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Catch Sweet on tour in the UK at the following dates!


We Love The 70’s, Skegness, UK


Tivoli, Buckley, UK


Fibbers, York, UK


Wylam Brewery, Newcastle, UK


Arc, Stockton, UK


Picturedrome, Holmfirth, UK


King Georges Hall, Blackburn, UK


The Garage, Glasgow, UK


Robin II, Bilston, UK


Apex, Bury St Edmunds, UK


Nells, London, UK


Nells, London, UK


Pyramid & Parr Hall, Warrington, UK


Welly Club, Hull, UK

Sweet albums available now from Angel Air Records:

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“When You’re Young” kicks things into gear, an almost 80s Americana feel melded with something much more stage-show in nature. It’s a beautifully constructed piece of pop-rock and with a melody line that’ll stay with you for a long time to come. However, the confusion of approaches comes thick and fast, with the howling “Rebel Children” much more of a rock strut and preen, even if, as is the case throughout, the lyrics are much more threatening and stark than the music might suggest.

…Each and every song possessing at least one aspect that truly catches the imagination, whether that be the bluesy shuffle scuffle of “Spirit”, the jingle-jangle strum of “New Adventure” or the smooth slick 70s harmonies and vocals of album highlight “Turn All Your Troubles Into Highways”…if you’re looking for sharp observational lyrics and equally sharp, if maybe slightly too diverse for its own good, pop rock, then you’ll find much to delight you here.

Sea Of Tranquility (September 2018)

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GLAMWEAZEL The Great Unknown


Eighteen tracks are featured as we wilfully head back to days of old, the Glam aspect of this outfit’s name no accident. Although were not talking so much the ‘…Bam Thank You Ma’am’ variant, instead as “Tangled Leads”, “Playtime Is Over” or “My Baby Don’t Fade Away” weave their spell, so we are taken on a journey through 60s pop and 70s rock. The mood is often light and airy and yet these are no throwaway offerings bashed out with more enthusiasm than class. Here lyrical observations are matched to music that glimpses into worlds of everyday melancholy – growing old (un)gracefully, the love of the music and the paths we all must travel. As the best pop music often does, “Illusions And Butterflies” marries a cheerful melody to a pained lyric; joy and despair running hand in hand as you sing along. And it’s this all too often lost skill that raises what in other confines could have been a reasonably perfunctory set of songs and ensures that you stay the course.

…Nodding to Bolan and undoubtedly thanking Bowie for inspiration, this outfit have the knack of sounding like they might just have shared a bill with their heroes. That’s not to suggest that they’d ever have quite reached headline status in that company but they’d certainly have held their own against the era’s countless should’a beens.

Sea Of Tranquility (September 2018)

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Stephen SPAZ Schnee chats with British musician Jerry T. Jones (AKA Lushi) from GLAMWEAZEL about their new compilation album The Great Unknown plus his time as one of the driving forces behind ’80s band ONE THE JUGGLER. He talks about working with Mick Ronson, being influenced by David Bowie and the Kinks and so much more!

Interview from the BEACH BLANKET FORT BINGO podcast:

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Musically she was discovered in 1976, and recorded this album in 1979. She herself said she wanted to make music that was felt, rather than heard, with romantic aspects of jazz. Diana wrote all the music herself, and received help from musicians such as Chick Corea, Stanley Clarke, John Goodsall, Michael Boddicker and Patrick Moraz. The music sounds like light classical with pop influences. Diana wrote an explanation for each song, and opener ‘Rose Colored Lights’ revolves around the yacht on the Mediterranean. The song was released on single the following year. The other tracks are in the same style. This album is now a rarity, and now appears on CD for the first time.

A much sought after album, the only album ever recorded by the daughter of L. Ron Hubbard, in a slightly classical poppy way.

Keys and Chords (Translated – August 2018)

Diana Hubbard was born in London, the first born child of L. Ron Hubbard, the founder of scientology. She was composing piano sonatas by the age of 6 and went on to attend the Royal Academy of Music in London. She released this, her only album, in 1979 and it is now available on CD for the first time…the impressive list of Jazz musicians involved includes Chick Corea, Stanley Clarke, Patrick Moraz, Denny Seiwell, John Goodsall and Rick Parnell.

Bev Bevan, Sunday Mercury (July 2018)

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In 2016, the legendary guitarist and composer Gordon Giltrap underwent two lots of major surgery at the Queen Elizabeth Hospital Birmingham. He recovered remarkably well from both surgeries and has since been able to return to his life as a working musician.

Gordon decided as a way of saying thank you to the surgeons and nursing team at the hospital, he would create an album from a previous release with additional new tracks to raise money for the Queen Elizabeth Hospital Birmingham Charity.

The end result is a remarkable work entitled Heartsongs featuring major artists from the rock world who played on the opening track and the closing track. Names familiar to many like, Brian May of Queen, Midge Ure, Steve Howe from Yes, Neil Murray from Black Sabbath, Simon Phillips from Toto, and last but not least that national treasure Rick Wakeman.

Whilst putting the album together Gordon’s son Jamie tragically passed away. This album is dedicated to his memory.

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…from today’s perspective the tight pulse of “You Gotta Let Me Know” must be a perfect example of how sexed-up – and at the same time, intelligent – the marriage of blues to disco can be, Buchanan’s six strings going for filigree groans, while keyboard player Paul Jacobs’ vocal attack feels more gracious than wild here. The disposition will be reversed with the title track where Roy’s reserve is lifted to set his liquid licks and Paul’s roar and piano roll free, although there’s also mellifluous, if muscular, suppleness to “It Should’ve Been Me” which could easily challenge Gladys Knight’s version of this classic.

Just as scintillating, “Lack Of Funk” may focus on the era-favored rhythm and fail, had it not been for the hot handling of a fretboard and the “Entrance Of The Gladiators” quote close to the song’s coda, and “Dr. Rock & Roll” is too glossy and superfluous for Buchanan – saved only by his group’s vigor. That’s what’s missing from the unhurried reading of “Dizzy Miss Lizzy” whose dancefloor destination feels good nevertheless, yet the master’s tone on “Secret Love” demonstrates enchanting transparency, his Telecaster imitating mandolin and pedal steel along the way. Further down the line, “My Sonata” – one of the two instrumentals Roy penned for this project – embraces penumbral romance, albeit not to the extent of “Blues For Gary” that’s deeply emotional, especially when upper regions of the neck are caressed.

It’s clear what influence the number’s writer had on its hero’s namesake Moore, and this reissue bonus, a 30-minute interview with Buchanan, explains many other things. Thankfully, Roy would receive another chance to let his guitar do the talking, but “My Babe” remains a testimony to the greatness of the master’s worst works. **** (September 2018)

Roy Buchanan’s 1980 album My Babe has been unavailable for over 25 years so this is a most welcome release from Angel Air. Produced by Roy himself, the album featured vocalist Paul Jacobs who Roy had brought in to front the band so, although there’s plenty of his solos throughout, there are just the three trademark Buchanan instrumentals. ‘Secret Love’ is the Doris Day hit while his own quite beautiful ‘My Sonata’ is dedicated to Judy, his wife of 20 years. The lengthy (8 1/2 minute) ‘Blues To Gary’ was record after label executive Gary Marx had encouraged Roy to add what Gary called “a Roy Buchanan rocking blues solo” to the album. This gives Roy the chance to stretch out as only Roy could.

Pipeline Magazine (September 2018)

Roy Buchanan was an American guitarist and blues musician from Arkansas who pioneered the Fender Telecaster sound to acclaim from many fellow guitarists including Jeff Beck, Jimmy Page and Eric Clapton…Originally released in 1980, ‘My Babe’ is now available on this budget priced CD – the other musicians on the album are Paul Jacobs, Gordon Johnson, Ron Foster, Dan Brubeck and Richard Crooks…

Bev Bevan, Sunday Mercury (August 2018)

“My Babe” was the eighth album of Roy’s long and decidedly patchy career, first released in 1980 and boasting some typically eloquent instrumentals such as “Blues For Gary” and “My Sonata” alongside soulful covers of Little Walter’s “My Babe” and Yvonne Fair’s Motown classic, “It Should Have Been Me”.

Kevin Bryan, regional newspapers (August 2018)

…the opening salvo of “You Gotta Let Me Know” is a mighty affair, a New Wave vibe bursting through a staccato pulse and memorable chorus. With the fret abuse matched by some gloriously OTT vocals from keyboard player Paul Jacobs, it’s a full on introduction to My Babe. And one which this album’s title track continues to boogie on into the night with. This time it’s a piano and organ combination that lays the foundations for this funky slice of honest rock and again Jacobs proves a stunning vocal foil for the stinging guitar work that you know will knock your socks off.

Sea Of Tranquility (August 2018)

Guitar-wise, Buchanan was a technical wizard, his playing characterised by pinch harmonic ‘whistles’ and tonal effects obtained solely from his technique rather than external ‘effects’…This reissue of an album that was only ever available on CD for a short time in the States is most interesting for the added 30 minute contemporaneous promotional interview (also including some of the tracks)…Thirty years on from his untimely death, this is a timely reissue.

Get Ready to ROCK! (July 2018)

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Check out Glamweazel’s video advert for their new album ‘The Great Unknown’, released 21st September 2018 on Angel Air Records.

Click here to order your copy of ‘The Great Unknown’ now!

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Bell’s raw emotional directness is in keeping with Janis Joplin’s. Yet even in the throes of passion, the Glasgow native retains close sight of a lyric’s narrative meaning. She really works wonders with Sonny Terry and Brownie McGhee’s ‘Penicillin Blues’. The eight solo career tunes on disc two encourage full investigations of her albums ‘Queen Of The Night’ (produced by Jerry Wexler) and ‘Suicide Sal’, both Angel Air reissues.

Downbeat Magazine (November 2018)

There’s irrepressible energy to “Big Jim Salter” where Harvey’s guitar riff and Leahy’s organ roll reign supreme before psychedelic funk takes over yet, for all the electric attack the ensemble used to unleash, there’s exquisite acoustic discipline making “Blind Man” – where six-string lace and voice are laid bare – profoundly emotive…

…The country-tinctured “I Was In Chains” can be Maggie’s anthem for she never found the freedom required to carry on to stardom with STC or on her own, but whereas their legend keeps on thrilling new listeners, she’s still out there – still, belting out blues with the same vim. And these two CDs are a nice introduction to the world of those who might fly high yet didn’t have time to soar. **** (September 2018)

The first CD of this double compiles tracks from all four albums by Scottish blues-rockers Stone The Crows, recorded from 1970 to 1973. The playing is terrific and Maggie Bell sings strikingly although the tracks where she performs with restraint have aged the best…The second CD mostly comprises tracks from Bell’s first two solo albums, the Jerry Wexler-produced ‘Queen Of The Night’ (1974), which features musicians like Steve Gadd and Cornell Dupree, and ‘Suicide Sal’ (1975), Bell’s singing is more consistent than on the Stone The Crows material and she interprets, beautifully the likes of Mike Moran’s ‘No Mean City’ (theme from Taggart), Paul Kossoff/Simon Kirke’s ‘Hold On’, Alice Cooper’s ‘Only Women Bleed’ and Pete Wingfield’s ‘If You Don’t Know’ (on which Jimmy Page plays guitar).

RnR Magazine (September 2018)

A double disc CD package, this set is split between group and solo. The first disc cherry picks from Stone The Crows’ first four albums (lots of blues rock highlights are amongst them) and focuses upon the work completed between 1970 and 1973. The second CD is rather more targeted as it looks at Bell herself dipping into her first two solo LPs from 1974 and 1975 (arguably the more focused creations). There’s two exceptions to that neat list and its the live track from 1993, entitled Only Woman Bleed plus the track No Mean City which was used as the theme tune to TV’s drama show, Taggart. Supporting musicians including Jimmy Page, Phil May and Geoff Whitehorn.

…Bass is honed and punchy, giving the music a fast paced element while there is enough space around the soundstage to prevent any cluttering claustrophobia. That is, despite the profusion of backing singers and musicians, there’s plenty of instrumental separation to provide a relatively open and detailed presentation.

The Audiophile Man (August 2018)

Stone The Crows were – in the early 1970′s – a staple at festivals, popular on the student circuit, and managed by Led Zep’s supremo Peter Grant. Their early rise was effectively curtailed after May 1972 when their guitarist Les Harvey was electrocuted on stage in Swansea and sadly became another member of the “27 Club”.

Angel Air have done much to keep the band’s memory alive, and also highlighting their feisty singer Maggie Bell with several solo albums. The first disc showcases songs from the band’s four albums including – from the debut in 1970 – the glorious vocal pairing of Maggie Bell and Jim Dewar on two covers (a Josh White song ‘Blind Man’ and the Beatles’ ‘Fool On The Hill’)…

…The second disc highlights Maggie Bell’s solo work in the 1970s, extracted from the two albums ‘Queen Of The Night’ and ‘Suicide Sal’ expanded with the Taggart TV theme and a bonus live track.

Although Maggie semi-retired to Holland in the eighties – “with a husband and a dog” – in the last decade she has returned to Blighty and performed with several artists including long-time musical journeyman Colin Allen. She still performs regularly in Europe and the UK.

As a dip in the water for the newbie this compilation fits the bill but in truth the full albums are worthy of investment and are still available via Angel Air, with the four Stone The Crows albums housed on two double CDs. Given also that one side of the debut included the 17 minute ‘I Saw America’ and the omission here of ‘Love 74′. 4/5 Stars

Get Ready to ROCK! (August 2018)

Five of the first six tracks on CD 1 come from the band’s 1971 and 1972 albums, Teenage Licks and (the strangely named) Ontinuous. Barroom belter, ‘Good Time Girl’ and the Rolling Stonesy ‘Big Jim Salter’ are compact, smouldering packages of blues rock…The second disc is taken from Bell’s two splendid solo albums, favouring her second release, Suicide Sal, (1973). Angel Air’s first series of Bell remasters thrust her back into the spotlight, opening up her music – and her voice – to a new generation of fans. Some of the tracks here are simply timeless. The theme song to the TV Detective, Taggart, only scratched the surface. To the curious who investigated further, an undertow of incendiary, fiery performances was lying in wait, proving that Bell was not a blues, rock or soul singer, but was all of the above.

The Midlands Rocks (July 2018)

A good collection of songs that have stood up remarkably well to the tests of time, this best of set is an excellent way to discover the much underrated talent of Maggie Bell.

Sea Of Tranquility (July 2018)

Angel Air Records, a British independent label, has released ‘Best Of’, with the first album focusing on the Stone The Crows period, and the second one focusing on Maggie’s two solo experiences. In addition, ‘No Mean City’, the theme from the TV series Taggart, and the song ‘Only Women Bleed’ recorded live in Glasgow in 1993 were added. What a chance to (re) discover these wonders, such as ‘A Fool On The Hill’, a cover of The Beatles, the psychedelic ‘Ode To John Law’, and especially those moments of pure emotion that are ‘Sunset Cowboy’ and ‘The Touch Of Your Loving Hand’.

Prog Female Voices (Translated – June 2018)

Stone The Crows! – this is a super, blues explosion o hits and near misses from a lady who can certainly sing straight from the heart, and with as much soul. On her “new” release on Angel Air Records, Maggie Bell lets her hair down and so it’s a case of – let the good times roll! Across two CDs and twenty tracks…she’s been scandalously underrated and underappreciated over the years, however, I believe – looking back – history of rock will judge her far more kindly, and that proper recognition can begin with this brilliant treat of back catalogue…

Mark Watkins, Dare (June 2018)

CD 1 of this double set is devoted to Glasgow’s very talented Stone The Crows, with all tracks taken from their 4 albums recorded between 1970 and 1973…CD 2 is devoted to Maggie Bell with all tracks taken from her first 2 solo albums…

Bev Bevan, Sunday Mercury (June 2018)

…this fine 2CD set is divided equally between her exploits with Stone The Crows and later as a solo performer, including excellent covers of Dylan’s “Don’t Think Twice” and Sonny Terry and Brownie McGhee’s “Penicillin Blues” as well as a touching tribute to the then recently departed Les Harvey in the shape of keyboardist Ronnie Leahy’s elegiac “Sunset Cowboy”.

Kevin Bryan, regional newspapers (June 2018)

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FATIMA & THE MAMLUKS The Hammer & The Heart


Following a successful decade as leader and singer-songwriter with Sailor, who had hits in the 70s with ‘Girls Girls Girls’, ‘One Drink Too Many’ and the splendid ‘A Glass Of Champagne’ and then further recognition as electronic act DATA, Georg Kajanus created Fatima And The Mamluks (what is a ‘mamluk’?), in the early eighties. They were aimed at the bulging dance floors of that period as much as the charts when, in 1983 Georg teamed up with former Sailor colleague Henry Marsh to write and record these tracks – it’s now released on this budget priced CD (or digital download).

Bev Bevan, Sunday Mercury (August 2018)

The album was not released in the ’80s. This edition by Angel Air, a label that is mainly engaged in the field of rock and pop bands of the ’70s and ’80s, is thus its first release.

The five original masters bring together just 17 minutes. Four remixes of three titles, including an almost completely instrumental version of “Hassan”, then bring the album to more than twice the playing time. The mixes were created by the remix duo Razormaid Productions – Art Mahrag and Joseph Watt – for the American DJ market, where “Hassan” was quite successful in the 1980s.

For fans of beat-heavy disco and pop music The Hammer is well worth an ear…

Musik an Sich (Translated – August 2018)

Only 5 songs and 4 dance remixes, but much sought after by club fans. A wonderful mix of arabic sounds with new wave beats. Dance the night away!

Keys and Chords (July 2018)

This newly assembled Angel Air anthology focuses attention on the short-lived project masterminded by George Kajanus of Sailor fame in 1983. The bizarre, dance oriented results were certainly a far cry from his former outfit’s chart successes such as “Traffic Jam” or “A Glass Of Champagne,” but diehard Kajanus completists should welcome this opportunity to add some of the great man’s most obscure creative outpourings to their collections.

Kevin Bryan, regional newspapers (July 2018)

Not a pastiche by any means, opener “Hassan” strives to create a new context for Levant tunes wrapping the chanteuse’s invocations in delicately textured techno whose beats are dipped in synthesizers’ waves, while the voice of Kajanus is driving “The Hammer & The Heart” through dervish-like swirls, raps and riffs towards memorable delirium. The “Ghostbusters” theme never far away from these humorous tracks, Fatima’s insistent cries “Yalla!” and demented trills over cavernous undercurrent lodge “Toubib” into the listener’s lobes, whereas “The Heart” would relocate a strings-drenched drift from the banks of the Nile to the southern side of the Seine to pour a glass of champagne over its balladry. But “Behne (I Won’t Follow)” is a hard-hitting slice of heavy funk which hasn’t dated a tad in the last three decades to remain ripe for rediscovery and be able to ride the charts of today.

Weirdly fascinating, this album still packs a charming punch and stands as testament to one’s boundless imagination. 4/5 stars. (June 2018)

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