The graveyard of tedious musical vanity projects – and the bargain bins of many record shops – is filled with solo albums by the lead vocalists of many fine rock bands. They may sell well initially, due to the power of well-financed record company marketing teams, but they are soon forgotten and adding to landfill sites around the country. In all likelihood, Corey Taylor’s disappointing solo effort, CMFT is destined to follow this path.

This documentary about the 1970s activist movement Rock Against Racism comes with festival prizes and much acclaim. It’s certainly a nostalgic feast for those old enough to remember when punk and reggae musicians were purposely united and it’s a timely release in the age of Grenfell, Windrush and Brexit.  

The standard recitation goes like this. In the early Seventies a London scene evolved, centring on bands playing in pubs. Music was taken back to the grassroots. Finesse was unnecessary. What happened was dubbed pub rock and it laid the ground for an even more basic style: punk rock. Pub rock fed into and helped foster punk rock.

If Doves have a “thing”, it’s that they do “big” with impeccable intimacy. Over ten years and four albums, they consistently displayed exactly the sort of connection that bands like Coldplay and Keane pretend to have. Huge, sweeping scores and broad emotional swells that feel like an old friend putting their arm around you and telling you you're not on your own.

So far this year, Live at Goose Lake August 8th, 1970 is 2020’s most exciting archive release. The album is a previously unknown soundboard recording of The Stooges playing at Jackson, Michigan’s Goose Lake Festival. The event was formally billed as Goose Lake Park – International Music Festival. Also on were Faces, Ten Years After, The Flying Burrito Brothers and The James Gang.

It’s been a decade, more or less, since The Rolling Stones opened up their From the Vaults series with The Brussels Affair, AKA Bedspring Symphony, taken from the 1973 European tour following the release of Goats Head Soup. It’s one of the most thrilling live sets any band ever released. And this at a period when it is hard to ascertain exactly how many times Keith Richards was arrested, crashed his car, set his place on fire, or had his blood changed.

The usual summer vinyl release slump doesn’t seem to apply this year. During the COVID-19 crisis, the demand for vinyl has risen rather than fallen and theartsdesk on Vinyl reflects that again this month with another monster round-up of reviews, covering everything from extreme metal to country’n’western to contemporary jazz.

VINYL OF THE MONTH

Rock’n’roll’s spirit is mother’s milk to Prophet, imbuing everything he touches. His old band Green On Red had stopped being roots rivals to R.E.M.

Bill Nelson’s views on his band Be-Bop Deluxe’s debut album are measured. In the essay accompanying its reissue, he writes “Axe Victim is one brief snapshot of a band in the process of becoming something else…a modest beginning, flawed but not without charm. And not the end of the story. I’ll always be grateful for the way that it helped launch a more appropriate vessel for my music, a ship which sails onward to this very day.” He sees the album as transitional.

During the first decade of this century Conor Oberst was critically anointed as a successor to the likes of Bob Dylan, Neil Young and Leonard Cohen. It didn’t seem to make him very happy. His project Bright Eyes, with musical prodigies Nate Walcott and Mike Moggis, twisted and turned through varying musical styles, as if purposefully evading easy definition, while Oberst’s lyrics became increasingly bleak and opaque. Bright Eyes now return, after nine years of absence. Oberst is no happier, but his cryptic, committed, broken-voiced melancholy is a good fit for these times.