Green Day imploded after the December 2012 release of Tre, the final part of a triple-album project. The very unwieldiness of Uno, Dos, and Tre – all released in rapid succession in the autumn of 2012 – suggested that Green Day were perhaps suffering from a lack of focus, but the group wound up taking a forced hiatus once leader Billie Joe Armstrong entered rehab in the middle of the triple-album rollout. Given all this chaos, it's hard not to view 2016's Revolution Radio as a consolidation, a way for the band to shake off all distractions and get back to basics. Discarded alongside the mess and garage rock affectations that marked Uno, Dos, and Tre is any sense of concept at all – a marked departure from their work of the past 15 years.
With Green, Green Grass of Home, Tom Jones began to abandon his teenage pop audience to concentrate on a more mature, middle of the road group of listeners. Although he did include uptempo R&B numbers like "Kansas City," and the album's strongest moments occurred when he concentrated on standards and country tunes like the title track, "My Mother's Eyes," and "That Old Black Magic," or when he turned in laidback soul songs like "Any Day Now." The album was still inconsistent, as Jones over-sang several of the tracks, but it was easily the best album he had recorded to date.
Jettisoning not only the funk-metal rhythms of their earlier work but also long-time guitar hero and wacky eyewear model James B Martin, King For A Day… Fool For A Lifetime for the most part pursued a more back-to-basics garage sound that slotted in with the post-grunge environment of 1995. The album holds up well today, with Mike Patton achieving new heights of visceral howling on the likes of Cuckoo For Caca, but among the bonus tracks there's little to get excited about other than the tragic-comedy Bee Gees cover - I Started A Joke.
Prog Temple present a reissue of Lighthouse's Good Day, originally released in 1974. Having been named "Vocal/Instrumental Group of the Year" for the third time at Canada's prestigious Juno Awards in 1973, Lighthouse entered Thunder Sound in Toronto the following year to record their final album. Downplaying the horn-heavy sound that had previously defined them, it's a taut set of progressive rock with prominent synth and it sees founder member and drummer Skip Prokop switching to lead guitar. It makes its long-overdue CD debut here. Includes background notes and images.