Some people take their time nowadays to deliver a new record, yet it didn’t Mitch Ryder too long to follow his Yuletide album "Christmas (Take A Ride)" with another set of covers. If that seems pretty much old-school, this is what one must expect of Mitch; what may be unexpected is an array of kindred spirits he called to arms to lay down “Detroit Breakout!” which will see the light of day on June 14th, and its tracklist. Of course, a fresh take on Ryder’s own perennial “Devil With A Blue Dress” wouldn’t surprise anyone, but the veteran’s handling of Otis Redding’s “The Dock Of The Bay” or THE CAPITOLS’ “Cool Jerk” should – just like the new renditions of Sam Cooke’s “You Send Me” and of “If I Had A Hammer” by Pete Seeger.
1984 was a watershed year for Johnny Thunders: he recorded “Live At The Lyceum Ballroom” with THE HEARTBREAKERS, their last ever album, and shortly went solo before forming and fronting THE BLACK CATS with whom the guitarist would record “Que Sera Sera” in 1985. It’s from this period that “Madrid Memory” comes from – a show shot for a Spanish TV broadcast which was deemed lost for a long time, and a very special document because what has just been out as CD/DVD combo and vinyl LP features, alongside Thunders, his former NEW YORK DOLLS colleagues Sylvain Sylvain and Jerry Nolan on, respectively, guitar and drums, as well as Heartbreaker Billy Rath on bass.
Always associated with blues as a member of FLEETWOOD MAC’s triple-guitar line-up, Jeremy Spencer‘s creative palette is much broader, and the veteran is veering away from his original genre on “Latina Night”: the third album available only for download or streaming. Spencer’s last physical release was 2014’s "Coventry Blue" and since then Jeremy’s been working on a less prominent scale, which doesn’t mean inferior quality of work, this record seeing the Englishman reminiscing instrumentally and sentimentally, on the years spent in Brazil.
One of the humblest masters of the six-string trade, Martin Barre has never tried to come from under the shadow of JETHRO TULL – not only because it would be impossible but also because his contribution to the band’s overall sound was so immense, and denying the guitarist’s past would be detrimental to his pride. That’s why Martin keeps on playing the classic tunes, tending to make less obvious choices while throwing in a few fan favorites when on stage. Of course, there’s much more to Barre, as last year’s "Road Less Travelled" brilliantly proved; only a concert recording from him was long overdue, as the veteran hasn’t issued any. Finally, April 5th will see the release of “Live At The Factory Underground” – a document of his October 2016 performance in a Norwalk, Connecticut studio.
GLENN HUGHES – The Official Bootleg Box Set – Volume Two
For what it’s worth, Glenn Hughes is well represented on a bootleg front, although it’ll take a true aficionado to sift through the veteran’s concert recordings to find the defining ones in terms of material. Fortunately, there are genuine connoisseurs who can do that – and do that, indeed. Last year saw the release of “The Official Bootleg Box Set” – subtitled “Volume One” to indicate there would be more (unavailable for review, it was detailed here), and its follow-up will appear on May 31st.
Spanning 1993-2013 and, thus, overlapping with its predecessor, this time the collection is to have six, not seven, discs, and while there’s also one previously issued item – “Incense And Peaches” saw the light of day on the artist’s own label in 2000, the CD stands apart from the rest of the series due to the inclusion of studio, rather than live, cuts. Yet if the 1993’s on-stage performances reflect Hughes’ typical repertoire, save for “The House Of The Rising Sun” – one a few covers he delivered through the years, a take on Ozzy Osbourne‘s “Goodbye To Romance” that was played on radio in 1992 is attached to Disc Five – numbers which were laid down in 1995 and 1996 seem quite interesting thanks to Glenn taking the material from the then-fresh “Feel” and “Addiction” to the audience. All in all, a nice addition to his catalogue, the sometimes raw sound notwithstanding.