocals by Rachel Goswell of Slowdive .

The band’s first album, “Whirlpool”, released in 1991, has been cited as one of the genre’s high points, but failed to capture a wider market In the same year, Chapterhouse also appeared in their home town Reading Festival immediately following Nirvana’s performance.

The band’s second album “Blood Music”, stylistically different, was released in 1993. Singles from the album, “She’s a Vision” and “We Are the Beautiful”, were relatively successful. Some copies of Blood Music included a bonus disc “retranslated” by Global Communication, called Pentamerous Metamorphosis that was withdrawn due to a sampling lawsuit, but later reissued in a slightly altered version.

The band then released no further new material other than a double album, Rownderbowt in 1996, compiling their singles, various B-sides, rarities and unreleased demos which featured Slowdive drummer Simon Scott. Sherriff went on to form and Rowe went on to play guitar for Mojave 3. Bates formed Cuba and now plays in the British folktronica band Tunng, and Chapterhouse ceased for almost fifteen years.

The music of Chapterhouse was mostly out of print on CD until March 2006, when Cherry Red Records reissued the album Whirlpool with bonus tracks, and for the first time, lyrics.

The band played a version of “Love Forever” with Ulrich Schnauss on the Barn Stage at the 2008 edition of Truck Festival. In response to requests over the years, Chapterhouse played live at Club AC30’s Reverence show at the ICA in November 2009 along with Ulrich Schnauss and Kirsty Hawkshaw. This was preceded by a warm up show at the Luminaire in Kilburn. The band also played at The Scala in London March 2010, and undertook short tours of Japan in April 2010 and North America in May 2010. The North American tour had to be postponed due to the Icelandic ash cloud cancelling flights, stranding Patman in Japan. Chapterhouse rescheduled the North American tour for September and October 2010. No plans were made for any other shows and the band ended the brief reunion in 2010.

Since 1997, Sherriff has been working as a composer/sound designer for an Emmy Award-winning music production company Adelphoi Music. Patman and Bates joined him later in 2001.

The band comprised Andrew Sherriff (guitar/vocals), Stephen Patman (guitar/vocals), Simon Rowe (guitar), Jon Curtis (bass) and Ashley Bates (drums)

Studio albums

  • Whirlpool (1991) 
  • Blood Music (1993)


  • Rownderbowt (1996)
  • The Best of Chapterhouse (2007)


  • Freefall (1990)
  • Sunburst (1990)
  • Pearl (1991)

The final album from Be-Bop Deluxe, “Drastic Plastic”, is getting an expanded release. The 1978 recording is receiving a newly re-mastered, limited edition, 6-disc deluxe (naturally) boxed set (comprising four CDs and two NTSC – Region Free DVDs), including 43 previously unreleased tracks. The set arrives March 5th, 2021, via Cherry Red Records.

“Drastic Plastic” was recorded in the summer of 1978 in the south of France utilizing the Rolling Stones’ mobile studio, with final sessions taking place at The Manor Studio and Abbey Road Studios. The record saw Bill Nelson (vocals, guitars, keyboards), Charles Tumahai (bass, vocals), Andy Clark (keyboards) and Simon Fox (drums) venture into new musical styles, with the album being ground-breaking in its move to more art rock and new wave influences.

Co-produced by Nelson and John Leckie, the English progressive rock band’s Drastic Plastic featured such songs as “Electrical Language,” “Panic in the World,” “New Mysteries,” “Islands of the Dead” and “Surreal Estate.” The recording sessions produced many more tracks which would appear as singles and others that were originally planned for release as an EP set, all of which eventually appeared on the retrospective compilation The Best of & the Rest of, later that year.

This expanded deluxe reissue has been newly re-mastered from the original master tapes and features an additional 88 tracks, drawn from new 5.1 surround sound and stereo mixes from the original multi-track tapes by award winning engineer Stephen W. Tayler, previously unreleased out-takes from the album sessions, a BBC Radio John Peel Show session from January 1978, along with a CD of Nelson’s previously unreleased demos for the album, A Feeling of Playing.

Also included is an additional DVD featuring Be-Bop Deluxe in the south of France, (a collection of Bill Nelson’s 8mm home movies shot while recording Drastic Plastic) and the band’s “Sight & Sound in Concert” performance for BBC TV from 1978.

“Drastic Plastic” (1978 album; remastered four-CD, two-DVD box set, featuring an additional 88 tracks, 43 of which are previously unreleased, drawn from new 5.1 surround sound and stereo mixes from the original multi-track tapes by engineer Stephen W. Tayler, etc.; Expanded & Remastered Edition, two CDs; Esoteric Recordings / Cherry Red)

The boxed set includes a lavishly illustrated 68-page book with many previously unseen photographs and an essay of recollections by Nelson. The set includes postcards and a replica poster.

The set arrives March 5th, 2021, via Cherry Red Records.

If you know Gang of Four, PiL and The Slits inside and out, this three-disc box sets heads mostly to the fringes of the original post-punk disco scene

Making for a nice follow-up to the EXEK reissue is this new three-disc compilation of scratchy disco from the original post-punk era. The mix of funk, disco, punk, dub and bleak industrial noise is formative to this writer and its a sound that will forever be appealing to me, whether it’s the original article (Gang of Four, ESG, PiL, The Slits, The Pop Group), the ’00s second-wavers (Liars, Yeah Yeah Yeahs, Radio 4, Franz Ferdinand), and more recent acts like EXEK or Working Men’s Club.

For those who think they’ve heard it all, as well as folks who only casually know the heavy hitters, new three-disc compilation “Shake The Foundations: Militant Funk & The Post-Punk Dancefloor 1978-1984” opens a few new doors and brushes the dust off some forgotten acts from the era. While it doesn’t have Gang of Four, The Slits or Au Pairs — probably for budgetary reasons — it does have great tracks from lesser-known acts like Medium Medium, The Higsons, PiL bassist Jah Wobble, punk poet John Cooper ClarkeGlaxo Babies, Blue Rondo A La Turk, Specials-offshoot Fun Boy Three, pre-Breakfast CluSimple Minds, very early Haircut 100Ian Dury, Bauhaus offshoot Tones On TailVisage, Furniture, Family Fodder, and more. There are also plenty of bands who are new to me, including The Chicken Granny, Viscous Pink, and C Cat Trance.

Bill Brewster, who wrote the great history of DJing, Last Night a DJ Saved My Life and compiled this box set, says he took the same approach to this collection as he would a DJ set. “The important thing was not to impress James Brown, emulate the Fatback Band or wear Kraftwerk’s game-face. The point was to have a go. ‘Shake The Foundations’ is not a comprehensive look at post-punk, so much as a shakily hand-drawn map of a particular area. It’s what happened when the post-punk fallout collided with the dancefloor, and forty years later we’re still feeling its effects.” 1980 single that also appeared on their Nine Months To The Disco debut album. Tony Wrafter, Dan Catsis and Charlie Llewellin eventually left and formed Maximum Joy with singer Janine Rainforth.

Shake The Foundations: Militant Funk & The Post-Punk Dancefloor 1978-1984 is out March 26th via Cherry Red Records. You can check out the full tracklist and preorder the album here and meanwhile this is the compilation’s title inspiration, Glaxo Babies’ “Shake the Foundations”:

In 1969, The Stooges were a truth serum, forcing hippiedom to belch up the reality that flowers and hope had become just another guise for hucksters and snake-oil salesmen to take advantage of the naïve. By 1973, however, The Stooges were no longer the mirror to an era’s hypocrisy. They were the representatives par excellence of desiccated overindulgence and self-destruction. Too many bad shows, too many blatantly underage groupies, too much booze, too high — way too high. While The Stooges’ noise-rotted nihilism, originality, and underrated musicianship have ensured their longevity, the final six months of the band, as captured on Cherry Red’s new box-set, “You Think You’re Bad Man: The Road Tapes ’73 – ’74” were a squalid and chemically-warped stagger toward total collapse.

The five live shows captured are all previously released, originally licensed by Tony DeFries’ MainMan management company to record labels like Revenge, Bomp!, and Jungle during the 1980s and 1990s. However, this box-set is a very welcome tidying up exercise with good packaging and liner notes, all at a fair price. For decades, delving into the vast quantity of Stooges deep-cuts meant investing in a chaotic mishmash of compilations, so the 21st century has been wonderful in terms of labels (Easy Action in particular) bringing professional curation to the Stooges output. This Cherry Red Records compilation is a part of that positive trend, and one can only hope they get a similar grip on the many studio demos still out there.

Going on tour with the defeated, newly label-less StoogesLos Angeles to Baltimore to New York, battered and defeated to their home, Detroit—via this Cherry Red box is akin to living through the hell of the worst tour ever, driving on Highway 1 with a cheap 1965 Chevy, low on gas, with its tires on fire and an incessant burning oil smell on your clothes. The car radio? Its speakers are blown, the perfect shredded tone for repeated, wired versions of “Search and Destroy,” the gothic “Gimme Danger,” and the stammering “I Got Nothin’.” The Cherry Red collection is the sound of brain-numbing, aggressive anger and disgust at a thousand nights of self-inflicted road food, drugs, and fucks tucked into a clamshell box.

It didn’t take long for The Stooges to acquire an afterlife. They played their final show in February 1974. In May 1975, Nick Kent wrote a multi-page feature for NME on the ups and downs of Iggy Pop and Co. In September 1975, Sounds reviewed a new album by the defunct band titled “Metallic KO”. One side of it was recorded at that final show.

“I’m a tasteless little bastard and I really enjoy it,” wrote Giovanni Dadomo of the wreckage captured on the vinyl. “It’s no great rock ‘n’ roll record per se. What I do believe is that it’s an astonishing piece of documentary work, revealing as it does the face of rock ‘n’ roll that few singers/musicians would ever be rude, angry, wrecked or impolite to reveal. Sure, it’s crass, conceited and unjustifiably vulgar plus a hell of a lot of other singularly ‘unpleasant things’, but still I like it. A record that quite literally has to be heard to be believed.”

“Metallic KO” began an apparently never-ending series of post-split Stooges releases. Few are essential – like the wonderful “Live at Goose Lake” August 8th, 1970, released earlier this year. Most are for the committed or completists. An intermittently great and handy one-stop collection collating various previously issued live releases, the new “You Think You’re Bad, Man? The Road Tapes 1973-74″ is in the latter camp.

A five-CD clamshell box with a booklet (its band pics and the cover shot are from 1972, not the period of what’s heard), You Think You’re Bad, Man? includes these shows: The Whisky a Go Go, L.A., 16th September 1973; Michigan Palace, Detroit, 10th October 1973; The Latin Casino, Baltimore (despite the credit it’s probably Cherry Hill, New Jersey), November 1973, The Academy of Music, New York (supporting Blue Öyster Cult. Kiss were also on the bill), 31st December 1973; Michigan Palace, Detroit 9th February 1974. The two Michigan Palace were filleted for Metallic KO.

It’s a bumpy ride, not just because of the spotty sound quality which ranges from a bootlegger’s “B” to “A-“. The Whisky gig is pretty tight, and its “Search and Destroy” and “Open Up and Bleed” are great; the best versions in the box. The New York show is a disorderly mess. The two Michigan Palace shows are well known, have been round the block many times and, of them, the final outing of the band is worse than a mess. The sound quality of the relatively disciplined Baltimore show is the poorest of them all, but it does have the box’s top run-through of “I Need Somebody”.

The Stooges of this period were in choppy waters. The Raw Power album had been released in February 1973 and guitarist James Williamson left in June. After a spell as a porn cinema projectionist, he returned to the band late that month with the proviso that a piano player came on board. First, that role was filled by Bob Scheff. Then, from late July, Scott Thurston joined. He appears throughout, with plinkity-plonk or barrelhouse playing which distracts. It is no fit with the band. The Stooges did not need Mrs Mills, or any piano player. Other wobbles came when the band’s management ditched them in August. Their label Columbia had already done so.

Nonetheless, there were snatches of the positive. In Raw Power’s wake the band had new songs and were clearly thinking of their future. A lot are heard on You Think You’re Bad, Man? “Open Up And Bleed” and “Head On” are the best. “Heavy Liquid” was good. “Cock in my Pocket”, “I Got Nothin’”, which prefigures The Stones’s “Fool to Cry”, and the puerile boogie rocker “Wet My Bed” are OK. The infantile, silly “Rich Bitch” is not alright. A new album could have been made. There was label interest too. In October 1973, Elton John wanted The Stooges for his Rocket Records imprint. But it all fell apart in February 1974. You Think You’re Bad, Man? is a series of bullet points in the narrative of the band’s collapse.

These are not the only post-Raw Power shows which have been released ). The 2010 Raw Power box included a scrappy October 1973 Atlanta gig with loads of the annoying piano – it was recorded off the sound desk though, so sounded fine. The 2005 Heavy Liquid set had one from Max’s in NYC from 30th July 1973 and another played in San Francisco in January 1974, as well the Whisky show.

This endless afterlife is further confirmed by another new release. Titled From K.O. To Chaos, it’s an 8-disc box set of random Iggy sniff-snaff. It includes Metallic KO on one disc, and its source shows on another two other discs – each of which is also collected on You Think You’re Bad, Man?

Although You Think You’re Bad, Man? The Road Tapes 1973-74 says nothing new, it neatly chronicles The Stooges in the wake of Raw Power’s release. The album was recorded in September and October 1972 and a year and more later, without a label and management, they had not given up. They could be dreadful. But they could also be impressive. It’s a disparity coursing through these five discs – five discs of shows which were originally never meant to be recorded and released, or even listened to.

The announcement that Lush’s Miki Berenyi had formed a new group called Piroshka was pretty exciting on its own but learning the rest of the line up made it even more so. The rhythm section is former Elastica drummer Justin Welch (who was Lush’s drummer on their 2016 comeback tour) and Modern English bassist Mick Conroy (who filled in for Phil King who quit Lush right before their final show). But the real excitement for me was learning that KJ McKillop of Moose (and who has two kids with Miki) was part of the band too.

Not a lot of people remember Moose, who formed in 1990 and were part of that initial UK wave of bands that formed right after My Bloody Valentine and Ride blew up in ’88/’89. It’s also generally accepted that the term “shoegaze” was first used in a Sounds review of an early Moose gig — they said singer Russell Yates spent more time looking at the lyric sheet taped to the floor than the audience so they earned their place in indie history right there. But they were also one of the best bands to come from that scene, even though they largely abandoned the loud guitar miasma sound after their first two (great) EPs. Starting with 1991’s Reprise EP, Moose let singer Russell Yates‘ vocals come more to the fore (it turned out he had an appealing, low key melancholic voice) and distortion pedals gave way to jangly guitars and country influences.

With their debut album ...XYZ, which they made with Let’s Active main man and early R.E.M. producer Mitch Easter, there were no heavy elements in their sound, though “dreampop” still applied. They also discovered strings which, along with even stronger country flourishes, really shaped the sound Moose would carry out through the rest of their career. XYZ is one of the ’90s great lost albums — their label Hut dropped them and deleted it a week after being released — filled with sparkling, understated guitar pop with gorgeous, inventive arrangements that reveal new layers with repeat listens. It’s also got a cover of Nilsson’s “Everybody’s Talking” and guest vocals from Dolores O’Riordan whose band The Cranberries were still a year away from releasing their debut album. XYZ was, from the start, almost impossible to find (especially in America) but Cherry Red reissued it on CD in 2014 with a bunch of bonus tracks, including the U.S. Sonny & Sam compilation of Moose’s early EPs (which I think was their only U.S. release ever). If you’ve never heard this album, fix that today!

After an EP on their own label, Moose signed with PIAS for their next two records: 1993’s Honey Bee, which furthered their string-laden country dreampop sound; and 1995’s Live a Little, Love a Lot, which took them into jazzier territory. Both records featured Mick Conroy (who’s now in Piroshka) and The Cocteau Twins’ Elizabeth Fraser on guest vocals (which wasn’t too hard of a get as Moose bassist Lincoln Fong was a recording engineer at the Cocteau’s studio, and his brother [and Moose guitarist] Russell makes handcrafted guitars and basses that Robin Guthrie and the band used). Around this era they also had incredible drummer Richard Thomas who played on records by Cocteau Twins, The Jesus and Mary Chain, Felt, Dif Juz, The Wolfgang Press, and more.

Moose’s final record would come five years later — 2000’s High Ball Me! which saw them incorporating loungey, Mondo Morricone-esque elements to their sound. Moose went silent almost immediately after High Ball Me!’s release though they never officially broke up. All four of their albums are terrific and worth seeking out, though only ...XYZ and Live a Little Love a Lot are on streaming services.

One more note: Even though onetime 4AD artist Chris Bigg designed the Piroshka logo, I would love to see the group work with Laura Lockton, who designed the stunning covers to Moose’s first three albums.

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There are two ways of remembering the late Mick Ronson. One is as the immortal guitarist/pianist/arranger for David Bowie, before (or after) sprinkling magic across everyone from Ian Hunter to Bob Dylan, from Elton John to Ellen Foley, and so many more that there’s no room to list them.  And the other is as the purveyor of two of the most amazing albums that the 1970s ever birthed, before he decided he really didn’t want to be the star of his own show, and got back to making other people sound astonishing. In 1970, Mick Ronson changed the career of David Bowie and went on to work with Lou Reed, Bob Dylan, John Mellencamp, Morrissey and more.

Although Ronson’s career was defined by his time with Bowie, there was a significant before and after. In the 1960s he played in various Hull groups, including The Mariners, who were advised by Rolling Stone Bill Wyman to change their name to the King Bees at around the time Bowie was also fronting a group called Davie Jones And The King Bees; and The Rats, whose main claim to fame was a 1967 single called The Rise And Fall Of Bernie Gripplestone.

Benny Marshall was The Rats’ lead singer and a close friend of Ronson. “Mick was the best guitarist in Hull, so when he left to head down south and join Bowie, I was pretty upset,” he says. “John Cambridge, our drummer, had played with Bowie on [the album] Space Oddity. He was the bloke who went back to Hull in January 1970 with the brief to find Ronson and bring him to London. He found Mick marking out the lines on the municipal football pitch.”

Cambridge did as instructed and the pair were introduced at the Marquee club, where Bowie was playing on February 3rd, 1970. Two days later Ronson had learned the riffs and song structures well enough to back Bowie, Cambridge and Tony Visconti for a John Peel Radio 1 show live in concert at the Paris Theatre in Lower Regent Street in London. They did 15 songs, including a new number, Width Of A Circle, and plenty of material from Bowie’s recently released self-titled second album. Reaction was positive. This was better than Bowie’s regular gig at the Three Tuns pub in Beckenham. Ronson moved into Bowie’s Haddon Hall apartment on Southend Road in Beckenham and became part of the family.

Having tired of the hippie collectivism, Bowie wanted to make a hard rock album. As Visconti said later: “We respected groups like Cream, but we didn’t have that in us. We needed someone to be [that] important element, and that somebody was Mick Ronson.” Everyone loved Ronson’s laconic Northern humour too, especially Bowie, whose father and mother came from Yorkshire and Lancashire respectively. He’d send Ronson up and get just as good back.

Before this auspicious occasion, bass player Rick Kemp had also scouted Ronno to play on fellow Yorkshireman Michael Chapman’s second album, Fully Qualified Survivor. “Michael said his producer Gus Dudgeon didn’t want him to play electric guitar,” says Kemp, “and asked me did I know anybody? I mentioned Ronson, which wasn’t a good career move for me, letting this little runt in. Gus told me to find him. I was driving a Morris 1000 with the wings flapping off and I spotted him working, mowing lawns. I put the question: ‘Do you want to play on an album?’ He replied: ‘What do you mean? One that’s in the shops for sale, like? And I get paid?’ I took him down to London, and within minutes of arriving he’d got the runs for glory.”

Tony Visconti insists that Ronson came to Trident Studio in September 1969, when the David Bowie album was being finalised: “Mick came to the mix of Wild-Eyed Boy From Freecloud, and was persuaded to play a little guitar line in the middle part and joined in the handclaps on the same section.”

In April, sessions began for The Man Who Sold The World. It was a brilliant album, but another commercial flop. It was so badly received that Bowie was convinced to ditch the band, and Ronson, Visconti, ex-Rat Woody Woodmansey and Marshall took the collective name Ronno and released a single, 4th Hour Of My Sleep/Powers Of Darkness, a freestyle rock-metal affair that showcases Ronno’s blistering Les Paul playing. It sank without trace, although Vertigo Records later included both sides on their Superheavy Vol 1 and 2 compilations.

Later on, Ronson’s crunching heavy metal attack, allied to arcane Wagnerian, dystopian, mind-fuck lyrics, was hailed as a masterpiece. Certainly Ronson’s contributions to Bowie tracks such as She Shook Me Cold, Running Gun Blues and the epic Width Of A Circle cemented his place, leading Bowie to call him, with a smug smile, “my Jeff Beck”.

Bowie’s 1970 album “The Man Who Sold The World” had not been a commercial breakthrough, but it added to Ronson’s confidence. Visconti and Ronson had masterminded the sound, dashing off arrangements in the Minstrel Gallery or the basement at Hedonism Hall while Bowie canoodled with Angie elsewhere, chucking out lyrical fragments in between romps. She Shook Me Cold, the dirtiest song he ever wrote, was directly about Mrs Bowie, but it was Ronson who provided the Jimi Hendrix-style intro and the power trio setting à la Cream. Later, Angie lamented the fact that Ronson didn’t receive the publishing he deserved: “In terms of kudos and feeling that one is valued, it would have been nice for Mick Ronson to have had publishing credits.”

Ronson had already written a mini-score for four recorders, used in the break in All The Madmen. It was a start. “I thought: ‘Well, if you can do that then so can I.’ I went out for dinner with Dana Gillespie, who had tracks that needed strings, and David said: ‘Oh, Mick’ll do that!’ I never had, but it was great. It was all done in your head and then straight to piano and guitar. David pushed me forward. That was his thing. He made stuff happen.”

Bowie was now heavily reliant on Ronson. On Hunky Dory the guitarist finally got his credit, as the arranger of Changes, Life On Mars?, Kooks, Quicksand and Biff Rose’s Fill Your Heart, virtually copied note for note. In retrospect many have noticed how similar the sound of Hunky Dory is to Michael Chapman’s Fully Qualified Survivor, including Chapman himself.

Ronson wasn’t fazed by his burgeoning role, giving the Royal College Of Music-trained Rick Wakeman instruction for the now iconic piano parts on Life On Mars?. On the Ziggy Stardust epic Five Years, his string section whipped up the hysteria. On Suffragette City, it was Ronno who came up with the funky, lurching ARP synthesiser sound that many mistake for saxophones. All those years studying piano and violin and listening to string quartets in Hull paid off.

After the rise comes the fall. On October 20th,1973, Mick Ronson played with David Bowie on stage for the last time in that decade. Only 200 people saw the appearance in the flesh, shot for NBC’s The Midnight Special.  Dubbed The 1980 Floor Show, it was a strange day. Bowie serenaded supposed transsexual Amanda Lear on Sorrow, and he and Marianne Faithfull duetted on Sonny & Cher’s I Got You Babe. Marianne was wearing a nun’s habit with the back cut out and no knickers, so everyone in the band could see the most sought-after arse of swinging London, although the audience couldn’t.

Bowie hated the end results: “shot abysmally”. This was the night Ziggy Stardust truly left the building, which may explain why a smiling Bowie ended each song with an affectionate pat on Ronson’s white satin-clad back. The two men wouldn’t appear on the same stage together again until 1983, when they reunited for a song at a show in Canada on Bowie’s Serious Moonlight tour. In 1970, Mick Ronson changed the musical fortunes of David Bowie, a struggling singer-songwriter with two novelty hits behind him. Together, and with their band the Spiders From Mars, they reinvented Bowie musically and created some of rock’s best-loved albums: Hunky Dory, The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, Aladdin Sane. Afterwards, Ronson struggled to match that initial success,

If the Ziggy album was a Ronson tour de force, the follow-up, “Aladdin Sane”, was a mixed blessing for him. His contributions were immense, but so were those of recently arrived pianist Mike Garson, whom Ronson had auditioned, later advising him to “make yourself indispensable. That’s what David likes. Don’t just be a session man.”

His work on Lou Reed’s Transformer effectively rescued Reed’s career after his debut solo album had bombed. “It was a good experience for me,” said Ronno. “Lou’s guitar was always out of tune, so I’d kneel in front of him and tune it properly. He didn’t care, cos he was so laid-back.” And without his contribution, Transformer might never have got off the ground. “It came out pretty well,” Ronson said. “Though I didn’t know what the hell [Lou] was talking about half the time. He’d say stuff like: ‘Can you make it sound a bit more grey?’”

Fortunately the album was a roaring success. “Transformer” is easily my best-produced album,” Reed said. “That has a lot to do with Mick Ronson. His influence was stronger than David’s, but together, as a team, they’re terrific.”

In the summer of ’73, having finished his sessions for Bowie’s covers album “Pin Ups”, most of which he’d arranged as usual, Ronson returned to the Château d’Hérouville studios outside Paris and made his solo debut album, “Slaughter On 10th Avenue”Bowie chipped in from a distance, gifting the songs Growing Up And I’m Fine, Pleasure Man/Hey Ma, Get Papa and a rough translation of Lucio Battisti’s ‘Io vorrei, non vorrei, ma se vuoi’, now christened Music Is Lethal. RCA weren’t overjoyed with what they heard, and the album’s release date was put back more than six months to 1974.

This box set focuses on the latter, rounding up 1974’s “Slaughter on 10th Avenue” and the following year’s “Play Don’t Worry”, and then adding two further discs of sessions, out-takes, and live tracks that trace Ronson through 1976… no longer interested in making a new LP, but curious what it might sound like. A lot of these have leaked out over sundry past collections, and once past the thrill of hearing that voice, that guitar. But the two albums that preceded these tapes, the two that were released  in the wake of his departure from Bowie’s band, at a time when it seemed inevitable that Ronno would be rock’s next stellar superstar… they are a different matter entirely.

Slaughter was especially delicious, a combination of covers (Elvis, Annette Peacock, Richard Rodgers), Bowie originals (“Growing Up and I’m Fine” and the co-penned “Hey Ma, Get Papa”), and Ronson’s own work with former SRC frontman Scott Richardson, it stood – and still stands – as perhaps the ultimate statement on glam rock, a collection of songs that could journey from early rock to modern jazz, from dark Europa to vivid glitter, and make the whole lot hang together.

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Other bands on the circuit were playing with each of these elements individually… listen to “Hey Ma,” and there’s the blueprint for what Cockney Rebel would do next. “Only After Dark” was scything rock, “Growing Up and I’m Fine” would have suited Roxy Music. 

But the opening “Love Me Tender” and the closing “Slaughter” itself do more than bookend the party. They offer up their own interpretations of what music could be made to do, the first building slowly until the vocal breaks your heart; the last lifting you so high that nothing could bring you down after hearing it. And live, it was even more stirring.

In 1976, at the height of his cocaine addiction, Bowie had washed his hands of the good old days. “I gave them [his band the Spiders From Mars] more life than I intended,” he said. “And I was also getting honestly bored. There’s only so much you can do with that kind of band. I wanted no more to do with that loud thing. Hurt my ears. Wasn’t pleasing my mind too much either. Since then, poor Mick has completely missed his vocation. From his faulty solo career right on down. I’ve been disappointed. He could have been amazing. I just don’t know. Christ, I haven’t spoken properly with him in years.

Evidently Bowie’s cage was rattled by Ronson’s comment: “David needs someone around him to say: ‘Fuck off, you’re stupid.’ He needs one person who won’t bow to him.” Bowie’s reply was: “I’ve got God. Who’s Mick got?”. “There was certainly a time when David relied on Mick,” says singer Dana Gillespie, a fellow MainMan artist and mutual friend, “but he’d drop all communication with you. Mick was badly hurt when David never returned his phone calls.”

In fairness, Bowie became more charitable later. “Mick was the perfect foil for the Ziggy character,” he said. “He was very much a salt-of-the-earth type, the blunt northerner with a defiantly masculine personality, so what you got was the old-fashioned yin and yang thing. As a rock duo I thought we were as good as Mick and Keith.”

Within months Ronson was back in another band, joining Mott The Hoople for what would be their final single, Saturday Gigs. Ronson and frontman Ian Hunter had bonded back when Mick had knocked up a string arrangement for Mott’s Sea Diver, but the other Mott guys resented the arrival of this ‘rock star’ in their midst, with MainMan and RCA sending limos for their boy while Mott travelled together in a bus. Tired of the conflict, Hunter split the band.

Ronson went back to his solo career. Bowie didn’t take part in follow-up album Play Don’t Worry either, but allowed Ronson to use the backing track from the cover of the Velvet Underground’s White Light White Heat considered for the American attempt at a Pin Ups album but soon discarded.

Play Don’t Worry was excellent in parts. Not a natural songwriter, Ronson did himself proud on the opening Billy Porter, his take on Claudio Baglioni’s ‘Io me ne Andrei’, translated into Empty Bed, and versions of two songs by Pure Prairie League, whose 1972 album Bustin’ Out featured his guitar and strings.

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“Play Don’t Worry” was a more straightforward collection… the opening “Billy Porter” could have made it onto Slaughter without disturbing that album’s perfect equilibrium, but “Angel #9” looked back to Ronson’s work with the Pure Prairie League in the early Bowie days; “Girl Can’t Help It” was an excuse for him and Ian Hunter to go full-bore Little Richard on our ears; and “White Light White Heat” was an out-take from Bowie’s Pin Ups sessions, with Ronno’s vocal instead of the other guy’s.

It’s still a great album, hanging together with consummate ease, and hitting all the right spots – the solo that dominates “Angel #9” is one of his finest ever, and the self-penned title track shows what  cracking songwriter he was, just as  “This Is For You” illustrates what a great, and expressive, voice he had. Still it’s a shame that one of the finest performances on the session, a gentle piano-led cover of another Annette Peacock number, “Seven Days,” only made it out as a b-side, but it’s also one of nine bonus tracks appended to the album, so that’s alright then. (Eight join Slaughter.)

Ronson returned to the studio with Bowie to create demos for future Diamond Dogs tracks 1984 and Dodo. His work wouldn’t appear on the finished album, a creepy, avant-garde affair, but his trademark guitar style did in the shape of Rebel Rebel, almost a Spiders From Mars pastiche riff, played now by Bowie, Ronno’s platinum-coated spectre was fading into the background.

After Bowie and Lou, where do you go? Ronson produced and played on Ian Hunter’s magnificent debut solo album, with that signature opening flash of epic genius, “Once Bitten Twice Shy”, and Hunter inspiring one of Ronson’s most fearsome solos by showing him a bad review for Play Don’t Worry before he went in to lay down a guitar part on The Truth, The Whole Truth, Nuthin’ But The Truth.

In 1975 Ronson moved to New York, rented a place on Hudson Street near the Meatpacking District and enjoyed the city with his best friend Hunter, who had provided safe haven via Mott The Hoople, Mott and the Hunter Ronson Band.

This is where they met Bob Dylan, who invited Ronson to join his band of gypsies, the Rolling Thunder Revue, after a meet engineered by Dylan’s main fixer, Bob Neuwirth. That evening began at the Bitter End on Bleecker Street. “We weren’t Dylan fans at all,” .“Mick thought he sounded like Yogi Bear. But Ian took us anyway. And Dylan played the Desire album and he was mesmerising, Ronno was soon back with Hunter, appearing on You’re Never Alone With A Schizophrenic and Welcome To The Club. With his solo career on hold, he became a full-time producer. He worked with Van Morrison, John Mellencamp and Roger McGuinn, and there was production work with artists as varied as David Cassidy, Slaughter And The Dogs and the Rich Kids.

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Again, there’s nothing here that hasn’t seen the light of day before, but having them all in the same place is definitely a bonus, and there are some glorious inclusions, including a cover of Bowie’s “Soul Love” that Ronson retitles “Stone Love,” and decidedly NOT a cover of “Life on Mars,” which is the song he performed during his solo spot on the Rolling Thunder Revue.

A handful of tracks from a projected Ronson live album include another b-side, “Leave My Heart Alone,” which is also another Pure Prairie League track;  there’s some jams and alternate versions, and even an interview recorded for Teen magazine in 1974, and given away free as a flexidisc.  Oddly, and completely out of place, there are also two numbers recorded on the 1979 Hunter-Ronson tour, but both fit in perfectly… a tremendous version “Angel #9,” and the show’s traditional opening number, the Shadows’ “FBI.”

The accompanying booklet tells Ronson’s story well, and pulls some great images from the archive, and with his own seventies catalogue now neatly corralled, maybe we can start to dream about the other box set Ronson deserves, documenting his life as a sideman. Morrissey has the fondest memories. “Everyone who worked with Mick expresses devotional love for him, whereas people who worked with Bowie express admiration. Mick told me that he alone wrote the main guitar hooks for Starman, The Man Who Sold The World and others – not just hooks, really, but grand choruses in themselves.

Ronson played guitar on Your Arsenal but didn’t want a credit. “Again this was Mick’s unaffected Cinderella aspect, which I later saw in Jeff Beck when I worked with him on my Years Of Refusal album,” Morrissey recalls. “Jeff and Mick were identical in the way that they would quietly pick up their guitars without fanfare, and as they sat in the corner they’d plug into the desk and a tingling earthquake would erupt without any discourse. And they both made their guitars sound like grand pianos.”

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In the late 1980s, Ronson’s health began to cause concern. He was diagnosed with liver cancer, something he neither made a secret of nor chose to acknowledge as a threat. Instead he threw himself into projects such as Morrissey’s Your Arsenal and Bowie’s Black Tie White Noise. He also kicked off a fine version of All The Young Dudes with Bowie and Hunter at the Freddie Mercury Tribute Concert at Wembley Stadium on Easter Monday, 1992, which was the last time his fans saw him on stage.

On Ronson’s posthumously released Heaven And Hull, he wrenched out some of his finest ever work, particularly on Dylan’s Like A Rolling Stone, with Bowie’s astounding vocal inspiring the guitarist to take the song to another planet. And he still had enough time to play on The Wildhearts’ My Baby Is A Headfuck, recorded weeks before his death on April 29th, 1993. He spent his last hours in the company of Hunter, Suzi and sister Maggi at Tony Defries’s house on Hasker Street in West London.

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