No Ripcord - Issue 7
So We're Going Monthly...
Slight changes are happening for No Ripcord with the pressures of A Level exams (there's a lesson here- don't do A Level Maths) and university applications meaning that the fanzine won't be out every fortnight as we promised (like it ever was anyway) but more like every month. Of course this means the issues will be bigger and better. Thanks go out to Heather for the excellent Manic's review - ours is even better than the one she wrote for Melody Maker! This issue also includes a behind-the-scenes focus on Radiohead.
Give Us Some Feedback
Any comments on No Ripcord 7 are muchly appreciated. Send 'em to us at: fanzine@zensearch.net. Alternatively, you can tell us what you think on the messageboard. Please tell us what you'd like to see more of and less of. If you want any guitar riffs tabbed out, tell us. Finally, if you have any contributions, don't hesitate to send them in!
David Coleman, Editor
In This Issue:
[Music News]
[Single Reviews]
[Album Reviews]
[Manics In Canada - A Review]
[Feature: In The Studio With Radiohead]
[Classic Riff #2 - How To Play It]
[A Classic Album Reviewed]
[Pink Floyd Special: Part 1]
[Next Month]
GOOD NEWS COMES IN THREES...
Kula Shaker have split up. I wonder why? Could it be something to do with that no one likes them and their last album sold a pathetic number of copies? Apparently not, according to frontman/wanker Crispian Mills. Let's hope they don't pursue any future projects, especially that loser Crispian Mills. Does anyone care? No? Swiftly moving on then...
Rumours are also rife that Hurricane #1 have split but their record label Creation have not confirmed this.
Our third piece of good news is that Shed Seven have split with their record label Polydor. Let's hope they don't find a new one and we never have to hear anything from these losers again...
RICO - NEW SINGLE + LIVE DATES NEWS:
As No Ripcord predicted, "Shave Your Head" will be the new one from Rico. The best track on the critically acclaimed "Sanctuary Medicines", it's a wise choice for a single and should see Rico picking up more airplay.
DARK STAR BACK WITH NEW SINGLE:
The band will release Danny Saber's new mix of Graceadelica, one of the tracks from their debut "Twenty Twenty Sound". But new tracks, remixes and 3 songs recorded for Radio One's Evening Session are available across the formats.
Ian Brown - Love Like A Fountain
It's been a while since his last release, and not the best of times for Ian Brown. This single, the first from his forthcoming "Golden Greats" album, is a far cry from those dark days in Strangeways. His voice will always have its critics, but to many that's his charm. On this Brown adopts a more dance-orientated direction, that has seen him drop most of his previous backing band. It's polished production work sets it apart from earlier solo stuff, and perhaps this could be a criticism. I've heard people saying it sounds like a remix already, which is a fair comment. The tune is fairly strong, but gets a touch monotonous throughout the song. Still a good comeback for the ex-Stone Roses man and his album should be well worth getting hold of when it comes out on November 8th. 7/10
Appliance - Pacifica
I was expecting some of that nasty "challenging" music when I read that they toured with Add N to (X). Thankfully it's nothing like that at all. What they were doing touring with those losers I don't know. On paper Appliance are essentially your average 3 piece guitar, bass and drums band. But unlike anyone else in that field, they're sound is heavily effects and samples based. No thrashy power-chords and angry lyrics here then. "Pacifica" is a relaxed, laid-back tune - you could even say, pleasant. The melodic clean guitar twiddling fits perfectly with the "Ocean" theme, as do James Brooks' lazy (in a good way) vocals. All is relatively peaceful before the song picks up speed, accelerating towards its climax of crashing waves. If I had one criticism it would be that the song really goes rather unnoticed for the first few listens, and a few listens after that, you're bored. There's not enough there to keep you interested and this is an even bigger problem on the album, which is reviewed later in this issue. 7/10 for this though.
Groop Dogdrill - Angel Wings
Another group I had rather wrong pre-conceptions about. The last thing the name conjured up to me was a Foo Fighters-esque band with distorted to fuck guitars and pounding drums. But that's what you get. Which is better than I expected. But if they sell no copies of it then it serves them right for calling their band Groop Dogdrill. All 3 songs on the CD are great anyway and the front cover's pretty good too. So they're getting 8/10. I must admit they were going to be awarded single of the month, before a huge batch of new CD's came in and knocked them off the top spot.
Liberty 37 - When We Say
Liberty 37 aren't an original band. Their tried and tested rock-with-dodgy-chorus-and-dodgier-lyrics formula is one you might have heard before. They don't even look like a proper band. Liberty 37 (sorry guys, shit name) are trying a bit too hard to "rock" I think and it doesn't quite work. "You're gonna pay for the soul you wasted" the singer, well sings, on "Pig". It's difficult not to laugh at him. 3/10
Luke Slater - All Exhale
I don't have much of a clue about "dance" music. But one thing I've noticed is they like there computerised vocal things. This one's got 'em too. But it's a decent tune for a change. This is the flag-bearer for his new "Wireless" album (review below), the follow up to the critically acclaimed "Freek Funk". Haven't heard the last one, but this certainly isn't too bad. 6/10
Jacknife Lee - Bursting Off The Backbeat
A bizarre one this. Jacknife Lee is a singer, musician, producer, DJ and remixer. And he's got an ear for a tune, and a rather weird sense of humour as displayed here. Thiese songs don't sit still, but jump around all over the spot. "1972 Square Dance Documentary In Sound" is the strangest thing I've heard in a while. Most artists who combine "humour" with music normally fall flat on their arses but this guy seems to get away with it more than the rest. I don't know who's going to buy this, but it's harmless fun - 6/10.
Wilt - It's All Over Now/Working For The Man
Dublin based Wilt's new single is a double A-side. Frontman Cormac Battle (nice name) is on a quest to bring substance and meaning back into music. And for saying that, I would love slate him for contradicting himself by releasing 2 shitty songs. But I can't cos they're actaully pretty good. It's likeable pop with an edge. First song is "a tale of two friends faced with a possible pregnancy and the overwhelming relief of false alarm". Heavy stuff eh? "Working For The Man" features heavier guitars but is basically the same catchy pop formula. So they've got the tunes, but what about that dodgy band name? "We wanted something that transcends any preconceived ideas about how we should sound as as a band". Hmmmmm. This is the same man who said "Music should be less about pretension and more about substance", but we'll let him off cos the songs are decent. 7/10
Orange Can - The Engine House E.P
The first thing we learn about Orange Can in the press release is that they are inspired by Pink Floyd and The Stone Roses. That certainly whetted my appetite and I definitely saw these influences shining through in the first 2 minutes of "In The Bag". There's room for improvement, but that's bound to be the case in a band who've been together for less than a year. Orange Can obviously have a lot talent, and their music is ambitious. They'll go far... 8/10
Coldplay - The Blue Room E.P
The latest name on the Parlophone roster, this is Coldplay's debut E.P. First of the five tracks is my favourite, "Bigger Stronger". "I wanna be bigger stronger, drive a faster car" is something that most of us can relate to. The music reminds me a little of a cross between Radiohead and Gomez, but the deep vocals are rather different, making for a quite distinct sound. Their debut album should be out by February which is a fair while away but if you're looking a little different, you could do far worse than picking up this E.P. 7/10
Not From There - Juanita's Cocktail Party
Not From There are a three-piece rock outfit from Australia, so it's rather surprising that they are quite good. Australia's produced it's fair share of shit but the law of averages suggests there should be something decent there. The main track "Juanita's Cocktail Party" is a fast paced guitar driven rock epic. "Iced Popsicle" is as weird as it sounds. There's a guitar riff, vaguely reminiscent of Nirvana, that many bands would craft a whole song out of but Not From There choose to keep it mainly instrumental with some weird sampling going on over the top. There's even a bit where it sounds like it's going to go into Oasis' "Supersonic" but i'm sure that wasn't intentional so it's ok. A promising yet weird debut single then...7/10.
Moby - Why Does My Heart Feel So Bad?
Being rather generous with the marks this week aren't I? Enter Moby. If any of this months releases deserves an out and out slating, this is the one. Moby we're told "is currently taking America by storm". Well I find that rather difficult to believe. This is a total shocker of a single. Cheesily bad vocals, a shitty beat, no tune, fuck off!! 0/10
Eugene Speed - Easy Life E.P
It's been hard work trawling through all this singles this week, but this last one is a treat. Eugene Speed aren't trying to be something they're not. They're not the most original band in the world. Just normal guys from East Anglia writing about normal everyday life issues. They tell us they just "wanna have an easy life" and admit to loving every minute of being in a band. They're honest, genuine, and have simple but effective tunes. So well done to them...they can have Single Of The Month. 9/10
Ex-Screaming Tree's frontman Mark Lanegan has been churning out solo albums with widespread critical acclaim. This latest effort will see that that continues. If you haven't heard his post-Screaming Trees work, you're in for a slight shock. Distorted guitars swapped for mellow acoustics, the sound is a far cry from grunge. And the change is for the better. On this album, Mark covers 11 songs of which I can't say I've heard of before. I doubt you will have to, unless you're into Buck Owens and Overton Vertis Wright. But knowing the songs isn't really that important. The cover versions are passionate, honest, minimalistic and work a treat. Opener "Carry Home", a Jeffrey Lee Pierce number (?), is a rather depressing, slow song which sets the tone for the album. No drums, no bass, no layered guitars - Just one guitar and one voice. Not many artists could get away with that, but Lanegan does. Not an album that'll cheer you up but what does that count for? 8/10
Unpredictable is a good word to sum up Jumbo. Traditional formulae are thrown aside in favour of sudden changes of direction mid-song and a huge collection of weird instruments. If you think Gomez fuck around with their music a lot, then these lot might be a bit too different for you. It takes time to adjust to the Jumbo sound but once you're on the right frequency there's plenty of listening here. Vocals supplied by Richard MacLean sound like they're straight out out of the sixties, yet fit in well with the unfamiliar surroundings. It works a treat. One problem is it's difficult to work out the song names cos the sleeve is so weird. Or maybe I'm just a bit simple. I wouldn't put my money on Jumbo hitting the charts hard, but if you're after something different, dig this album out (it's out on September 20th on Bright Orange Biscuit). 8/10
It's not often I admit I was wrong about something, but I'm making an exception for Gorky's. Suddenly after about 5 listens it hit me that they aren't totally shit. I actually even liked some of the songs. "Spanish Dance Troupe" isn't the fucking terrible song I thought it was. It takes time, but the melody really does get to you. The use of violins on most songs, and Euros Childs' unashamedly Welsh vocals provide Gorky's with a sound that is difficult to pigeonhole, so I'm not even going to try. So I'm sorry for slating them. "Desolation Blues" is my favourite track on the album, and will probably be a future single. Criticisms I could level are that perhaps there are a few fillers amongst these 15 tracks, especially the irritating "Hair Like Monkey Teeth Like Dog". "Poodle Rockin'" is another dodgy track, and the stupid howling dog noises in the background are guaranteed to piss you off. But, whilst not without fault it's still a decent listen. So 7/10 for Gorky's. I'm not wrong much though, so no-marks like Moby shouldn't be expecting a u-turn from me...
Muse's debut is every bit as good as I expected it would be. Their
continuing improvements should land them in the charts and media
spotlight within a few more singles, and they should cement their
place as one of Britain's best guitar bands. Muse generally stick to
what they do best here, and that's the faster paced heavier stuff.
There's a few slower songs with pianos and strings thrown in, but
not enough to take the momentum away.
Matthew Bellamy's voice is
always going to earn the band comparisons to Radiohead, but if you
look deeper than that, the band have their own sound altogether.
Bellamy's aggressive yet melodic guitar work and Chris Wolstenholme's
pounding bassline's, sometimes enhanced by the use of a double bass,
provide the perfect backdrop for the lyrical themes, which comment on
greed and corruption (in "Showbiz") and failure (in recent single "Uno").
"Muscle Museum", last single "Cave", and the excellent "Fillip"
are the standout tracks on the album for me but there are plenty more
I could mention. John Leckie handles the bulk
of the production work, and as ever seems
to get the best out of the band he works with. The media seem to
have the tag of "The New Radiohead" stuck on them already, and
whether that will help or hinder Muse I don't know. What i do know is that "Showbiz" a great debut and
Muse are a very exciting prospect. What's even better, I sense their best is still to come. 9/10
It's Luke Slater basically as above, but this time 13 songs worth. Which is great is you're into big electro-techno-funk tunes. "All Exhale" is accessible for fans of all music, even if you're not particularly into "dance" music. Luke Slater, obviously has some serious talent - no cheesy tunes, decent beats (Slater in fact used to be a drummer is his teenage years) and some funky moments are what you'll find here. If it's your cup of tea, get yourself a copy and judge for yourself. I'd give it 6/10 because this music really starts to get on me nerves after 20 minutes or so.
In the single review (of "Pacifica") I levelled the complaint that Appliance often wandered from the point and stuggled to keep you listening. That was a problem that plagued this otherwise impressive album and spoilt it's momentum. In fact "Pacifica" itself isn't even that good a representative of the album. On most songs Appliance seem to rely more on the electronic twiddling, but when they actually pick up some proper instuments, it's worth listening. These occasions are few and far between but when they crop up, are often worth the wait. "Food Music" is a prime example of this. It's a previous single and along with the rather impressive "Pacifica" is the high point of the album. James Brooks' vocal talents are there for all to see, so it's annoying that he doesn't use them more often.
I'd say Appliance look fairly useful but "Manual" is a fairly bland catalogue of songs. The minuses balance out the plus points and the end result is a flawed album which is difficult to listen to right through. 6/10
Vast's debut album, we're told, is on constant repeat on Metallica drummer Lar Ulrich's stereo. Pretty smart eh? "Vast is not an adjective about the music or myself, it's an adjective for life through my ears". Obviously a fucking loser. What do you get when you cross a Bulgarian Female Choir, an 18 piece orchestra, distorted guitars, and Benedictine Monks of the Abbey of Saint Mauer? A pretentious no-mark with no decent tunes? Of course. Vocally, Mr Jon "Vast" Crosby, is not too bad. The songs sound barren, isolated, lonely and rather off-putting. No wonder this guy was by his own admission "never popular at school". He was probably the class weirdo. Keep well away... 2/10
"Liquid Skin" is the second album by the increasingly hyped Gomez. With the debut essentially being made up of home-recordings a lot has been made of the group heading into the studio to make an album. Is it as good as the Mercury Music Winning "Bring It On" though? The artwork is by the same artist guy that did "Bring It On", and all the other Gomez releases to date, so nothing new there. And the theme is still rather similar. The acoustic based songs, the 3 singers sharing vocals and the various lo-fi dabblings are all still here. It doesn't sound too different at all. Nothing wrong with that though.
"Rhythm and Blues Alibi" is possibly their finest effort to date. When other bands would tap the guitar pedals to distortion to kick in for the chorus, Gomez simply turn to Ben Ottewell's remarkable voice. And it works every time. "Las Vegas Dealer" is another great song. It wouldn't sound out of place on "Bring It On" mind you, but if you're a fan of the Gomez formula, you'll love it. The upcoming single "We Haven't Turned Around" is another gem - it won't set the charts on fire, but I think it surpasses even the high points from the previous album.
There's not a weak track on this album. They'll all grow on you sooner or later. They do need a few listens but it's worth it. A great follow-up to a great debut album, that should silence their critics for a while longer. Album of the Month. 10/10
The Manics finally bless North America with their presence and I was lucky enough to see them!!! Very lucky in fact, as I was underage in a 21+ club, and got in without tickets to a sold out show. I shall forever thank my lucky stars and whoever it is upstairs that loves me for getting me in there!!
I wore my feather boa, eyeliner, and vinyl trousers and stood right at the barriers in front of where the darling Nicky Wire played. The atmosphere before they came on was great - on both sides of me were longtime Manics fans and behind us were a couple Welsh blokes in Wales football jerseys and bearing the Welsh national flag. Yes, it was going to be an ace night! But first came the Sheila Divine. Um. I have nothing particularly kind to say about them except that they were relatively tolerable college rock.
Then Manics came on shortly before 11pm and they were BEAUTIFUL!! They opened with "You Stole the Sun From My Heart" and then gained more energy with "Faster". By this time I was starting to realise that many of the people around me knew all the lyrics, even to the older stuff (the "new" fans who think "This Is My Truth..." is the first Manics album sat in the back getting drinks at the bar)!!!!! The Manics also played "Tsunami", "No Surface All Feeling", "Kevin Carter", "Ready For Drowning", "Australia", "Motown Junk" (James started it with the now legendary beginning, singing, "baby love, oh my baby love"), and -- wait for it -- YOU LOVE US!!!!!! And we did, every second of it! Even though my body was by then well-bruised and tired from being crushed against the metal barrier (I had bruises on my ribs for a couple days and still have bruises on my left arm), I jumped and screamed and yelled all through "You Love Us", one of the greatest songs ever. Nearly broke my vocal chords screaming when they started "Motown Junk", too! After that song I took off my feather boa and held it up to Nicky, who knelt down and took it from me, first hanging it on his mic stand and later wearing it with cool blue shades!
James' acoustic set was made of "Black Dog On My Shoulder" and a cover of "Raindrops Keep Falling On My Head"; the other cover of the night was the Clash's "Train In Vain". That night also convinced me that "the Everlasting", a track which I previously did not care for as much as the rest of their catalogue of songs, is very powerful and beautiful! Yippee! There was no encore, but James did tell us he loved us. Five of Five stars!
Thanks to Heather Thompson for this review. Feel free to mail comments to her at Eire2000@aol.com.
Tuesday September 7th 1999: There seemed to be a lot of breaks today, which often means that we're worrying about something. Recording worries over whether the 'Canned Applause' mobile setup will be ready. Management swing by to answer fraught questions and generally alleviate anxieties. Oh yes, music is what we're about (easily forgotten sometimes) and 'Everything In Its Right Place' sounds good.
Wednesday September 8th 1999: A good and long rehearsal. Pick up where we left off on 'Everything' and move swiftly on to 'Optimistic' - it's blinding - definitely the most formed of the songs to put to tape - it comes from the swamp. The music is interrupted by the new bulletin board on our all-new singing and dancing website. Very exciting. And of course most of the messages posted are concerned with the atrocities in East Timor. What's the betting that international forces fail to enter East Timor before mass genocide is once again committed. If this sounds flippant - it's not meant to - sorry. Back to the music - return to 'Up On The Ladder' - Thom has a new arrangement - start stripping the song apart - already sounding better.
Thursday September 9th 1999: 'Knives Out' sounding quite 'Smiths-esque'. Especially Phil who has got that Mike Joyce thing down to a tee. On to 'Optimistic' - must record that soon before we lose it (remember 'Lift'?). 'Up On The Ladder' sounds pretty grim. 'Say The Word' (or c-minor song); great drum, bass and vocals - personally getting a bit anxious over it, as i can't find anything that works with it, or rather i have an idea but can't get the sound right. Makes me a bit neurotic. Finish on what i used to call the 'Jonny Scott Walker song' - very short and sweet. Last diary piece for a couple of weeks. How was it for you? I'm finding it a little difficult to set the right tone, but as i'm not a journo i guess that's fair enough. Hopefully this is going to be an ongoing thing throughout recording and maybe even touring, so it will get better.
The previous three weeks are up on the website and i'd advise all fans to go and have a look at it. Thanks to Ed for passing these diary entries onto the fans.
This week, by request, we've got the theme tune for the superb 80's cartoon Thundercats. It's theme tune is instantly recognisable, and this riff makes up the main part of it. To further feel the magic (and hear the roar) of the Thundercat's theme, you can play the powerchords of the notes shown. This should give a fuller sound. Enjoy, and any requests, post them to the usual address.
D ---------------------9--9-----10--10--9--9------
Vini Reilly is one of music's more enigmatic figures. Since 1978 he has been
the central figure of the Durutti Column, the Factory label's 'house' band.
Frankly, he's one of the best guitarist's you're probably going to hear in a
long time. Not in a flash Hendrix/Squire sort of way. In a
writes-really-brilliant-melodies way. And yet, whenever fame came knocking
round chez Reilly, he promptly hid behind the sofa until fame give up and
went to see, say, John Power out of Cast. Reilly summed up the Factory
ethos - music that had heart and soul and said something to the listener rather
then sold thousands of copies (which probably explains why they went bankrupt
a while back).
Here, on the Durutti Column's first album, it's mainly Reilly playing his
guitar. Nothing much else apart from the odd bit's on bass and drum thrown
in, plus the mad scientist figure of producer Martin Hannet making sounds
from a synth, such as the bird like sounds on the opening 'Sketch For
Summer.' No lyrics, no singing. Now, I tend to hate long, winding
instrumental pieces as much as the next man. Here though, I make an
exception. Words are not needed for these songs in the same way they're not
needed to describe love or hate. It just is.
It's difficult to describe individual songs rather then the album as a whole.
Put it this way, if Mozart had played guitar, he'd have wrote music that
would sound like this. With it now reissued with several bonus tracks I
cannot excuse you for not owning this record. Budding guitarists-buy it,
learn about melody. I implore you (please).
Thanks to Peter for that review. Might be his last for a while. He's gone
to university so he'll probably have better things to do than review
classic albums for us.
My first experience of Pink Floyd was a rather nasty one. My dad played
his scratched to shit old records loudly while I was in the bath saying
Radiohead were copying them. Sort of put me off,
but out of curiousity I dug them out again and gave them a chance, and
enjoyed them. I'm not trying to convert anyone, but merely reviewing the 5
Floyd albums I own in this 2 part series.
Relics is a collection of early Pink Floyd songs, written between 1967 and 1971. It starts with the band's debut single, a Syd Barrett composition by the name of "Arnold Layne" - the tale of a transvestite/thief guy who steals womens clothes from their washing lines. It's one of the albums finer moments, along with the excellent "See Emily Play" another Barrett effort. These songs follow the more traditional song format, but there's a few lengthy instrumental based songs in there too. The infectious recurring riff that keeps popping up in the winding 9 minute plus "Interstellar Overdrive" is almost lost in the psychedelic haze. "The Nile Song" is a simple, traditional rock song done properly. It's one of Roger Waters' few compositions on this album (He handled most of the writing work after Barrett's departure due to mental problems in 1968), and shows that it doesn't take extravagent guitar heroics to make a good song. "Julia Dream" shows an altogether different side of a band who were probably taking a few too many drugs at the time. It's nonsensical lyrics and mystical melody make for interesting listening to say the least. Final Song "Bike" ("I've got a mouse and he hasn't got a house/I don't know why I call him Gerald") is another Barrett song. The light-hearted lyrical nonsense and simplistic melody contrast greatly with the dark and eerie noises that follow ensuring a perfect close to a fine collection of songs. There's not a bad song on this album, and it shows a side of the band that is immediately lost when Barrett leaves. It's not their best album, and some songs may sound dated today, but still one I'd strongly recommend, and quite a good introduction to the band.
This rather patchy post-Barrett album shows the band in a transitional phase. The next in a long line of albums in a busy period for the band, it hints at the direction they're heading in without losing sight of where they've come from. Side 1 features one lengthy composition, "Atom Heart Mother", which is broken up into 6 parts. The titles of these parts, including "Funky Dung" and "Mind Your Throats Please", are as weird as the music itself. Basically it's a huge instrumental but there are a few bits that include singing and chanting. Side 2 is as different as you could get. 3 more traditional songs, and one bizarre offering by the name of "Alan's Psychedelic Breakfast". "If" is the albums highpoint for me. Penned by Roger Waters, it features a soothing guitar melody and vocals to match. Summer '68, one of keyboardist Rick Wright's songs, is about as "normal" as this album gets. The rather unimpressive vocals and ordinary start are soon forgotten as the song picks up momentum at the first chorus and never looks back. Next, Dave Gilmour has a crack at the songwriting, and the result is "Fat Old Sun". It's a much slower song, but fits in with the previous songs well. If side 1 is looking to the future, then these songs are taking a look back at the past. Then that only leaves the last song. "Do you like Marmalade?" whispered in the background, and sounds of cupboards opening. The "Psychedelic Breakfast" theme may have sounded like a good idea at the time, but it's lost on me.
On the whole, a varied album with more than it's fair share of flaws, but some excellent moments scattered around in there as well. The 3 normal(ish) songs are good, but the rest should be avoided.
Next month, and the 2nd and final part will include "Meddle", "Dark Side of The Moon", and "Wish You Were Here".
So what's on offer next month in No Ripcord #8? Well, there should be plenty of interesting stuff. We'll have another classic album, 3 more Pink Floyd LP's reviewed and the long-awaited return of General Failures. We'll explain another classic riff (still time to request one) and they'll be a feature on an interesting (and topical) musical theme. We'll take a look at the best online music available. So if you've got a band with some music online, mail us, and we'll review you. We'll have another pile of reviews for you, as well as the return of Band Of The Month, and any new columns I can dream up between now and then.
Classic Riff #2 - How To Play It:
A --12--12--10--12--------12----------------12--
Classic Album:
The Return of the Durutti Column by the Durutti Column (1979)
Pink Floyd Special - Part 1:
Relics (Songs from 1967 and 1971):
Atom Heart Mother (Released 1970):
Next Month in No Ripcord:
