Nada Surf – High/Low (30^th Anniversary Rhino Reserve) 

Rhino Records’ annual Rocktober promotion is in full swing and this year it features 54 limited edition vinyl pressings of classic albums by artists such as ZZ Top, INXS, Love, The Pretenders, Alice Cooper, Joni Mitchell, Devo, Type O Negative, Ramones and many more. 

As part of the promotion, High/Low, the debut album from 90’s alt-rock band Nada Surf gets the royal Rhino Reserve treatment in honor of the album’s 30^th anniversary.   

Originally released in 1996, Nada Surf’s promising debut gained a lot of…well, popularity on the heels of the lead single, “Popular” which featured an infectiously catchy chorus and unique talk/sung verses that sounded like a cross between an Afterschool TV Special and late night infomercial, while tackling the touchy subject of high school romance and popularity with tongue-in-cheek humor.   

Beyond that smash hit single and its equally amazing music video, Nada Surf – led by vocalist/guitarist Matthew Caws along with producer Ric Ocasek of The Cars – created an album brimming with crunchy and equally catchy guitar-driven alternative rock laced with power-pop sensibilities and a punk-informed intensity.  The album opens with the statement-making one-two punch of the explosive opening track, “Deeper Well” with its hard-charging punk-fueled rhythm and noisy outbursts and “The Plan” which recalls the melodic crunch of Weezer.  Other standouts include the impossibly catchy and bouncy “Stalemate”, “Treehouse” with its driving rhythm and sing-along refrain and the chill vibes of the closing track, “Zen Brain” with its balance of jangly and distorted guitars and catchy chorus.       

Though many initial fans might have tossed them off as a “one hit wonder”, Nada Surf became a staple in the indie rock scene over the last thirty years, and they still put out great music today.  Be sure to seek out this great-sounding Rhino Reserve edition of High/Low and let the memories and nostalgia of your high school years come flooding back!    — Justin Kreitzer for Icon Fetch 

ZZ Top – Greatest Hits (Rhino Records)

Texas boogie band’s hits back on colored vinyl

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

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

Ween – 12 Country Greats (30^th 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.   

By Justin Kreitzer for Icon Fetch