Cleopatra Records, Inc.
Brainticket - SXSW Music Festival 2013

Brainticket – SXSW Music Festival 2013

Brainticket is scheduled to appear at 2013 SXSW Music Festival. More information to come.

The South by Southwest® (SXSW®) Conferences & Festivals (March 8-17, 2013) offer the unique convergence of original music, independent films, and emerging technologies. Fostering creative and professional growth alike, SXSW® is the premier destination for discovery. Click here for a full list of the bands performing at SXSW.

Hawkwind Guitarist Huw Lloyd-Langton Dead at 61

Hawkwind Guitarist Huw Lloyd-Langton Dead at 61

Hawkwind Guitarist Huw Lloyd-Langton Dead at 61December 7, 2012, Los Angeles – Cleopatra Records is sad to pass on the news that Hawkwind guitarist Huw Lloyd-Langton has passed at the too-young age of 61. Huw had been bravely battling cancer for the past several years and died peacefully at home in England with his devoted wife Marion by his side.

A self-taught guitarist with mind-bending scope and range, Llloyd-Langton joined Hawkwind in 1970 and immediately made his mark by contributing his unique guitar stylings on the band’s groundbreaking self-titled debut album. The album is considered historic in that it was one of the first space-rock albums to be released.

Shortly thereafter, Huw left the band to embark on his own musical journey but he continued to be an integral part of the Hawkwind sound as both the occasional band member and frequent collaborator with his Hawkwind mates on numerous occasions as the years unfolded. He was on-board for the albums Live Seventy Nine, Levitation, Sonic Attack, Church Of Hawkwind, Choose Your Masques, The Chronicle of the Black Sword, The Xenon Codex and this year’s Onward.

Huw also toured with Leo Sayer in the 1970s and was a founding member of the acclaimed U.K. hard rock band Widowmaker, which released two well-received albums in 1976 and ’77. He was adept at playing all styles of music – from hard rock to classical to blues – performing in the various genres with seamless ease and jaw-dropping talent.

In a statement, founding Hawkwind bandmate Nik Turner said, “He was a lovely guy and a great, great guitarist. I’m really sad that he’s gone. Everybody who knew Huw liked him; he touched a great many people with his playing. I will miss him.”

Huw was and will always be a much-loved member of the Cleopatra Records family. He had been a significant part of a number of Cleopatra projects including working with Kinks legend Dave Davies on a track for The Black Keys tribute album Black on Blues, and with Joe Elliott, Rick Wakeman and Carmine Appice on Who Are You, an all-star tribute to The Who. Please enjoy Huw’s guitar work on “Love Reign O’er Me” here: https://soundcloud.com/brosseaupr/love-reign-oer-me-feat-huw/s-e1p09

His innovative guitar work was featured on the Space Rock Invasion DVD taken from the 2011 Space Rock Invasion tour on which Huw participated, as he opened to critical applause for Nektar and Brainticket.

Cleopatra is preparing to release Huw’s Rare & Unreleased Anthology in January, which will now be an amazing posthumous tribute to his work including never-before-heard solo acoustic recordings of songs later recorded by Hawkwind along with tracks from Huw’s solo band.

So long Huw, may your journey from space-rock originator into an explorer of the great unknown be as interesting for you as your time on Earth was for us.

Review: Curved Air Live at the BBC

Review: Curved Air Live at the BBC

Source: Muzikreviews.com
By: Jim “The Ancient One” Lawson
Rating: 4 Stars

Curved Air, the British prog rock band, were formed back in the depths of time, well, 1970 to be exact. The original members came from mixed musical backgrounds and their sound was a mixture of prog rock, folk rock and fusion with classical elements. They were one of the first bands to feature a violin as a lead instrument. This album, AirWaves, is a remastered version of the 1995 release, Live At The BBC, with a minor adjustment in the running order of the tracks, and not as I had initially thought, a recently uncovered cache of live material from the early days. It features a selection of tracks from 4 of the 6 albums they released from 71-76 and a snapshot of the different personnel involved.

The musicians involved were Sonja Kristina (vocals 1-13), Darryl Way (violin/vocals 1-13), Florian Pilkington Miksa (drums 1-8), Francis Monkman (guitar/keyboards 1-8), Rob Martin (bass 1-3), Ian Eyre (bass 4-8), Tony Reeves (bass 9-13), Stewart Copeland ( drums 9-13) and Mick Jacques (guitar 9-13). Of the 13 tracks, the majority (6) are taken from the debut album, Air Conditioning, issued as a picture disc and 2 tracks that have never appeared on studio albums.

The tracks vary in length from track 6, “Blindman,” the shortest at 2:45 to the last track, “The Fool,” which is the longest, clocking in at 6:43. So, let us start the journey into the past and see what we think of some classic live prog rock.

The starting track of the set is “It Happened Today” (4:39) and is quickly into driving bass/drums with the characteristic violin of Darryl Way picking out an amazing riff, just before the superb voice of Sonia Kristina joins in. This is arguably one of the most recognizable Curved Air songs and shows the band at their best right away, highlighting the Curved Air sound. At 2:45 there is a sudden change of pace and the violin takes on a much mellower laid back melody which demonstrates the skills of Darryl Way as the track meanders to its conclusion. What a fantastic start to the album.

Second track up is “Propositions/What Happens When You Blow Yourself Up” (5:24) and we are straight into a driving beat with Darryl’s violin to the fore before the main vocals of Sonia appear with Darryl contributing backing vocals. Terrific guitar from Francis Monkman maintains the momentum before there is a change of pace with Sonia back in with the vocals and excellent piano. Around the 2:45 minute mark, wonderful keyboards take on the melody while the bass/drum “engine” gurgles away in the background. The track builds until 4:30 when the original violin theme returns and Sonia’s vocal reappears to take the track out.

A touch of the classical strikes with track 3, “Vivaldi” (6:26) with the violin of Darryl and the guitar of Francis interpreting a bit of Vivaldi before there is a real “tongue in cheek” passage by Darryl on the violin, and not exactly what you would expect at a “prog” concert. Darryl then proceeds to make the violin sound unlike a violin as a prelude to the vocals (Sonia) entering with a sweeping piano passage. Just around this point however, the track seems to lose direction for a short while before Darryl returns with the intro theme and is joined by more terrific guitar work by Francis and this just about rescues the track, but there is still the feeling that this was a weaker track.

Track 4, “Young Mother In Style” (5:14) opens with a memorable keyboard melody, joined by bass/drums and the violin prior to Sonia’s vocals entering. This is the first track to move on from the first album (Air Conditioning) and even live, there is a subtle change in the structure and energy. Violin takes the lead and the keyboards sweep in and out behind this instrument, allowing Darryl to show his proficiency on the violin, but there is again the feeling of lack of direction and indeed the keyboards sound slightly out of place.

We return to the first album again for the next track, “Situations” (5:40) and a slower start with expressive vocals from Sonia and the trademark violin tracing a melody behind the voice. The sound seems more “comfortable” than the previous track. Definitely a more laid back rounded track which changes direction at around 2:15 tempo-wise, but remains the most sedate track thus far. Again, however, there seems to be a lack of direction and “punch” making the track “flat.”

Sixth track of the album is “Blindman” and it has a piano, bass and drums intro with a huskier voiced Sonia making the track a little bit different. Again this is a gentler approach to the earlier material but I am starting to detect flagging in the energy and “oomph” factor and the track fails to impress.

Up next is one of the previously unrecorded (studio) songs, “Thinking On The Floor” (4:02), and this has a much higher energy start, and although the trademark violin of Darryl is there, it is much more melodic and subdued, while still driving the track along. A terrific staccato-like vocal by Sonia and the track picks up the interest that had started to fade. There is also a superb violin solo by Darryl as the song drives towards its finale.

Track 8, “Stretch” (4:35), has again a Darryl (violin) start and we seem to be back “in the groove” suggested by the earlier tracks. Every instrument just seems to be right on this track, violin/vocals/guitar and rhythm engine. It is interesting to find that we are again dipping into the debut album. Interplay between the guitar and violin is excellent.

A distinct shift in proceedings is apparent at the outset of track 9, “Stark Naked” (5:44), with audience noise being heard easily. This is more of a rock like track and although the lead instrument (i.e. the violin) is there, it seems to working at a slower pace, but after this interesting start, there is a point where track is on the verge of losing me. At that point however the violin neatly steps aside to release Mick Jacques to bend his guitar strings a little more than Francis Monkman (guitars on tracks 1-8) had done earlier. This is a very definite heavier sound with everyone contributing well to this out and out rocker.

Track 10, “Woman On A One Night Stand” (5:42), sees a more bluesy start with Sonia’s excellent vocals and Darryl’s violin in and out with lead riffs. A very different sound shows the diversity of the band and this catches the interest of the listener. It is an excellent, if unexpected, track with a very different “gutsy” voice from Sonia.

“Midnight Wire” (6:20) continues this bluesy feel to the music and again is a very impressive track, but far removed from the early work of Curved Air. It is also interesting to note that since track 9 we have moved onto the 1976 live recordings, showing that the personnel changes certainly influenced a change in the musical direction.

The penultimate track, “Hot ’n’ Bothered” (3:02) has Sonia showing both power and emotion in her voice on this driving rock song. Darryl’s violin is there in the background with a few runs from time to time, before taking the “front of the stage” around the halfway point and letting rip with the instrument. The rhythm engine underpins the track with a marvelous rock beat and Sonia returns to take the song out. This track is short but sweet.

The longest track finishes the album, “The Fool” (6:43), with an introductory drumbeat into the ever present violin and some good old audience participation. This is yet another driving rock song with terrific interplay between violin and guitar behind the vocals. Darryl again gets the chance to “solo” but he is definitely part of the band whereas in the earlier tracks he seemed to be leading while the others followed. Excellent Darryl (violin) and Mick (guitar) interchanges, which seems to be more of a feature in these later tracks.

My impression of AirWaves is that this is a piece of work which traces the evolution, driven by maturity and personnel changes, from prog to rock and it would have been interesting to have some material from the intervening years to chart this progression more. It is like two different bands and it brought back to me why I had the first two Curved Air albums ( Air Conditioning and 2nd Album) but no more. Having said that, I found the later live material excellent and probably missed out on a terrific rock band a long time ago.

This is an excellent album, simply because it catches the bands musical changes and would be an ideal entry point for anyone “trying out” Curved Air for the first time. Diehard fans of the band I feel will have the original release (1995) but might want to collect any previously unreleased material from the band.

Footnote: Soon after their formation back in 1970, Curved Air earned three sizeable achievements:
1. Touring with Black Sabbath
2. First British band to be signed to Warner Brothers
3. Released the first commercially available picture disc (debut album Air Conditioning)

UK Review: Blackburner -Planet Earth Attack

UK Review: Blackburner -Planet Earth Attack

By: Ian D. Hall

Liverpool Sound and Vision Rating * * * *

Mix the industrial with a healthy dollop of some of the finest exponents of Progressive Rock, some genre crossing of dubstep and Heavy Metal and finally one of the megastars and iconic figures of Science Fiction film and television and you have the superb new Blackburner album Planet Earth Attack in all its grandiose and lavish glory.

William Shatner, the one and only Captain Kirk from television’s Star Trek,is no stranger to adding his unique tone of voice to another artist’s idea but from the start of the Skyla Talon’s produced album, with its eclectic and brutally dystopian future soundscapes, it sets the ultimate and stunning start to the aggressive and dominant music.

The music is exhilarating, resonating across several genres and without at any point ruining a single one or moment. A rare thing to achieve and something in which all concerned in making this piece of creative history should be proud of. Every beat, crunch and pulsating throb is counteracted by the danger, terror and unbridled miss of heart inducing trepidation which only serves to notice to those that say this type of music is uncalled for and not warranted.

Each tune on Planet Earth Attack should carry a warning on how infectious it is to listen to. Each grinding motion; a safety assessment certificate of clean health and then a note of thanks from the luminaries of Chris Squire and Billy Sherwood of Yes, the excellent Jessica Jean and of course William Shatner to congratulate the listener on having the presence of fortune to possess a mind open to a new beat.

There will be the die-hards of Prog that will undoubtedly splutter over their morning cereal at the mix of Pink Floyd’s Comfortably Numb which features the two musicians from Yes, the sight of cornflakes going over their table in outraged surprise might actually be good for the soul. Whilst the Scissor Sisters could be said to have butchered the classic, in the hands of Squire, Sherwood and Talon it sounds incredibly cool and worthy.

Planet Earth Attack stands out as a genre blurring defining album, full of dystopian wit and verve and ultimately a pleasure to listen to, no matter which genre you prefer.

Source: LiverpoolSoundAndVision.co.uk

[twitter style=”vertical” float=”left”]  [fblike style=”box_count” float=”left” showfaces=”false” width=”50″ verb=”like” font=”arial”] [fbshare type=”button”]

Review: The Royal Philharmonic Orchestra Play the Music of Rush

Review: The Royal Philharmonic Orchestra Play the Music of Rush

By: Greg Barbrick

When I first heard that there was to be an album featuring the Royal Philharmonic Orchestra performing the music of Rush I had no idea what to expect. In the ‘70s, Rush recorded a number of extended pieces which definitely had potential to be adapted into the classical world. It is a different world today though, and the era of the 20-minute song seems very long ago and far away. Out of curiosity more than anything else, I took the plunge and picked up this intriguing set.

Much like the recent release of Jon Lord’s Concerto for Group and Orchestra, The Royal Philharmonic Play the Music of Rush turned out to be a very pleasant surprise. The track listing was a little different from what I had expected though. I thought TRPO may chosen such extended Rush pieces as 2112, or Hemispheres, but with the exception of the “Overture” from 2112, this is sort of a greatest hits collection.

Classic rock radio staples such as “Tom Sawyer,” “Limelight,” and “Closer to the Heart” are a few of the nine songs here. The disc begins with the previously mentioned “2112 Overture,” which is the perfect choice. It segues into an interesting version of “Spirit of Radio,” complete with the faux-reggae middle-section. Things get really interesting with “Subdivisions.” For Rush fans, this song from their 1982 Signals album was a real turning point.

There is no question that the band lost some of their audience with that album. By cutting their hair, adding keyboards, and shortening their songs, Rush made it clear that they were ready and willing to change with the times. Signals was considered their New Wave album, and many Rush fans were not amused. As the trio themselves explained in the excellent documentary Beyond the Lighted Stage (2010), they have always been music fans, and as new things come along that they like, they embrace them. The reggae bit in “Spirit of Radio” is one example. When the so-called “MTV bands” of the early ’80s came along, and they liked a lot of it as well, and wrote some songs in a similar vein.

Hearing these familiar melodies played by an orchestra is one thing, but “Subdivisions” contains some interesting solo vocals. This is adds a whole new dimension to it. To be honest, the “mannered” vocals of Niki Moloney and Shaun Chambers on the track take a little getting used to.

For years I considered Rush something of a “cult” band. They were certainly popular, but thanks to Neil Peart’s intellectual lyrics, there was a quality to their music that put them in a league of their own, at least to some of us. The various time-changes and musical adventurousness in general also seemed to set them apart from their peers. To put it bluntly, there was a certain “snob appeal” about them for me. The fact that The Royal Philharmonic Orchestra recorded an album of their music definitely adds to this. But then I am pretty pretentious anyway, so keep that in mind when I talk about snob appeal.

Besides the brilliant arrangements of Richard Cottle and James Graydon, special mention should be given to the excellent guest guitarists who appear on the collection. Steve Rothery of Marillion is featured on “Working Man,” and Adrian Smith from Iron Maiden guests on “Red Barchetta.” Last but certainly not least, the cover painting is fantastic. Credit Jesus & Javier Carmona Esteban for this beautiful work, they give Roger Dean a good run for his money with it.

The Royal Philharmonic Play the Music of Rush is a wonderful addition to any Rush fan’s collection. I would also like to take a moment to congratulate the Purple Pyramid label for putting it together. They have been releasing some wonderful items in the world of progressive rock and fusion lately. For fans such as myself, these efforts come as a welcome antidote to the world of Lady Gaga and much of the rest of what constitutes the mainstream today.

Source: BlindedBySound.com

[twitter style=”vertical” float=”left”]  [fblike style=”box_count” float=”left” showfaces=”false” width=”50″ verb=”like” font=”arial”] [fbshare type=”button”]

Review: Who Are You – An All-Star Tribute To The Who (Nick DeRiso)

Review: Who Are You – An All-Star Tribute To The Who

By: Nick DeRiso

The intrigue of compilations like this is when seemingly incongruent artists successfully combine, or when somebody turns a familiar tune inside out. Who Are You: An All Star Tribute to the Who — due October 2, 2012, from Cleopatra Records — offers its share of both.

The set opens with John Wetton, who always sings like his life is in the balance, tearing into the 1982 Who track “Eminence Front.” He turns out to be a perfect fit for the Pete Townshend-sung lyric, and keyboardist Derek Sherinian (Black Country Communion) and founding Judas Priest guitarist K.K. Downing tangle with energy and fire. Unfortunately, the song can’t begin to replicate the original’s thundering groove — principally, it seems, because Wetton doesn’t play on the track. The bass is handled on “Eminence Front,” and elsewhere, by session co-producer Jurgen Engler; Billy Sherwood (Yes, Circa) plays drums here, and on seven other tracks.

Mark Lindsey of Paul Revere and the Raiders adds the perfect dreamscape drama to “I Can See For Miles,” while Wayne Kramer from the legendary Detroit punk group MC5 burns through the signature riff. Former Yes keyboardist Rick Wakeman adds an atmospheric portent to “Love Reign O’er Me,” even if Def Leppard’s Joe Elliott can’t match Daltrey’s trembling emotional resonance. Believe it or not, however, those aren’t even this compilation’s strangest pairings: Later, country singer Gretchen Wilson handles the lyric on “Who Are You,” with Randy Bachman (The Guess Who, Bachman Turner Overdrive) sitting in on guitar. Peter Noone of Herman and the Hermits fame also joins Yes alum Peter Banks and Cream’s Ginger Baker for “Magic Bus.”

Elsewhere, I loved the way Nektar’s Roye Albrighton deftly echoed both Roger Daltrey’s ragged howl, and Townshend’s jagged glory, on “Baba O’Riley” while Jerry Goodman (Mahavishnu Orchestra, Dixie Dregs) perfectly mimics the track’s frenetic original violin showcase. Sweet, as always, runs roughshod over things with a blissfully wild take on “Won’t Get Fooled Again.”

Todd Rundgren performs with wobbly abandon on “Anyway Anyhow Anywhere,” joined by drummer Carmine Appice on the second of his two appearances — after “Love Reign O’er Me.” Pat Travers turns “Behind Blue Eyes” into a dark blues-rock rumination and Joe Lynn Turner (Rainbow, Deep Purple) combines with Mountain’s Leslie West on a heavy-metal redo of “The Seeker,” neither of which is a bad thing at all. But even the appearance of Deep Purple’s manic skinbeater Ian Paice can’t save 38 Special’s too-slick version of “Bargain.”

The album’s high point, however, might just be Iggy Pop’s balls-out take on “I Can’t Explain.” His voice, which sounds like it’s been through a meat grinder and then kneaded with glass, adds a whole new sense of immediacy, of desperate longing, to Townshend’s age-old romantic declamations.

Source: SomethingElseReviews.com

[twitter style=”vertical” float=”left”]  [fblike style=”box_count” float=”left” showfaces=”false” width=”50″ verb=”like” font=”arial”] [fbshare type=”button”]

Review: The Outlaws - Anthology (Live & Rare) 73-81

Review: The Outlaws – Anthology (Live & Rare) 73-81 (Greg Barbrick)

By: Greg Barbrick

The Outlaws may not be as well remembered today as such Southern Rock luminaries as Lynyrd Skynyrd or The Allman Brothers, but they should be. If ever there were a music that belonged to the ‘70s (besides disco), it had to be Southern Rock. For this dyed-in-the-wool Yankee, Southern Rock was a revelation. The best bands incorporated a wild stylistic mix into their music, including country, blues, R & B, straight-ahead rock, and even jazz-like extended soloing.

The Outlaws covered all these bases and more, as the new four-CD box-set Anthology (Live & Rare) 1973-1981 shows to great effect. I first heard them in 1975 with their hit single “There Goes Another Love Song.” Then one day I flipped the dial over to the FM band, and heard the anthem “Green Grass and High Tides Forever.” Both tunes hailed from their self-titled debut album, and I was hooked.

I know that the group achieved a fair level of success, but it may have been mostly in the South. In the Northwest, I often felt like I was their only fan. So I set about turning my friends onto them, and what better to do that with than with their double-live Bring It Back Alive album? This is actually the first Outlaws album I bought, because back then, live was where it was at. To be honest, I was sold when I saw that all of side four was a 20-minute version of “Green Grass and High Tides Forever.”

Killer stuff to be sure, but teens are a fickle lot, and I kind of moved on afterwards. About the only other song I remember was their killer version of “Ghost Riders in the Sky” in 1980. So when this Anthology came along, I was very interested. As it turns out, this is a pretty great way of filling in the gaps of a band who I appreciated, but never fully got to know.

Three of the four CDs are live, culled from eight different shows, spanning the years 1975-1981. The Outlaws were an especially powerful live act, and I recommend all of this material to anyone interested. But of the three CDs, I would have to single out the second one as the “must.” In contrast to discs one and three, which contain excerpts from multiple shows, disc two is a full set. Titled “Live 1976,” this nine-song program was recorded live at The Record Plant in Los Angeles in November of that year.

The band were on fire, without question. The set-list is much closer to that of the 1975 material on the earlier disc, rather than that which was to come in 1978 on Bring It Back Alive. They open with the smoking “Waterhole” and just tear it up all the way through. While Bring It Back does contain both “There Goes Another Love Song,” and “Green Grass,” they are separated by quite a bit of distance. This Record Plant gig finds them closing with a great version of “Green Grass” first, followed by the hit “There Goes.” I don’t know, it just seems they were completely on for this one, and it is fascinating to listen to it now, after being so used to what I had previously heard.

Disc three is similar to disc one, as it contains excerpts from multiple shows. Two are from 1977, and the final one is from 1981. The ‘81 set closes with a very cool “Ghost Riders in the Sky.” As something of a fair weather fan who has only owned their live album, (and still do), these three CDs are a welcome addition.

What I have always needed though is to hear their studio work. On that front, the demos contained on the fourth CD are pretty intriguing. I know that when I hear the word “demo,” I kind of dismiss it. And to be honest, if this set were offered as four separate CDs, I probably would have skipped the demo one out of the feeling of it most likely containing inferior product. Well, you cannot get away from the fact that these are not the final, studio polished tracks. But what I can say is that the music on disc four is definitely worth hearing.

There is some great stuff here, and what is most surprising is how much of it has remained unreleased until now. The Purple Pyramid imprint of Cleopatra Records has always done a great job of packaging their various releases, and this is no exception. What The Outlaws fans consider their “classic” years are the first three albums, The Outlaws; Lady In Waiting; and Hurry Sundown. Demos from all three are included, as well as eight songs from 1973-1977 which have been unreleased until now.

There is a plethora of excellent material on this Anthology, and fans of The Outlaws would be well advised to check it out.

Source: blindedbysound.com

[twitter style=”vertical” float=”left”]  [fblike style=”box_count” float=”left” showfaces=”false” width=”50″ verb=”like” font=”arial”] [fbshare type=”button”]

Review - Motorhead - Live to Win (David E. Gehlke)

Review: Motorhead – Live to Win (David E. Gehlke)

By: David E. Gehlke

A play on the band’s notorious “Born to Lose” credo, Live to Win is a lovingly-assembled book by Motorhead fanclub president Alan Burridge, who has been with Lemmy and crew since 1979. Pictures (vintage, revealing, exclusive, you name it) are in full supply here, making it a visual delight for those who are charmed by Lemmy and the various goons he’s trotted out since his fortuitous Hawkwind ouster in the mid-70’s. And judging by the cast of characters assembled in the book, there have been a lot.

Burridge takes us in chronological order, starting with the aforementioned Hawkwind days, which as the story goes, were cut short thanks to Lemmy’s drinking and drug use. The early beginnings of Motorhead are detailed, including text on the band’s first rehearsals, gigs, and so forth. Naturally, many weren’t too keen to Motorhead’s fresh brand of punk metal, which probably was encouraging to Lemmy, given the band’s initial mission statement of “We want to be the band that if you lived next door to us, your grass would die.”

The guts of the book focus on the band’s commercially successful 80’s run, spurred by of course, “Ace of Spades.” Yet aside from the songs that are live staples to this day (“Dr Rock,” “Overkill,” “Bomber” et al), it’s the stories behind Motorhead’s various lineup formations that are the real catch here. From the initial and second departure of drummer Phil “Animal” Taylor, to the guitar spot revolving door of “Fast” Eddie Clarke, Brian Robertson, Wurzel, onto still standing lone guitarist Phil Campbell and drummer Mikkey Dee, the personalities that have infiltrated Lemmy’s camp are second to none.

Perhaps the only beef in regard to Live to Win is that some of the pictures appear to be out of chronological order, as in shots that were obviously took in the 70’s, pop up in the sections in the 90’s and 00’s. A minor gripe, but that’s it. As a whole Live to Win benefits greatly from Burridge’s first-hand knowledge and experience of the band, and emerges as the type of book that’s hard to put down or leave idle on your beer-stained coffee table.

Source: blistering.com

[twitter style=”vertical” float=”left”]  [fblike style=”box_count” float=”left” showfaces=”false” width=”50″ verb=”like” font=”arial”] [fbshare type=”button”]