A first time pressing on vinyl for this the twelfth Album released by the former Thin Lizzy guitarist. Gary Moore played with a style and passion for his craft that was heralded around the world for his style and songwriting ability. His virtuoso guitar playing and soulful voice being loved far and wide and his premature passing has been sadly missed by fans and musicians around the globe and from all styles.

Having played in numerous legendary bands including Thin Lizzy and Skid Row, alongside his own solo career, Moore is regarded as one of the most influential Irish musicians of all time. Having been honoured by both Gibson and Fender with signature guitars, the Northern Irish star is still regarded as one of the best guitar players of all time. Its funny when long after their passing people still crave the back catalogue of revered artists like Moore so it’s no surprise that ‘A Different Beat’ gets the vinyl treatment (finally) spread over two records it also includes a remix of ‘Can’t Help Myself’ (E-Z Rollers remix)’.

A Different Beat’ sees Moore exploring a new direction, in this case combining his love of the blues and his guitar work with contemporary dance beats. Fusing blues and dance music ‘A Different Beat’ stands as the boldest thing Moore ever did. A move too far for some and one giant step for others. From the off the distorted guitar work makes way for a beat more akin to the Happy Mondays guitar based dance music rather than trad Blues. I know Moore loved some Hendrix and there are moments throughout this record that have you imagining that this is something Jimi might have tried had he not left this earth as well it’s not like he hid his admiration for Hendrix because he funks up ‘Fire’. Moore also had a better singing voice than he possibly got credit for and had a fair set of pipes that are well worked on songs like ‘Lost In Your Love’. and his take on ‘Fire’.

Moore loved to turn it up but he also had a softer gentler touch. ‘Worry No More’ is more laid back but whilst pushing boundaries like the pure funk of ‘Fatboy’ with all its tricks and grooves. like on the I’m sure he’d have chuckled to himself when making this Marmite record but having it pressed on Vinyl might be the opportunity for fans to look back and show some love for a real guitar legend who really did mess with the Blues.

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Author: Dom Daley

Well folks, here we are again as the Sabbath catalogue gets another Super Deluxe version on both CD and Vinyl and once again to be fair to whoever is curating these reissues much like the Motorhead ones these are some of the best box sets out there from the packaging to its content a lot of love has been poured onto these reissues and be it the box office Sabbath biggies or the lesser releases they all have the same quality and eye to detail.  ‘Technical Ecstasy’ is no exception, from the mini-poster to the four-CD packages it’s top-notch in the reissue department.


The reprint mini-tour book is quality even if I do need my readers to dive into the text as is the period reflected in the hardback book that’s included. Man, these gents were into their satin even as punk broke they were oblivious somewhat. Iommi sat in the produces chair for this the seventh studio release from the original line up and whilst it has one foot in the prog camp there is also an indication of the direction that Ozzy would head sooner rather than much later.


Maybe Sabbath was for the first time taking their cues from elsewhere rather than leading the genre and with the heavy influence of Gerald Woodroffe’s swirling keyboards the band couldn’t be accused of standing still from the proggy opener of ‘Back Street Kids’ through the swirling keyboards creating a good foil for Iommi’s doom-laden riffs on ‘You Won’t Change Me’ is a good example as Iommi and Woodroffe trade solos whilst the rhythm section gets that Sabbath heaviness anchored down.  The Beatles tinged ‘It’s Alright’ is one of the best tracks on offer for me and has stood the test of time and proven that Ward didn’t need a bucket to carry a tune on his moment in the sunshine. Then there’s ‘Gypsy’ again with its keyboard-driven workout.


Side two of the album sees the band go for a groovy workout where they get their collective funk on ‘All Moving Parts (Stand Still)’.  I do however love the groove the band gets on ‘Rock And Roll Doctor’ throwing another curveball by just jamming out a real Rock and Roller when everything else screams trying hard to be hip and adventurous it’s as if they just decided to go easy and rock out.  Then step forward ‘She’s Gone’ the album’s hushed acoustic introed song with strings n all and a chance for Ozzy to try out what he would later perfect through his solo career. Then to close it’s Dirty Women’ and on reflection, it’s a decent album and unpackaging the extras this labor of love has unearthed some new mixes and the usual Instrumental mixes of tracks like ‘She’s Gone’.  As for the hardback book, well, it’s full of great pictures and well-researched Japanese single sleeves as well as interview snippets from the band and a well-covered history of the mid 70s Sabbath for the hardcore fans and newcomers alike.  But for me, the treat inside the box of goodies is the live album – recorded on the 76-77 world tour.


Mixing together classic Sabbath from the awesome ‘Symptoms Of The Universe’, ‘War Pigs’ and ‘Black Sabbath’ there is also room for ‘Technical Ecstasy’ tracks like ‘Gypsy’ and ‘Dirty Women’ the quality of this live recording is exceptional and through a decent pair of headphones it’s like being sat next to the sound engineer with Bill Ward’s bass drum sounding as big as an arena all by its self.  It’s been a long time since I’ve sat down and actually played a drum solo and Guitar solo on a record but they are here in all their glory and the one thing that stands out is what a powerhouse Bill Ward is – absolutely outstanding. Capping it all off with the monster that is ‘Children Of The Grave’ and whilst listening it makes me smile that the reproduction tour book also has all those tour ads intact especially the £2.50 tour shirt imagine what one of those would be worth in 2021? Wow!


So in a nutshell of course its a no brainer for Sabbath fans old and young this is another of those box sets that is a must-have and another exceptional package to while away the hours and marvel at the masters of heavy metal and what a class act they really were even when they weren’t at their best they were still better than most.

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Author: Dom Daley

You never forget your first encounter with Motorhead. I vividly remember mine; I was around 12 years old and I had been regularly raiding my mate’s older brother’s vinyl collection. I had already been turned into a metalhead after blasting his copy of UFO’s classic live album ‘Strangers in the Night’ over and over and had my Dio virginity taken by Rainbow’s ‘Rising’ and his pristine copy of ‘Holy Diver’. I was flicking through to see what else would grab my attention when I came across his copy of ‘Ace of Spades’. I assumed they must be some sort of mad Mexican bandits judging by the cover with Lemmy and the boys resplendent with bullet belts, guns, and cowboy hats in the hot desert. (I was gutted when I found out years later that the photo was taken in High Barnet, London). Anyway, I feverishly took the LP out of its sleeve and put it on my mother’s crap hi-fi system. The opening bars of the title track was enough to have the speakers flapping, the neighbours complaining and this teenage scribe’s metal morphosis was complete.


This time in Motorhead’s history was to prove to be their most successful, ‘Ace of Spades’ reached number four on the UK album chart, and the ensuing ‘Ace Up Your Sleeve’ tour was their most lucrative to date, taking Bronze label-mates Girlschool out with them as support. This tour was documented in the loudest possible way with the release in 1981 of one of the best live albums ever recorded: ‘No Sleep ‘Til Hammersmith’. Confusingly, the album wasn’t recorded at the Hammersmith Odeon as many people think but was made up from material recorded at the Newcastle City Hall and the Leeds Queen’s Hall in 1981. The album’s title came from a mural painted on one of the band’s tour trucks. It was the band’s only number one in the UK and showcased a band at the peak of their deafening powers. The line-up of Lemmy, ‘Fast’ Eddie Clarke, and Phil ‘Philthy Animal’ Taylor is the most revered for good reason, the chemistry on stage is palpable and every track is performed as if their lives depended on it. It literally rips out of the speakers. I loved it as a spotty teenager, and I love it even more now.



This 40th-anniversary release of ‘No Sleep’ is hot on the heels of last year’s fantastic ‘Ace of Spades’ anniversary release. There’s so much here for Motorheadbangers to get their teeth into with the deluxe editions. You can choose from a remastered double CD or triple LP set, both come with bonus tracks, soundcheck recordings, and the previously unreleased Newcastle City Hall concert in its entirety. You also get hard books with the story of the album and brand-new photos, posters, a tour pass, and loads of other goodies.



There’s also the option of a four-CD box set with all three concerts that make up ‘No Sleep’ here in all their eardrum demolishing glory. Seventy-one tracks in total! The new remaster sounds incredible and you get all the thunderous bass runs, amphetamine-induced double kick drum mania, and full-throttle guitar riffs in crystal clear sound. The soundcheck recordings are a delight to behold, make sure you check them out!

40 years is a long time, give this reissue all the attention it deserves, turn it up as loud as you possibly can (fuck the neighbours), pour yourself a JD and Coke, and plunge yourself (Motor) headfirst into the audible delight that is ‘No Sleep ‘Til Hammersmith’. It’s what Lemmy and the boys would have wanted. We all miss you. RIP.

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Author: Kenny Kendrick