Stan botches his store raid and is briefly locked away. Steve Sutherland listens to the Bossa Nova sax maestro as this 1964 Verve album is reissued on 180g vinyl
Stan Getz may have been good at many things in 1954 but robbery sure wasn't one of them. Strung out on smack and desperate for a fix, the hot young jazz saxophonist found himself eight days into a tour, standing outside a drugstore in Seattle.
Steve Sutherland savours the thrillingly nutty flavours of this ripe 11-track offering from the multimonikered Aussie musician, as the album is reissued on 180g vinyl
Back in the 1950s, that perpetual scamp and eminent philosopher Bertrand Russell (then well into his 80s) created an analogy to deal with the concept of faith in the existence of God. He said that if he were to assert, without offering any evidence whatsoever, that a teapot – too small to be seen by telescopes – orbits the Sun somewhere in space between the Earth and Mars, he could not expect anyone to believe him solely because it could not be proven wrong. 'I think,' he concluded, 'the Christian God just as unlikely'.
Steve Sutherland tells how the group's name resulted from a chance find in a reference book and highlights hidden subtleties in this 1971 live set, now on 180g vinyl
Ever heard of bibliomancy? No? Read on… Once upon a time, long, long ago, there was this chap. Let's call him Jerome. Jerome is travelling down a country road when he comes upon a crowd of blokes kicking a corpse and creating a hullabaloo. Our hero stops and he's told the deceased had snuffed it without paying a number of debts he owed to some in the assembled crowd, so there's no way they're going to stump up for a grave-digger to bury him.
Steve Sutherland recalls a riotous night at the Tacoma Dome, resolved into a thrilling musical event, as the group's 1984 compilation album makes its vinyl debut
The cop to our left is on his radio, talking to back-up: 'I thought Vietnam was bad – you should see the casualty room. They're piled up in there. Piled up man!'
Four years after their electrifying debut, Axl, Slash and co returned with not one, but two double albums – and it was all downhill from there, says Steve Sutherland
Back in the late 1960s there was a band hailing from San Francisco called Moby Grape. They had five talented members who could all sing, play and compose to an incredibly high standard incorporating pop, rock, country and blues styles. They looked pretty cool too, with a perfectly contemporary anti-authoritarian attitude that saw one of their number flipping a middle finger against the American flag on the cover of their self-titled debut LP in 1967 – naughtiness that was airbrushed out by their spooked record company.
This fifth album by the glam rock/hair metal pioneers from Finland (and Leamington Spa) should have been the start of something beautiful, says Steve Sutherland
Let's say you are walking along Shaftesbury Avenue in London in the general direction of Cambridge Circus. It is the mid 1980s. Maybe you've been to the Shaftesbury Theatre just over the road to see a show. Or maybe you've just been for a dip in the Oasis swimming pool next door. Whatever, you've worked up a bit of a thirst so you duck through the door of the Oporto public house, just on the corner opposite St Mungo's home for the homeless, and take the couple of steps to the bar.
The 1970 album by the lads from Ladbroke Grove was edited from 'live in the studio' takes. Steve Sutherland listens to a 180g vinyl reissue of their space rock debut
Let us not concern ourselves with debating the greatest album ever made. Or the greatest single, for that matter. Because, let's face it, chances are we won't reach any kind of consensus and most likely we'll be here all day arguing about it.
Thinking back to just after the time of his dad's Anderson shelter, Steve Sutherland dips into the 180g vinyl reissue of a 1968 concept album with sci-fi overtones
Devo have actually got nothing to do with this article, but in the past week or so it's occurred to me that those crazy coots from Akron, Ohio may have had a point all along.
A blend of beauty and violence... Steve Sutherland sets out the claims for this late British folk singer/songwriter's 1973 LP as he hears the album afresh on 180g vinyl
Two men walk into a bar… Ouch! No, not that one. Start again. OK, two men walk into a pub and head straight to the bar. The taller of the two smiles and says to the barmaid, 'We'd like to see the landlord'. She calls her boss over and he looks the pair up and down. They're dishevelled, a bit rough-looking, like they haven't slept or washed in a while, but hey, he's seen worse.
Now reissued on 180g vinyl, Joni Mitchell's third album found the singer-songwriter perfecting her confessional – and highly influential – style, says Steve Sutherland
It's complicated. There's a song on Blue, Joni Mitchell's fourth LP, which is not the album we're here to celebrate. The track's called 'A Case Of You' and compares the giddiness of getting drunk with being in love. But that's not the type of case I have in mind. The case I'm thinking about is the one associated with a courtroom when the prosecution and defence argue over someone's guilt. In other words, the case of Joni Mitchell.
This 180g reissue of the American folk singer's second – and final album – gives Steve Sutherland a chance to sample a voice that's 'best served with whiskey...'
I'm reading a book at the moment called Seasons They Change: The Story Of Acid And Psychedelic Folk by Jeanette Leech. Pretty much on every page there's reference to an artist or band that I've never heard of, which is some going as I like to think I know a thing or two about music. Anyway, with Spotify or YouTube at the ready, over the past few weeks I've sampled the wares of such artists as The Habibiyya, Jan Dukes De Grey, Malicorne and many more.
The singer-songwriter's sophomore album from 1989, reissued on 180g vinyl, showcased her lyrical wit and Johnny Marr's lush guitar licks, says Steve Sutherland
What can you buy for £61? A new pair of trainers at a discount store? A set of Sennheiser HD 200 PRO closed-back headphones? A Billie Holiday Classic Lady Day vinyl box set?
Pinball wizard Steve Sutherland looks back on meeting Her Madge in the early '80s and her career-altering controversial third album, now released on 180g vinyl
She looks a bit lost, standing alone backstage leaning against the wall, watching all the celebrities mingle, clink glasses, air kiss and gossip. Lost and a little bored. Same as me, to be honest. So I cross the room and say 'hi'. She says 'hi' back. To break the ice, I point to the pinball machine, unoccupied, just over there, and ask if she fancies a game. She smiles again. 'Sure.' And away we go at it. As I remember, I won, although I'm sure – if she recalled it at all – she'd disagree.
For this fifth long-player, the thrash-metal pioneers transformed into heavy rock titans. Now the LP is out on 180g vinyl, Steve Sutherland relates its rocky birth
Lars Ulrich is not amused. 'Is this the test pressing?' he asks his manager, Peter Mensch. 'No', Mensch answers emphatically. 'That's the jacket, the cover that's going out across the country.'
The Dublin quartet's second album took three years to produce and cost them their record deal, but Steve Sutherland couldn't be happier to hear it once again
Before we get started, be warned: 'It's too easy for this album to turn you into a pretentious t**t.' These aren't my words by the way. They're from a book all about Loveless by an American chap called Mike McGonigal, who immediately goes on to prove his point by stating that the first time he heard the album in question, he felt, 'as if I'd been suspended upside down in a tank filled with beautiful fish'.