Rhino Records’ annual Rocktober promotion is back and this year it features 54 limited-edition vinyl pressings of classic albums by artists such as INXS, Love, The Pretenders, Alice Cooper, Joni Mitchell, Devo, Type O Negative, Phil Collins, Nada Surf and many more.
Of note, Rhino has reissued ZZ Top’s multi-platinum Greatest Hits compilation as a 2LP set on translucent yellow and blue vinyl as part of the promotion exclusively for brick and mortar stores. Originally released in 1992, ZZ Top’s Greatest Hits album compiles 18 tracks from their early career that highlights everything from their gritty blues-rock beginnings to their MTV-assisted 80’s resurgence.
The Texan trio consisted of guitarist/vocalist Billy Gibbons, the late bassist Dusty Hill and late drummer Frank Beard, and together they created some of the most memorable blues-rock records of all time. Representing their early days are tracks like their first ever Top 40 hit, “La Grange” from the 1973 album Tres Hombres, and the inescapable and infectiously catchy “Tush” from Fandango! Their Texas-inspired brand of blues rock was and is the stuff of legend with the strutting swagger to back up claims like, “I’m Bad, I’m Nationwide.”
A decade later, alongside the rise of MTV in the 80’s, ZZ Top found a new audience and the hirsute trio delivered iconic videos for their tracks, “Legs,” “Sharp Dressed Man” and “Gimme All Your Lovin,'” from the 1983 album Eliminator. With the addition of tasteful synths, the trio updated their sound without losing track of who they were. Beard, who was already the most in-pocket drummer in rock, incorporated electronic rhythms into the mix – especially on the danceable standout single, “Planet Of Women,” from the 1985 album, Afterburner – and at times, it was honestly hard to tell the difference…a testament to his skill.
Originally released in 1992, the compilation also included two new tracks at the time; the Delta blues and surf-inspired “Gun Love” and the Dusty-sung cover of the Elvis Presley opulent classic, “Viva Las Vegas.”
In the last few years, members of ZZ Top have sadly passed away with only Gibbons left to carry the torch and this Greatest Hits compilation does that as well. It is the best introduction for new fans and a great addition for longtime fans of the band. –Justin Kreitzer for Icon Fetch
REVIEW: The Cranberries – Live At The London II, 1994
Recently, Island/UMe and The Cranberries have been reissuing and releasing expanded deluxe editions of the 90’s alt-pop band’s studio albums and have also reissued their rare debut EP as well. Now they have issued a new, never-before released live album, Live At The London Astoria II, 1994, out now digitally, on CD and as a 2LP set in black or limited edition molten lava vinyl.
The remastered live album captures a special set recorded at the legendary London venue to an intimate crowd during a time of transition. The band was riding high on the success of their 1993 debut album, Everybody Else Is Doing It, So Why Can’t We? and were about to release their breakthrough sophomore album, No Need To Argue. The 15-track setlist is comprised of several fan favorites such as “Linger,” “Dreams” and Pretty” from their stunning debut. And, they debuted several songs that would be included on their sophomore album, including an exciting early version of their smash hit single, “Zombie”. Also included are live versions of two non-album tracks, including “Liar,” which would show up later on the Empire Records Soundtrack in 1995, and the “Ode To My Family” B-side, “So Cold In Ireland.”
Live At The London Astoria II, 1994 shows The Cranberries in rare form, just as they were on the verge of super-stardom. The band sounds relaxed and at ease, like they are having just as much fun as the fans in attendance in such an intimate setting, after coming off a huge United States arena tour. It is the perfect document for fans of the Irish quartet and yet another opportunity to hear the spectacular voice of the late Dolores O’Riordan. —Justin Kreitzer for Icon Fetch
Van Morrison – Moondance (Rhino Reserve – Vinyl Review)
There is no better example of an album that sounds best on vinyl than Moondance, the 1970 LP from Van Morrison. The laid back, sensual delivery coupled with the acoustic instrumentation, makes this a perfect fit for listening in analog. Rhino Records has just reissued this classic in their Rhino Reserve, high-quality vinyl series.
We put it to the test – comparing it to our original, green-label Warner Brothers pressing.
First of all, this new release sounds fantastic. The low end is quite a bit more pronounced than my original, really showcasing the excellent bass playing of John Klingberg. All this is on display on the very first track, “And It Stoned Me.” The acoustic guitars and sax are bright, and the piano is warm and full.
“Moondance” just jumps out of the speakers, and the bass just powers the song. The 12-string guitar and vibes really shine on “Crazy Love” – Van feels like he’s in the room with you.
There are actually two versions of “Into the Mystic,” and the one with a prominent tambourine is the original, which is included here. Later vinyl pressings and early CDs all omitted it.
“Come Running” once again shows off the low end, and it’s even more prominent on “These Dreams of You.” The harpsichord really jumps out on “Everyone,” while the horns taken center stage on “Glad Tidings.”
The album is housed in a replica of the original, gatefold sleeve, with extensive liner notes inside.
Where the new pressing comes up a little short? It’s that hard to describe term, “head space.” Putting on headphones, my 1970 copy just has a little more room, a little more air. Yet, it lacks the low end of the Rhino Reserve copy – so it’s a trade off, for sure.
One of the all-time great albums, and a true showcase for the vinyl format – Moondance by Van Morrison sounds great in this new edition from Rhino Reserve. —Tony Peters
I was particularly excited to see Haircut 100, because I really like their new album, Boxing the Compass. It’s funky and melodic, and rivals their earlier work. We got “Raincloud” and “Vanishing Point” and both sounded great.
Not many veteran bands these days can boast three original members, but Haircut 100 has Nick Heyward, voc/gtr, Graham Jones, gtr, and Les Nemes, bass, plus monster drummer, Blair Cunningham, who joined while they were still in their original heyday. The band really sounded great. Augmented by trumpet and sax, their lean, 30-minute set was dancey and fun. “Love Plus One” sounded great live, but “Favourite Shirts (Boy Meets Girl)” was even better. I would pay to see a full show of these guys.
Next up was Adam Ant, who boasted not one, but TWO drummers. His band was extremely loud, and I really missed the horns on his original albums (why he didn’t ask the Haircut guys to join him is a head-scratcher). Adam himself wasn’t great. His songs are basic punk, but without the fury of his voice, things just came off tuneless. He didn’t bring a lot of energy (at one point, he stood looking at the crowd, standing still for 30 seconds or more). Sure, he had bigger hits, so he played 45 minutes, but he didn’t deserve it.
After a 30-minute intermission, Squeeze came on, and immediately jumped into the hits, rattling off “Pulling Mussels from a Shell,” “Up the Junction,” “Another Nail in My Heart,” and “Is That Love” in rapid succession.
Then, they turned on a pink sign that read “Trixies,” donned purple suits, and proceeded to play their entire new album, from start to finish.
Now, this would’ve been ok, if the material had been good. It was downright mediocre. Tilbrook introduced it as songs written by he and Difford back in 1975. I’ve listened to the record, and it lacks melody, and sounds nothing like the classic Squeeze we know and love. Plus, they kept repeating the line “Trixie,” over and over, for every song, which got annoying. The only good song that stood out was “Hell on Earth.” Everything else was unremarkable.
In 2026, when concerts are outrageously priced, to subject your fans to 40 minutes of your new album, I don’t care how good, is just not cool. We pay – but we expect you to deliver. That’s the deal. Incidentally, I saw Squeeze at Bogart’s back in 1993 when they were touring for a great album, Some Fantastic Evening, and they only played a few songs from it back then…go figure.
Once they got the new stuff out of the way, they dove back into the hits: “Hourglass” was a nice surprise, Glenn Tilbrook still has a fabulous voice. But, even more impressive was his incredible guitar playing. You forget just how nuts some of those solos are (like on “Black Coffee in Bed” or “Is That Love”?). And, none of the songs were tuned down that I could tell.
There were as many as nine members on stage – it was quite a production, and during an extended “Take Me, I’m Yours,” Tilbrook introduced each member, giving them a chance to play something unique. The backup vocalist, Danica Dora, sang a piece of “Coat of Many Colors” as a tribute to Dolly Parton.
Squeeze were good. I just didn’t like being subjected to all that new material, all in a row. Adam Ant wasn’t great. And, Haircut 100 was a pleasant surprise. An entire show of theirs would be good fun. –Tony Peters
Nick Heyward and Haircut 100 were the darlings of early MTV – hits like “Love Plus One” and “Favourite Shirts (Boy Meets Girl)” added some funk to the typical New Wave fare coming out at the time. But, success was fleeting, and Heyward left after one album, forging a fantastic solo career. We happen to think Love You Avenue may be the finest album you’ve never heard!
Flash forward 44 years and Heyward and Haircut 100 are back with their finest album to date, Boxing the Compass. And, they’re out on the road supporting the album with Squeeze and Adam Ant.
Heyward talks about what got the original band back together, and how there was a conscious effort to make this album danceable.
Rhino continues to mine the Warner archives, issuing long-forgotten Quadrophonic mixes of classic albums of the early Seventies. These Blu Ray discs can be played on most surround sound/home theater systems, and are extremely enjoyable.
Seals & Crofts – Diamond Girl – This is perhaps the biggest surprise of the four. Diamond Girl came hot on the heels of the duo’s biggest success to date, Summer Breeze. Their fifth album finds them exploring more textures. The set opens with the title track, which just shimmers in Quad. Guitars in all 4 channels, and when the flute solo comes in, it’s back left. There’s so much intricate playing, like on “Nine Houses,” this is so much more than AM radio fluff. And, their devotion to the Bahai faith makes for much deeper meaning in the lyrics.
“Standing on a Mountain Top” is an uncanny rocker with searing electric guitar, reminiscent of the Eagles. The mandolin is really the star of the LP, showing up again and again, like on “It’s Gonna Come Down (On You),” then an electric guitar comes roaring in. The album ends with the instrumental, “Wisdom,” with Seals on sax (he played on “Tequila” by the Champs, many years earlier).
A very solid listen, start to finish. And, with all the diverse instruments, all four channels shine.
Carly Simon – Carly Simon
When this album arrived in 1971, there just weren’t too many mainstream female artists that were writing this kind of music. Simon’s debut single, “That’s The Way I’ve Always Heard It Should Be,” is so confessional, it seems almost too personal. The Quad mix puts the strings in back, adding tension. The drums leap from back right to back left, adding excitement. This is Quad done right: all four speakers working together to tell the story.
There are clever uses of mixing throughout – the guitars are front right and back left on “Alone,” or the piano and pedal steel sitting in the back on “One More Time.” On “The Best Thing,” when the harmonies come in…just wow!
Not everything on the record works; I think Simon was still growing as a songwriter. But, when it does work, like on the haunting “Another Door,” it’s spectacular. There are times when instruments just seem too loud, like the drums on the aforementioned “Another,” or violins on “Reunions,” which almost drown out Simon’s lead vocals. “Rolling Down the Hills” has the piano jumping all over the soundscape.
A good, but not great debut – Simon would make better records later. But, the aggressive Quad mixing helps elevate even the monotonous tracks.
Mongo Santamaria – Mongo in Montreux
Concert recordings are always interesting in multi-channels, and in this case, the crowd is mostly behind you and the band in front – creating a live experience. This is another example of multiple instruments being thrown all over the four speakers.
The opener, “Come’ Candela” has flute and piano in front right, horns in front left, with music ambience in rear. “Climax” has percussion in all four speakers, making you feel like you’re sitting on stage with the musicians Then comes a really exciting sax solo. There’s so much energy coming out of all four channels.
Things calm down for the beautiful, “Disappear,” featuring Rhodes piano in the front right. The intensity goes right back up for “Marty’s Tune,” which has an odd time signature, but still grooves. Propulsive is a good word here. “Soleil” has furious drums that speed up at the end, and what a rush.
Kind of disappointed that “Watermelon Man,” his signature song, is included twice, but neither version is over a minute long! Minor quibble. That’s more than made up for by the reworking of the Temptations’ “Cloud Nine” – bass and percussion back right, piano front right, congas front left – and then another crazy sax solo. Very nice.
Probably one of the more interesting releases in Rhino’s Quadio series since it’s off the beaten path. Definitely a great listen.
Randy Newman – Sail Away
Newman’s voice and often biting lyrics are an acquired taste. Yet, Sail Away is a great entry point to this under appreciated artist. This is a surprisingly great listen in Quad. Newman chose to wrap his acerbic prose in lush strings and horns, and you’re surrounded by it from the opening, title track.
The other thing is, every track is mixed independently – meaning instruments show up in different places on each song. On “Lonely at the Top,” horns are back left, bongos back right, trumpets upfront. Pretty great summation of fame, disguised as a vaudeville number.
Newman keeps us guessing on the surprisingly tender, “He Gives Us All His Love,” with strings all around. “Last Night I Had a Dream” – the effect on the piano makes it seem like it’s sitting right in the middle of the room. Another example of Quad being fun – as the guitar here jumps all around the four speakers. Then, on the sparse songs, like “Simon Smith and the Amazing Dancing Bear,” piano is in the back, while Newman’s vocals are in front. Things are switched for “Dayton, Ohio – 1903,” with Newman singing in the back, with is piano in the front.
I had to laugh about “Burn On,” a song about the Cuyahoga River in Cleveland catching fire. Then there’s the original “You Can Leave Your Hat On,” which is so much more potent coming from Newman – Joe Cocker’s version misses the joke completely. Once again, the guitar jumps from speaker to speaker. Of course, Newman leaves things on a bitter note with the scathing “God’s Song (That’s Why I Love Mankind).”
For as many batches of Quadio discs that Rhino has issued over the last few years, this is one of the strongest yet. All four albums are pretty good. But, the Quad mixes on every one of them is excellent, making them fun listens. Can’t wait for the next one! —Tony Peters
The Raleigh, North Carolina band, The Connells, emerged in 1984, right as the world was turning their eye toward the Southeastern United States, and the innovative sounds of bands like R.E.M. and Let’s Active. The band were darlings of the burgeoning college radio scene of the Eighties and early Nineties, and even scored a surprise worldwide hit with “’74-’75” in 1995.
The band has slowly regained most of their back catalog, and are issuing the 40th anniversary of their debut album, Darker Days. The newly remastered edition features several bonus tracks – putting it back in physical print for the first time since 1987.
We talk with Mike Connell about how quickly things moved along for the band in the early days, being included on the More Mondo compilation, getting to work with Don Dixon, hot on the heels of him producing R.E.M, plus getting signed to Elvis Costello’s Demon Records in the UK.
He also tells the crazy story of “’74-’75,” including an opportunity to share the stage with Def Leppard!
Ween – 12 Country Greats (30th Anniversary Deluxe Edition) (Elektra/Rhino)
It has been 30 years since Ween took a strange trip down Route 66 and went Country on their third major label album, 12 Golden Country Greats. To celebrate, Rhino Records has reissued the album as an expanded and remastered Deluxe Edition digitally and as 3LP or 3CD sets. The previously unreleased bonus material is highlighted by demos, covers and outtakes.
When Dean and Gene traded in the 4-track recorders for the polished studios of Nashville and recruited legendary session players such as, Elvis Presley’s The Jordanaires, and fiddler Buddy Spicher and pianist Hargus “Pig” Robbins, it came as a shock to both fans and their label. Ween kept the recording a secret from their label and fans were not quite sure what to think at first. But their crude yet clever sense of humor remained, especially on tracks such as, “Mister Richard Smoker”, “Help Me Scrape The Mucus Off My Brain” and the tear-jerking album closer, “Fluffy”. Elsewhere, the Ween boys play it surprisingly straight on the statement-making album opener, “I’m Holding You” and the standout track, “Powder Blue”.
With the bonus material, 12 Golden Country Greats goes from a tongue-in-cheek tracklist of 10 songs (yes, there actually were only 10 Golden Country Greats on the original release) to 36 tracks, including demo versions of all songs. Highlighting the set are demo versions of two songs cut from the original release; “So Long Jerry”, their loving tribute to the recently passed Grateful Dead legend, and “I’ve Got No Darkside”, as well as their cover of “Fool To Cry” by the Rolling Stones and long time fan favorites, “Boston Chicken” and “Good Timing Rhyming Song”.
Additionally, the included booklet features many great photos from the recording sessions and liner notes written by album producer Ben Vaughn with insight into the recording and inspiration behind the album.
More recently, Ween surprise released a new digital EP, titled Golden Wastes, which features 4 more songs from the sessions but that were not included on the Deluxe Edition of 12 Golden Country Greats. The EP is highlighted by a rocking outtake of “Pretty Girl” with the title, “There’s A Smooth Talkin’ Dude Around” and an alternate take of fan-favorite “Mister Richard Smoker”.
Ween was always has been known for being eclectic and willing to push the limits of their influences but no one ever expected a straight up old school Country & Western album. This new deluxe edition of 12 Golden Country Greats along with the new EP Golden Wastes, provides a comprehensive look at the making of this incredible album.
Miles Davis – 56: The Prestige Recordings (Craft Recordings)
Indispensable, classic jazz, sounding better than ever
Imagine that you just took a new job with a much bigger company; this means better pay and more benefits. There’s only one problem: your old boss tells you that, you can leave, but you’re under contract for a few more projects. How invested are you going to be in the work you do for your old job? Probably not very much.
These were essentially the circumstances surrounding Miles Davis 56: The Prestige Recordings. The trumpet player’s stock had risen considerably since he played the Newport Jazz Festival in 1955. Colombia Records was interested in signing Davis to a lucrative deal. Only problem was, he still owed his old label, Prestige, several more albums.
A compromise was made: Davis signed with Columbia, then booked time at Rudy Van Gelder’s studio with his first great quintet, featuring Miles, along with John Coltrane on sax, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. In two mammoth sessions, one in May, the other in October, his quintet laid down enough material for four albums, known as Cookin,’ Relaxin,’ Workin.’ and Steamin.’
Prestige would take these recordings and release them over several years, grouped essentially by mood. This new set is the first time these sessions are presented in the chronological order they were recorded.
Since the set is called Miles 56 – we get not just the famous quintet recordings, but a few extras too. Disc one opens with Davis, joined by the great Sonny Rollins on sax and Tommy Flanagan on piano. There’s an early version of the ballad, “Your Own Sweet Way,” and it’s gorgeous. “No Line” is an upbeat number, giving both Rollins and Flanagan time to solo with Davis, while “Vierd Blues” is a swinging number.
The classic quintet material kicks off with a redo of “Your Own Sweet Way” – and it’s remarkable to hear the difference. The first three cuts feature jazz legends, for sure. But, the quintet version of this song in comparison, is just symbiotic. First of all, Davis seems to stretch more – he’s taking more chances with a band that he’s played countless live shows with. Second off, Coltrane’s solo seems to be prodding at the possibilities. Third, the rhythm section doesn’t keep a steady beat, instead surging and pulsing – responding to each soloist. There’s a very noticeable edit at 2:47 – which I hadn’t caught before.
These recordings sound absolutely fantastic. They were run through Plangent Processes, which corrects slight variations in tape speed, etc. Everything here is in mono – yet, there’s so much depth and air. “Diane” features s gorgeous Davis muted trumpet, and then soaring Coltrane sax. I love how Jones and Chambers seem to wrap themselves around Garland’s piano as he solos.
You hear Davis’ gruff voice opening “Trane’s Blues,” and this is another fantastic example of five musicians behaving like one, breathing entity, ebbing and flowing as the music rises and falls. And, man does it swing!
You can literally sit and just focus on one musician, and be amazed. Dig Jones’ ride cymbal on “Woody ’n You,” or how Garland’s shines on “Ahmad’s Blues,” before Chambers pulls out a bow for a solo! Then, it’s Jones’ turn to add fills near the end.
This group gets so much credit for being trailblazing, that what might be overlooked is how versatile they were. “It Never Entered My Mind” is just spellbinding – Davis’ muted trumpet croons away, while Garland lays down these spiraling notes on piano. Meanwhile, Chambers’ bass beats like a heartbeat, and Jones adds swirling brushstrokes. For a band that’s known for being wild – this is heavenly restraint.
Consider that, after recording one more pretty ballad, “When I Fall in Love,” the band launched into the psychotic “Salt Peanuts” – talk about changing moods on a dime. Dig Jones’ three minute drum solo, which somehow manages to still swing. Davis is sure to pull out “Four,” a staple of his live sets, to showcase the prowess of this band.
Amazingly, during the May 1956 recording session, FIFTEEN different songs were recorded, with only one repeat, “The Theme.” This is the only time, so far, where it sounds like the recording levels are too hot, and some things are distorted.
I love hearing Davis say, “I’ll play it, and tell you what it is later” before jumping into “If I Were a Bell,” another of the too-many-to-count highlights. The group just seems to be having a blast here – listen to how Chambers’ bass seems to be having a dialog with Garland while he solos on piano.
Disc three encompasses the entire October 1956 session, opening with “Round Midnight,” a track that had already been tracked for Columbia Records, four months earlier. The differences in the two versions provide an interesting contrast. Although featuring the same personnel, the Prestige rendition here seems to have a more relaxed feel, and Miles isn’t mic’ed so close. The rhythm section has more punch here too. Perhaps it’s the difference from being in a big, expensive studio? This version was not included on any of the four quintet albums.
Because these songs were laid down quickly, we get some interesting banter that’s left in. Like Davis telling Garland “play some block chords, Red,” before going into “You’re My Everything.” You could argue that Davis never played with so much beauty as he did on these recordings. I love the way Jones just suddenly starts swinging on his drums to uplift the romance, and then quiets down again. Even Coltrane shows restraint here.
“I Could Write a Book” spotlights the walking bass skills of Chambers – and that rhythm section is the very definition of in the pocket. “Oleo” is good fun – the drums keep dropping out, leaving just bass and trumpet, or sax, or, the best combination, piano and bass.
These October sessions seem to have a shrillness to them that the May session did not. Coltrane, especially, seems more abrasive. I found myself lost in Jones’ excellent cymbal work on “Airegin.”
There’s a workman like feel to many of these songs – they are hard bop in some cases, and have more opportunities for individuals to solo, rather than mood pieces.
The real stunner is “My Funny Valentine” – Miles at his sweetest. I love how the band kicks in, and his solo isn’t even finished and they just start swinging.
Done simply to fulfill a contract, these recordings have become some of the most hallowed in all of jazz. That almost all of these were first takes, with no overdubbing whatsoever, just adds to the legend of Miles Davis and his first, great quintet. Miles Davis ’56 – The Prestige Recordings features almost three hours of essential, classic jazz – and it’s never sounded better. —Tony Peters
Faces – Snakes and Ladders: The Best of the Faces (Rhino)
A dozen slabs of gritty rock from Rod Stewart & Co.
There is something fitting about listening to the Faces on vinyl. Both the outdated media and the band were products of a long-forgotten time when music mattered more. Their ferocious, off-kilter live shows were the stuff of legend, only hinted at on their studio output. The Faces were great, and if you knew, you knew.
Few bands could out Stones the Stones, but the Faces could, and often would. But, they equally were overshadowed by their egregious alcohol intake.
Snakes and Ladders came out a year after the band imploded, crushed by their potential, overshadowed by Rod Stewart’s ever-increasing solo career. Rhino Records has just reissued the album in their Rhino Reserve, high quality vinyl series.
The set opens with the blistering rock of “Pool Hall Richard” – the track starts at one tempo, then speeds up immediately. The song goes up a pitch for awhile, then settles back again – it literally sounds like everything is just about ready to fall to pieces – and that’s really part of the band’s charm. Things immediately change for the excellent, biting “Cindy Incidentally,” which has an underrated groove to it. “Ooh La La” is perhaps the band’s most poignant moment – a grandfather and grandson each realizing that, when it comes to women, neither one of them is well-equipped to handle things.
“Sweet Lady Mary” is surprisingly gentle, with pedal steel guitar and organ, then comes one of their signature tunes, “Flying” (who the hell decided to spin the drums from left to right, over and over?) – the track builds to this interplay between organ and guitar which is fantastic.
The band was capable of stretching out, like on the great instrumental, “Pineapple and the Monkey.” Their final single, “You Can Make Me Dance, Sing or Anything” is polished, complete with strings and a danceable beat, and sure points to “Da Ya Think I’m Sexy.” “
Had Me a Real Good Time” is the band’s motto put to song, while “Stay With Me” is 4 1/2 minutes of gritty, rock n’ roll perfection. Bookended by a furious start and close, the main part slithers along on a whiskey-soaked groove with Stewart sneering over top – the entire band is on fire here.
After the chugging rocker, “Miss Judy’s Farm,” the momentum stalls a little near the end, with “Silicone Grown” and “Around the Plynth,” but after those dizzying heights, what could they do?
Hugely under appreciated, Snakes & Ladders features a dozen highlights of Rod Stewart at his peak, with the Faces. —Tony Peters
