atila - the beginning of the end

Atila: El Principio Del Fin (1975)

Blind buys are always a crapshoot, and any criteria you use to make a judgement on a band or album will always only take you so far. Case in point: I read about the debut album from Spain’s Atila on the LaserCD website, and admit I was taken in by lines like “Originally released in 1975 by the obscure New Promotion label in an alleged tiny pressing of 100 copies the album has reached “monster” status among die-hard collectors worldwide, sometimes reaching the 1500€ tag.” So the idea of grabbing El Principio Del Fin (or The Beginning Of The End) in a remastered reissue with liner notes and a bonus CD of an alternate cut of the album sounded great. And…it’s fine? Also I could have just grabbed the digital version on Bandcamp for about $10? Oh well, it still sounds pretty good.

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black sabbath - steel city blues

Black Sabbath: Steel City Blues (1978)

First off: Rest in Peace, Ozzy Osbourne. You can argue until you’re blue in the face the face, but in the end there is no argument: the man was the personification of heavy metal. No one sounded like him, and no one lived the metal life quite like he did. Even as a doddering family man on reality TV, he still managed to embody spirit and fire that ignited an entire movement more than 50 years ago on February 13th, 1970 when the first Black Sabbath album enveloped the world in its darkened wings. After a night spinning all my favorite records from the man, it was inevitable I would get an entry in today, but I wanted to write about something different, so let’s look at the end of an era. Steel City Blues was recorded live in Pittsburgh in 1978, just as they were recording Never Say Die! A year later he’d be fired, but listening to this live broadcast all I hear is a band still capable of fire and passion.

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jon anderson live 2025

Jon Anderson & The Band Geeks @Westbury Music Fair, 5.16.25

On Friday evening I shook off my introverted-ness enough to head out to Westbury, NY to see Jon Anderson & The Band Geeks perform a selection of (mostly) Yes classics, with a few choice cuts from their stellar 2024 album True sprinkled throughout the band’s two sets. Armed with nothing but a crappy camera phone I got to see a legend sing and wave his tambourine around like it was still the md-70s, despite the man himself being in his 80s. It was wonderful, and to memorialize it I wanted to throw a few words up here.

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les rallizes denudes yaneura 80

Les Rallizes Dénudés: YaneUra Oct/Sep ’80 (2024, 2025)

Lovely as Les Rallizes Dénudés are, I have been sick as a dog since Monday night, and their particular sonic onslaught is now doing nothing for my aching an pounding head, so we’re going to wrap up Live Month today with a brief double-header. It’s one that makes sense, though: two blasting shows at the Yaneura live house in Shibuya, Tokyo. And because we established that linear time has little meaning to a band so unstuck in its tick-tock mechanisms, we’re going in order of release but in reverse chronological order, starting with YaneUra Oct. ’80 and then moving back to YaneUra Sep. ’80. Let’s do this so I can give my clogged and pressurized ears a break…

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les rallizes denudes - baus 93

Les Rallizes Dénudés: Baus ’93 (2023)

As the concept of linear time has little meaning to Les Rallizes Dénudés, so shall it go with us. From 1977 to their speaker-blowing return in 1993 back a few days to a more tentative, but no less powerful reintroduction, Baus ’93 showcases Mizutani and company at that first post-hiatus show, four days before the explosive set covered on CITTA’ ’93. In all it’s a picture of a band finding their footing in real time, ironing out the kinks and wrinkles of five years away from the stage in a way that sounds cohesive and natural. If it’s not the singular experience the previous two releases are, it’s still filled all the feedback and cosmic soloing you’d expect from the band.

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les rallizes denudes - citta 93

Les Rallizes Dénudés: CITTA’ ’93 (2023)

After sporadic live shows throughout the late 70s and early 80s, Les Rallizes Dénudés took a hiatus, not returning to the stage until 1993. Fast foreword another 30 years and the band’s former bassist Makoto Kubota, working with the blessing of the Mizutani estate and Temporal Drift, have done an astounding job cleaning up and releasing CITTA’ ’93, a near mythological performance taking place four days after their “comeback” gig. Sourced from a magnetic ADAT tape (supposedly Mizutani didn’t even know the show was being recording at the time) it’s an amazing document not only for its high fidelity – this might be the clearest the band have ever sounded – but for some truly inspired playing, morphing now decades old tunes into new forms.

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