My Top 10 Albums: Leigh Heggarty – Ruts DC
As Ruts DC prepare for the 40th Anniversary re-issue of their seminal album ‘The Crack’ we took time to chat to ‘new boy’ Leigh Heggarty, to ask which albums inspired him to take up guitar, to tell us about the albums that have made a difference to his life… the albums he returns to. We didn’t realise it would take quite so long, but Leigh really delved into himself to come up with this list, a list which to be honest he was till trying to alter even after submission!
To be honest we have also invited both Segs and Ruffy to provide their individual Top 10’s, that conversation took place at the North West Calling festival back in June 2018… come on gents, were waiting!!
My Top 10 Albums: Leigh Heggarty – Ruts DC
First things first – I like music. I really like music. No, I mean I REALLY like music.
There have been times in my little life that I haven’t thought about much else, and I’ll say now that it’s very likely that there will be more times like that in the future. In fact that’s pretty much what I’m doing now… consequently choosing my 10 favourite albums is not an easy task. I’m happy – ok, fairly happy – with the following choices, but I reserve the right to remake / remodel any part of what follows at any time in not-too-distant future. I might even do it as I’m going along.
Firstly a few ground rules:
There’s nothing here from the 21st Century. That’s not because I don’t like any more recent music, more that the term ‘favourite’ implies, for want of a better word, longevity – if you know what I mean.
They are all, broadly speaking, ‘rock’ music. I like other styles, but this is the (ahem!) genre that I’m most at home in.
They are all records – I still call them records, don’t you? – that (a) mean something to me emotionally and (b) influenced me as a musician. There are people playing on these records that I’ve never met and indeed will never meet, but that have been my friends at times when I didn’t have any friends. They still are sometimes. Intense? You betcha.
There is only one album from each featured artist – otherwise they would mostly have been by The Beatles, and The Who.
There’s only one compilation album, and one live album – ‘the inherent danger is that with an excess of freedom in all directions we will eventually destroy ourselves’ (Patrick McGoohan, 1977)
The list is correct at the time of going to press. Probably!
So with all of this in mind what follows is, in no particular order, my 10 favourite albums.
We’ll start, appropriately enough, at the beginning – with the first album that I ever bought. I’d had records as presents before, but here’s the one that I chose to throw my milk round money at. It’s a compilation album of previously released material so maybe it shouldn’t be here at all, but that doesn’t alter the fact that it was ground zero for your humble narrator. And in many ways, it still is…
The Who ‘Meaty, Beaty, Big And Bouncy’ (Track/Polydor Records: Rel October 1971)
I bought this a wee while after it was first released – it’s hard to say when exactly, but I reckon I was about 12, so maybe 1973. I’d heard Marc Bolan play ‘My Generation’ on a radio show (I think it was called ‘My Top Twelve’ where famous people played their favourite records – incidentally the first record I ever bought was ‘Metal Guru’. A good choice) which I dimly remembered from my childhood when the grown-ups hated it as they thought that it made fun of people who stuttered. When Marc played it I thought it was the greatest sound that I had ever heard. After a fair amount of time attempting to find out how one went about buying an LP as opposed to a single (things were tough for a quiet lad like me) and after much debating as to whether I could afford it I eventually found ‘MMB&B’ in the racks at Barnard And Warrens in Uxbridge. I will never forget the excitement of buying it, looking at the cover on the way home and eventually putting the record onto the turntable for the first time… seconds into ‘I Can’t Explain’ I was hooked. When ‘I’m A Boy’ finished I turned the record over and played it again. And again. And again. I drove the family mad. I drove my friends mad. I played it so much that I knew how long the gaps between the tracks were. I’ve still got it and it still plays. Just. Everything about it from the sleeve to the label was the stuff of wonderment. The performances were astonishing – Keith Moon’s patented exploding drumming, John Entwistle’s still-astounding bass playing, Pete Townshend’s slash ‘n’ burn power chords and Roger Daltrey’s he-man vocals are as great now as they were then, and there wasn’t – isn’t! – a bad track on it. Most bands aren’t performing their first single 5 years after it was released – The Who are still starting shows with theirs over 50 years later. The Greatest Rock ‘n’ Roll Band In The World with some of the best music ever created – I’ve got so excited writing this that I’m going to have to play it again now. See you in 43 minutes.
The Beatles ‘Revolver’ (Parlophone Records: Rel August 1966)
Choosing my favourite Beatles album isn’t hard – it’s all but impossible. In the last few days I’ve changed it gawd knows how many times. For example I have a huge sentimental attachment to ‘The White Album’ as I remember my two older cousins Steve and Gary playing it when we used to visit them up in Birkenhead during the school holidays. I was just starting to like (or as they would say, ‘getting into’ – this was the 1970s after all) music in a big way, and it’s endlessly fascinating collection of songs still amazes me today. But I’ve gone for ‘Revolver’ for a number of reasons, in addition to it being an indisputably brilliant record.
The band had released their first single ‘Love Me Do’ less that four years earlier – how they got from that to ‘Tomorrow Never Knows’ is an endlessly baffling question. Actually how they got to ‘Tomorrow Never Knows’ at all is pretty difficult to answer… with everybody involved at the top of their game Revolver combined great performances on ground-breaking songs with unsurpassed studio expertise to a record that may have been equalled (probably only by The Beatles themselves) but that has rarely if ever been surpassed. It’s incredibly varied – no track follows a song that is even remotely like it and yet they all somehow fit together, making the sum infinitely greater than the parts. From the string octet stylings of ‘Eleanor Rigby’ to the backward guitar brainstorm of ‘I’m Only Sleeping’ and from the kid’s singalong of Yellow Submarine’ to the psychedelic maelstrom of ‘She Said She Said’ it’s non-stop action all the way – and we haven’t even got to side two yet, where ‘For No One patiently awaits the ‘saddest song ever’ award. You want a soul horn section? ‘Got To Get You Into My Life’. You want blazing electric guitars? ‘And Your Bird Can Sing’. And don’t forget the standalone single recorded during the sessions – ‘Paperback Writer’ is a power pop classic while ‘Rain’ predicts heavy metal while introducing the unsuspecting world to backward vocals and tape vari-speeding. And I’ve even not mentioned George’s songs yet. A absolute masterpiece.
Then again, I’ve just played ‘Rubber Soul’ – surely that’s their best album? Maybe I should have gone for ‘The White Album’ after all? And then there’s ‘Abbey Road’. And I’d somehow forgotten ‘Sgt. Pepper’… (continued on page 94)
Sex Pistols ‘Never Mind The Bollocks – Here’s The Sex Pistols’ (Virgin Records: Rel October 1977)
For a while – a very short while as it happens – I tried not to include this one. It’s a bit, err, cliched to see it on ‘best of’ lists such as this isn’t it? After everybody who ever had an opinion about anything seems to have something to say about it; there must have been hundreds of thousands, maybe even millions of words written about what is after all ‘only’ a ‘pop record’. Ah well – I’ll add my thoughts then…
I bought the album when it came out in October 1977 – I was 16 years old and still at school. At the time it seemed to be something that was – and this might well sound daft 40-odd years later, but hopefully you’ll get what I mean – a genuinely dangerous item to own. Well I told you that it might sound daft… but at the age I was punk rock had created the ultimate ‘them and us, if you’re not part of the solution you’re part of the problem’ situation. See what I mean by cliched?
But enough of my teenage traumas – for the moment at least – let’s get to the music. There was much taunting along the lines of ‘they can’t play’ from the non-believers and naysayers, and I guess in the case of old dear old Sid they might well have been correct, but that opened the door for Steve Jones and Paul Cook to combine forces to create producer Chris Thomas’s much-vaunted ‘Panzer Division’ of rock and roll power. Over this monstrous bedrock Johnny Rotten’s branding iron vocals somehow articulated every godawful thing that was wrong with the World that people like me were being forced to live in. Well that’s certainly how it felt to me at the time, and listened to today it’s lost none of it’s explosive force. Would it have been even better with Glen Matlock on bass? Maybe. It certainly would have been different, as one listen to any of the recordings that he plays on shows. And here I have to mention the (Berlin) wall of guitars – I’m not entirely sure that there are as many as some people say that there are, but it’s a helluva row isn’t it?
In the end NMTB remains the perfect storm of right place / right time, more-by-luck-than-judgement newsworthiness combined with a dozen slabs of utterly unprecedented powerhouse rock ‘n’ roll. From the opening bass drum of ‘Holidays In The Sun’ to the final moments of ‘E.M.I.’ (‘AAAAAY AANND EMMM…’) it has an unstoppable power and force. The only way it could possibly have been any better is if it had included all the B-Sides. And it ends with the blowing of a raspberry. Of course it does.
The Clash ‘London Calling’ (CBS/Epic Records: Rel December 1979)
Hmm. Another cliched choice.
Maybe. But it’s still bloody great isn’t it?
By 1979 The Clash were in an unusual position in that they had shown that it was more than possible to progress musically whilst still remaining a ‘punk’ band. From their adrenaline (or was it amphetamine?) powered debut album through a batch of classic singles and a second more rock-orientated long player they had managed to keep an ever-growing following despite many falling by the wayside. I loved ’em and lost many-a mate as a result in the teenage equivalent of collateral damage. ‘The Cost Of Living’ EP polarised opinion even further, as did ‘London Calling’. The music press alternately loved it or hated it, but that was nothing compared to what was happening on the streets (maaan!) where the wrong badge on your jacket could be a matter of life and death. For many the band had moved too far from their roots, the musical equivalent of ‘jack of all trades and master of none’. It also coincided with a drastic image change – which many hated whereas I just thought that they went from being the coolest looking people on Earth to being the coolest looking people in the known Universe.
The album itself is a fine example of (ooh, here comes another cliche!) the sum being greater than the parts, with the stylistic scattergun serving to make the overall collection stronger even though the individual songs do dip in quality here and there. The band sound as great as they look, with the time spent rehearsing in Vanilla Studios giving the band what Joe Strummer referred to at the time as a ‘rock ‘n’ roll power’ that few if any bands would ever match. Topper Headon’s much-vaunted mastery behind the drum kit meant that the band could go in pretty much any direction that they wanted to, from rock to reggae, from ska to jazz, from rockabilly to punk (oh yes!) and beyond – and while Guy Stevens’s production methods were infamously controversial he coaxed some amazing performances from the band. And if there’s a better ‘side 1 track 1’ than ‘London Calling’ itself then I’ve yet to hear it – an instant classic when released as a single, it’s brilliant promotional film somehow captures the mood of the album and indeed the prevailing times better than I ever will by writing about it here. It’s a shame that the B-side ‘Armagideon Time’ didn’t make it onto the album as it’s better than some songs that did – but as no lesser historical figure than John Cooper Clarke once said, ‘you can’t have everything. After all, where would you put it?’
Dr. Feelgood ‘Stupidity‘ (United Artists Records: Rel September 1976)
Seeing Dr. Feelgood playing live on the kid’s TV show The Geordie Scene’ was, to use yet another cliché, a watershed moment for your humble narrator. Their devastating performance cost me more than a few school friends
and in a funny sort of way helped to make me (ahem!) the man I am today. Yes – if it wasn’t for Lee, Wilko, Sparko and The Big Figure I’d have a job, a house, a car, a wife, a family… probably. I bought their monophonic, monochrome, monolithic masterpiece ‘Down By The Jetty’ and it’s equally excellent follow up ‘Malpractice’ before ‘Stupidity’, the live album that everybody had been waiting for, made number one in the charts and catapulted them to superstardom. Except of course, it didn’t. Mere months after it’s release Wilko was out of the band (replaced by the late and undeniably great Gypie Mayo) and for many things were never quite the same again. But ‘Stupidity’ remains a testament to their explosive power – recorded in Sheffield and Southend it houses stage-only cover versions of songs by the likes of Chuck Berry and Sonny Boy Williamson alongside Johnson originals that are so strong that they sit alongside the old classics with ease.
Everything that made The Feelgood’s so great is here, as Sparko and Figure’s powerhouse bass and drums, Lee’s guttural growl and Wilko’s broken-glass-guitar coalesce in a manner unlike anybody before or since. Highlights are many and varied, but the guitar solo in ‘I’m A Hog For You Baby’ still sounds as bonkers as it did when I first heard it, ‘Going Back Home’ (co-written with Pirates guitar hero Mick Green) is an amazing band performance and ‘Roxette’ is as near to musical perpetual motion as anything I’ve ever encountered. Footage of the Southend show exists, and if you’ve not seen it then check it out – these boys sounded and indeed looked like that when all too many bands were wearing capes and singing about goblins. Sadly I didn’t get to see this line-up of the band play live – I saw the band with Gypie – but I’ve attended many Wilko gigs and he remains a source of infinite inspiration. His well-documented diagnosis and subsequent recovery from cancer alongside his ascension to National Treasure status can’t alter the fact that he’s best known for being a brilliant and original musician – and his old band weren’t too bad either.
The Rolling Stones ‘Sticky Fingers’ (Rolling Stones Records: Rel April 1971)
There has to be a Stones album here, if only to acknowledge the enormous contribution Keith Richards has made to the much maligned and indeed misunderstood art of rhythm guitar – but as with The Beatles choosing one is no easy task, although for a very different reason. Whereas the Merseymen made so many great albums that it’s difficult to decide which one to go for, the Stones albums are often a few great tracks held together by all-too-many indifferent ones. ‘Exile On Main Street’ is an undoubted classic, but for me it falls apart a bit on side 3; ‘Beggars Banquet’ would be a contender if it had included the standalone single ‘Jumpin’ Jack Flash, and I’d choose ‘Rolled Gold’ if I hadn’t already chosen a compilation album elsewhere in this listing – so it has to be ‘Sticky Fingers’.
It’s the first full album to feature the great Mick Taylor as Keef’s six-string sparring partner, and whilst it’s a bit too laid back for many it features some undeniably great songs, from the narcotic swirl of ‘Sway’ to the Otis-charged ‘I Got The Blues’. ‘Wild Horses’ is as good a ballad as they’ve ever written, ‘Sister Morphine’ is as harrowing as it’s title suggests and ‘Dead Flowers’ keeps the C&W flag flying, albeit in a somewhat tongue-in-cheek way. ‘Can’t You Hear Me Knocking’ is unique in their catalogue, with the Richards rhythm guitar showing once again that the gaps are as important as the chords, Mick Taylor out-Santanaing Santana and Bobby Keyes blowing up a saxophone storm. And the only thing wrong with ‘Brown Sugar’ is that you’ve heard it too many times, often in the sweaty hands of dodgy pub covers bands. (Guilty your honour!) But give it a listen now – it’s bloomin’ great, with Bill and Charlie excelling at being, well, Bill and Charlie, the brothers-that-never-were Keef ‘n’ Keyes giving it everything, and Jagger at his ‘did he really just sing that?’ best. Talking of which – weren’t they taking a lot of drugs around this time? Cocaine eyes, speed freak jive, needles and spoons – no one sounds quite as out of it as The Stones because I suspect no one was quite as out of it as The Stones. Whatever, it’s the band at their best, casting their evil spells in a World that we would all kinda like to join them in but that we never ever will. Maybe that’s just as well.
And somehow, against all the odds, they’re still doing it today. Maybe that’s just as well too.
Bruce Springsteen And The E-Street Band ‘Darkness On The Edge Of Town’ (Columbia Records: Rel June 1978)
This is an album utterly unlike any other that I have ever heard.
Firstly there’s the sound.
Sounds good, doesn’t it?
Of course it does.
And then of course, there’s the songs. Let’s look at just one of them.
Side 1, track 4.
The song concerns the relationship between two people. Characters. An ‘ordinary’ man. An ‘ordinary’ woman. Except she happens to be a prostitute.
(Probably. Bruce isn’t telling. And why should he?)
It features one of the greatest vocal performances ever recorded. It starts as little more than a mumble, goes through more emotions than many singers manage in their entire career and by the end sounds beyond desperate. Well, you would be, wouldn’t you? It also has one of the most extraordinary guitar solos I’ve ever heard. It sounds as though both the player and his instrument are about to turn themselves inside out in an attempt to convey what’s going on in the man’s head. If someone told me that Springsteen had played it using a razor blade as a plectrum I wouldn’t be surprised. And the E-Street Band are with him at every twist and turn – and there are a lot of those. The word ‘intense’ doesn’t even begin to cover it. Amazing.
Candy’s Room is two minutes and forty six seconds long.
And that’s just one song out of ten.
As the man himself put it –
“More than rich, more than famous, more than happy – I wanted to be great.”
David Bowie ‘Aladdin Sane’ (RCA Records: Rel April 1973)
Much in the same way as there ‘has’ to be a Stones album here I feel as though David Bowie should make an appearance, although for rather different reasons. The outpouring of grief that followed The Thin White Duke’s passing in 2016 showed just how great an influence he had been on pop culture, be it through music, fashion or simply by showing that it’s alright to be different from the norm. He made so many fabulous albums – ‘Hunky Dory’ has some of his best songs, ‘Ziggy Stardust’ was game changing in pretty much every way and ‘Scary Monsters’ is an often-overlooked masterpiece – but after much musing I’ve gone for ‘Aladdin Sane’.
For starters there’s Mick Ronson’s guitar work – from the more-punk-than-punk opening chords of ‘Watch That Man’ to the acoustic beauty of ‘Lady Grinning Soul’ via the psychotic solo in ‘Time’ he runs riot over the record, sounding, as Mark Radcliffe brilliantly put it, ‘like a van load of police dogs’. Magnificent. The rhythm section of Trevor Bolder and Woody Woodmansey are rock-solid throughout, tackling some very varied styles of music with ease and aplomb – and then there’s the extraordinary piano playing of Mike Garson. Much has been made of his solo in the title track – and rightly so, as over 40 years later it still sounds like nothing on Earth – but his virtuoso work throughout the album takes the whole thing up to another hitherto uncharted level. Bowie himself was now by all accounts (including his own) totally in the grip of his alien alter ego, and in doing so came up with a remarkable set of songs – glam-tastic romps, Germanic cabaret, swooping ballads, Bo Diddley beats and a skewwhiff cover of ‘Let’s Spend The Night Together somehow all make sense next to each other. And if you didn’t hear ‘The Jean Jenie’ screaming out of a cheap transistor radio (preferably on a milk float, which is where I first heard it) then you’ll never know just how crazy it sounded next to the pop hits of the day. And talking of crazy, don’t forget the cover – I first saw it as an easily-amazed pre-teen but it doesn’t look any more, for want of a better word, ‘normal’ now does it? Mind you, after hearing this record, who in their right mind would want to be normal?
Johnny Thunders And The Heartbreakers ‘L.A.M.F.’ (Track Records: Rel October 1977)
Let’s All Make Friends? Something like that anyway…
The Velvet Underground. The MC5. The Stooges. The New York Dolls. All are legends these days and rightly so, but it wasn’t always like that. These were names – and what names they were! – that we’d all heard, but by the time they were being dropped by the punky people their records had long since disappeared from the racks, save for the odd appearance on compilation albums. When Johnny Thunders And The Heartbreakers swaggered (staggered?) into view they boasted not one but two Dolls; they also had a set of clothes that your humble narrator would still give virtually anything to be cool enough to be seen in the same room as, let alone to actually wear. Their incendiary live shows quickly became the stuff of legend, although often for their chaotic nature as much as for their musical accuracy. If, as Spinal Tap will tell you, there is a thin line between clever and stupid these boys seemed to somehow have both feet both sides of the line – but when ‘Chinese Rocks’ came out none of this mattered. An instant classic if ever there was one, it bode well for the soon-to-come, soon-to-be classic album that would surely follow.
What happened next is the stuff of folklore. What went wrong? The playing? the recording? The mastering? Drink? Drugs? Women? All of the above? Probably all of this and more, but listened to now it’s an album that embodies the essence of rock ‘n’ roll and that shows just how great that much-maligned medium can be. There are no ‘perfect’ performances here – but if you want perfection you can find that in a lot of other places, all of them boring. Jerry Nolan on drums and Billy Rath on bass walk the green mile to oblivion every time but somehow just avoid getting there before the end of the song while Walter Lure is the perfect ‘a-bit-more-in-time-and-in-tune’ foil to Johnny T. And what of Mr. Genzale himself? To some he’s a grotesque junkie parody, to others a god-like icon – somehow he’s simultaneously the best and worst guitarist of all time, often in the same song or indeed solo… he wouldn’t have cared what you, me or anybody thought of him – but if you can listen to this record and tell me that you don’t get it then, well, you don’t get me either. He’s the real deal, so are the band and for that matter so is this album. L.A.M.F. – and then some.
The Tom Robinson Band ‘Power In The Darkness’ (EMI Music: Rel 1978)
Time for another trip back to 1977. And why not?
So there I was, a hapless mid-teenager attempting to be, well, a non-hapless mid-teenager. Looking back from the lofty position of hindsight, I was not a happy chappy. I won’t go into details here – maybe another time – but I was, to use a technical term, in a right old state. ‘Sullen, unhealthy and mean’, as someone once sang… needless to say music was one of the (very) few positive things in my godforsaken life. I’d started to go to local gigs whenever I could, and the few friends that I did have were similarly music-obsessed. One day one of them turned up on my doorstep with a smile, a 7” single and the words ‘you’ve got to hear this’. It was ‘Motorway’ by The Tom Robinson Band and he was right, I had to hear it. I’d just started to try to teach myself the guitar (having discovered to my horror that you didn’t just pick it up and play it!) and so was always on the lookout for anything exciting in the 6-string section of the orchestra, and this was certainly that.
Soon they appeared on the telly and there he was, the mighty Danny Kustow knocking hell out of a Gibson Les Paul through a Marshall amplifier. Fabulous. The ‘Rising Free’ EP followed – ‘Glad To Be Gay’ caused all four parental eyebrows to rise but ‘Don’t Take No For An Answer’ was the song for me. Then in 1978 ‘Power In The Darkness’ exploded into view and things were never quite the same again. The guitar roared and scored in all it’s ragged glory but there was much more here – these were songs like no others, overtly political, unafraid to take sides even if it meant causing division (and it certainly did where I was!) but all melodic and brilliantly played. Listened to now the lyrics inevitably sound a bit dated here and there, but I guess that’s all but inevitable. TR has since regretted not putting the singles on the album – the U.S. import version rectified that and if you buy it on CD you get them all, so all’s well that ends well – but the 10 tracks sound perfect together. The band were brilliant, the guitar sounded like a bomb going off (mostly in my head!) and the songs became anthems, showing that you can play music with a message and maybe – just maybe – inspire others to do the same. It certainly did that for me, and it still does today.
So there you have it, my 10 favourite albums of all time. Possibly. Probably. Almost definitely. But of course there’s also…
The Sub’s Bench
There are lots more where these came from – here are 20 that nearly made it, should have made it, still might make it if I don’t send this article off soon…
In no particular order –
The Beatles ‘The Beatles’
As I say above, The White Album is an endlessly fascinating collection of songs.
The Beatles ‘Rubber Soul’
Perfect pop music from the perfect pop band. They were ever so good you know.
The Who ‘Quadrophenia’
My story. Your story. Everyone’s story?
The Who ‘Who’s Next’
‘Baba O’Riley’, ‘Bargain’, Behind Blue Eyes’, ‘Won’t Get Fooled Again’ and more. Thanks Pete.
The Who ‘Live At Leeds’
Crikey! That’s the way to do it!
Bob Dylan ‘Blood On The Tracks’
The Big Zim at his best. And that is very good indeed.
The Damned ‘Damned Damned Damned’
32 minutes that changed the World. Is she really going out with him?
The Rolling Stones ‘Exile On Main Street’
No, side 3 isn’t that great – but the rest of it certainly is.
Iggy & The Stooges ‘Raw Power’
James Williamson on guitar. Enough said.
The Mega City Four ‘Tranzophobia’
You had to be there. Thankfully I was.
The Gas ‘Emotional Warfare’
– The best album you’ve never heard by the best group you’ve never heard.
TV Smith’s Cheap ‘R.I.P. – everything must go!’
The best album you’ve never heard by the best group you’ve never heard (slight return).
The Godfathers ‘Hit By Hit’
Their early singles collected. Mighty.
Elvis Costello And The Attractions ‘This Year’s Model’
– If I ever meet EC my teenage self will thank him for wearing glasses…
Television ‘marquee Moon’
As good an album as everyone says that it is.
Rory Gallagher ‘Irish Tour ’74’
The best guitarist that I’ve ever seen. It’s as simple as that.
The Jimi Hendrix Experience ‘Electric Ladyland‘
Talking of guitarists – the man that the instrument was invented for takes it to the outer limits.
Eddie And The Hot Rods ‘Life On The Line’
The first vaguely punky band I saw play live. Great stuff.
New York Dolls ‘New York Dolls’
Rock ‘n’ roll? That’s all folks!
And last, but by no means least –
The Ruts ‘The Crack’
You were wondering where this one had got to weren’t you? To be honest it would / should have been in the top 10, but, well, that would just be weird wouldn’t it? Well, wouldn’t it?!?
‘The Crack’ is re-issued on the 8th February 2019 having been Re-mastered by Tim Turan at Turan Audio, and then cut to vinyl at Abbey Road Studios, the release comes complete with a digital download.
Special guests for the entire ‘Crack’ tour will be The Professionals; advance tickets are on sale now.
Photo of Leigh Heggarty courtesy of Chris Cohen.