Mazzy Star - Ghost Highway

Ghost Highway by Mazzy Star is a highly-regarded 1994 live document, offering "immaculate" radio session and concert recordings. It showcases the band in their prime, featuring a "heavy as hell" rock-influenced performance compared to their studio albums. It includes tracks from So Tonight That I Might See and She Hangs Brightly. Critics describe the sound quality as excellent, often comparing it to studio-level production despite being a live recording. David Roback's guitar work is highlighted as more prominent and "rocker" in style than on studio recordings. Hope Sandoval’s vocals are described as "sensual," "eerie," and "beautiful". It captures the band while touring their second album, showcasing their artistic peak during that era. 

"Ghost Highway" stands as one of the most assertive moments in Mazzy Star’s discography, acting as a bridge between the 1960s psychedelic underground and the 1990s dream-pop movement. While the band is often defined by the hushed, acoustic fragility of hits like "Fade Into You," this track reveals their teeth. Built on a churning, VELVET UNDERGROUND-inspired rhythm and David Roback’s feedback-drenched guitar, it creates a sonic atmosphere that feels both expansive and claustrophobic, like a midnight drive through a desert with no headlights.

The song’s power lies in the tension between Roback’s "swamp-rock" instrumentation and Hope Sandoval’s signature vocal delivery. Unlike her more ethereal performances, her voice here carries a gritty, detached authority. She doesn't fight against the wall of reverb; instead, she drifts through it, lending the track an eerie, noir-like quality. This contrast transforms what could have been a standard garage-rock revival piece into something far more haunting and "doom-laden," a hallmark of the band's early She Hangs Brightly era.

When experienced via the 2015 live compilation of the same name, the song takes on an even heavier dimension. Recorded during their 1994 creative peak, the live versions of "Ghost Highway" strip away any remaining studio polish to reveal a raw, bluesy intensity. Critics and fans alike frequently cite these recordings as definitive, noting that the soundboard quality captures the physical weight of the band’s live sound—a "reverb-drenched squall" that proves they were just as capable of sonic assault as they were of delicate folk.

Ultimately, "Ghost Highway" remains a cult favorite because it showcases Mazzy Star’s versatility. It serves as a reminder that their "dreaminess" wasn't just about soft melodies, but also about the dark, hallucinatory side of psychedelia. Whether you are listening to the 1990 studio original or the "heavy as hell" live performances, the track remains a masterclass in mood-setting, proving that the band could be just as captivating when they turned up the volume as when they whispered.

Opal - Early Recordings

Opal: Early Recordings is a highly regarded 1989 compilation that gathers EPs and singles from David Roback and Kendra Smith’s neo-psychedelic Paisley Underground band, acting as a direct predecessor to Mazzy Star. It captures a more intimate, acoustic-folk, and melancholic atmosphere than their later Happy Nightmare Baby album. The compilation is characterized as "plaintive and stark," focusing on acoustic-folk influences and a dream-pop, "lysergic haze". It showcases a "hauntingly beautiful" and "serendipitous" sound. Featuring tracks from the Fell From the Sun and Northern Line EPs, it spotlights the band’s songwriting and quieter side, featuring standout tracks like "Empty Box Blues" and "Harriet Brown". Smith’s deep, husky, and sometimes "distracted" vocal style is a highlight, often noted as a compelling alternative to Hope Sandoval's later work with Roback.  The collection is frequently viewed as a "lost classic" that bridges 1980s Paisley Underground with 1990s dream-pop, influencing bands like Beach House. 

Early Recordings (1989) is a hauntingly beautiful time capsule that captures Opal at their most intimate and stripped-back. While their only full-length album, Happy Nightmare Baby, leaned into heavy, distorted psychedelia, this compilation of EPs and rarities highlights the "subdued, acoustic-folk side" of the band. It serves as the definitive bridge between the jagged jangle of the Paisley Underground scene and the velvet-draped dream pop that would later define Mazzy Star.

The chemistry between David Roback and Kendra Smith is the record's primary engine. Roback’s guitar work is masterful in its restraint, opting for "plaintive and stark" melodies that feel both timeless and deeply lonely. Smith’s vocals are the perfect foil; her "deep, husky voice" carries a "druggy-chic" indifference that many critics compare to Nico. Together, they create an atmosphere that feels like a sun-faded photograph—beautiful, slightly frayed at the edges, and heavy with nostalgia.

Standout tracks like "Fell From the Sun" and "Northern Line" exemplify the album's unique "lysergic haze." These songs skip the flashy tropes of 60s revivalism in favour of a "mystical" and "distracted" energy that feels entirely their own. The songwriting is remarkably disciplined, stripping away unnecessary layers to let the "beauty and grace" of the melodies breathe. It is a record that doesn't demand your attention with volume, but rather pulls you in with its quiet, gravitational intensity.

Decades later, Early Recordings remains a "sublime" and "essential" listen for anyone interested in the roots of modern indie-folk and slowcore. Its influence echoes through the work of contemporary artists like Beach House and Big Thief, yet the original remains peerless in its "stark emotional complexity." Though it is notoriously difficult to find on physical formats today, it stands as a legendary document of a band that burned briefly but left a permanent mark on the alternative landscape.

Opal - Happy Nightmare Baby

At once drowsy, psychedelic, entrancing, and possessed of a sinuous spark, Happy Nightmare Baby may have been Opal's only album but deserves more attention than merely being a blueprint for Roback's later work in Mazzy Star. For one thing, Opal was very much its own band; with Kendra Smith's particular lyrical visions of mystic power and universe-scaling dreams and nightmares its own entity. As is her singing, though she's got less of Hope Sandoval's wistful drift and more focused control -- check out the brief "A Falling Star," where the comparatively stripped-down arrangement places her singing in the foreground, notably without much in the way of echo. Roback's playing certainly won't surprise anyone per se who backtracks to this group from albums like She Hangs Brightly, and the atmosphere of textured, moody power is evident right from the start with the wonderful early T. Rex tribute, "Rocket Machine." The compressed string swirl and steady stomp is pure Marc Bolan-via-Tony Visconti, though Smith avoids Bolan's style of warble for her own cool, something also quite evident on the slow-groove stomp of the great "She's a Diamond" and the concluding "Soul Giver." Meanwhile, other familiar elements Roback would later use are present aplenty -- very Ray Manzarek-like organ lines on the mantra-chugs of "Magick Power" and "Siamese Trap," compressed acid rock solos and lots of reverb. The title track itself stands out a bit as being a bit more of a '60s Europop confection in a stripped-down 1968 setting; Roback's electric guitar adds some fire, but it's the slightly jazz-tinged rhythm and easy delivery from Smith that helps establish its own character. It's a release that stood out both in time and place (a 1987 release on SST Records, of all places!), but it stands up to future years and listens darn well.

Kendra Smith - Five Ways Of Disappearing

The little known yet 100% accurate rule of Kendra says that every record in which she's participated has been in the very least good. Five Ways of Disappearing is her oddest release yet, still, it upholds the rule of Kendra. It checks out, The Days of Wine and Roses where she played bass and sung a little number was phenomenal, Rainy Day, the covers album she appeared in alongside pals like Susanna Hoffs or Michael Quercio became quite a charming tribute. Everything Opal recorded is essential dream pop stuff (even the two volumes of Early Recordings). The Guild of Temporal Adventurers saw her go it alone with decent results, which brings us full circle to Five Ways of Disappearing. As said before, this is quite strange and bizarre, even for 4AD and Kendra's standards. Very diverse too, we've got interstellar alien progressions sprinkled with a drop of cabaret (the wonderfully titled "Bohemian Zebulon"), concise and surprisingly sprightly pop songs ("In Your Head"), seasickness inviting maritime ramblings ("Drunken Boat"), harmonium playing the likes of which hadn't been around since Nico's heyday, eastern touches, foggy psychedelia, mentions of maggots and violent marauders or gorgeous compositions brimming with unusual clarity ("The Valley of the Morning Sun"). 

Scattershot perhaps, yet I found myself glued to the bag of tricks that Five Ways of Disappearing turned out to be, showing sides and colours of the always alluring Kendra I never knew even existed. She remains elusive as can get, singing imbued with a distant eerie mystery only she can marshal, and that is obviously a good thing. Here's hoping she ditches the hermit ways she's been pursuing and goes back to chasing her song writing muse instead.