The Fat Angel Sings

Out June 21st via Rhino, six days before the album’s original release on June 27th, 1974, The Grateful Dead will release “From The Mars Hotel” (50th Anniversary Deluxe Edition) which features remastered audio by Grammy Award-winning engineer David Glasser, with Plangent Processes tape restoration and speed correction. Eight months after the release of “Wake Of The Flood”, the Grateful Dead followed up that masterpiece with the second album on their Grateful Dead Records label, “From The Mars Hotel”. To this day, most of the songs on From The Mars Hotel are played frequently by the band members as they continue to bring the music to the people, and during the Grateful Dead’s touring career, more than half of the songs were important parts of their live repertoire.  Although “Loose Lucy” had a 15 year hiatus 1975-1989. Phil’s two songs on the album are often played live these days when Phil performs with his rotating cast of Friends, and these songs, “Pride Of Cucamonga” and “Unbroken Chain” are elicit ecstatic responses. These would be the final two Phil-sung songs on a Grateful Dead studio album.

Produced for release by Grateful Dead Legacy Manager and Audio Archivist, David Lemieux, the deluxe edition also includes demos of “China Doll” and “Wave That Flag” – the song that became “U.S. Blues” – as well as a previously unreleased live performance of the Grateful Dead at University of Nevada-Reno on 5/12/1974.

As the band filled an outdoor football stadium with epic highs like a huge “China Cat Sunflower”, “I Know You Rider,” “Mars Hotel” cuts including “U.S. Blues” and classics such as “Brown-Eyed Women,” “Tennessee Jed,” “Mississippi Half-Step,” “Truckin’” and “Sugar Magnolia,” a massive wind storm was no match for the Wall of Sound.

Designed to improve the listening and performance experience at what were becoming larger gigs and longer, more dynamic and varied sets, the Wall of Sound required 21 stage hands, and underlined the resounding effect the Grateful Dead were having on American audiences and culture at the time, even as the entire operation remained homespun and humble. 

In addition to the 50th Anniversary Deluxe Edition, “From The Mars Hotel Remaster) will be released on June 21st as a single 180-gram black vinyl LP, limited edition Neon Pink vinyl, limited edition “Ugly Rumors” custom vinyl exclusive to Dead.net, and a specially-designed picture disc created in partnership with zoetrope pioneer Drew Tetz. When viewed with a camera or strobe, the zoetrope LP will appear to animate, and can be pre-ordered along with the rest of “From The Mars Hotel (50th Anniversary Remaster”) the Dead’s nearly complete, previously unreleased show from May 12th, 1974, at the University of Nevada in Reno, playing an outdoor football stadium during a huge wind storm.

Johnny Winter’s supervision of Muddy Waters’ comeback in 1977 was far more productive than the superstar recordings of “The London Muddy Waters Sessions” of 1972 (and even more so Howlin’ Wolf’s collaborations with British musicians the year prior). Recorded with the late Texas bluesman alongside members of the blues icon’s own band–plus harpist James Cotton with whom the albino Winter had worked before on the album “Hard Again” that was in fact the first of three such releases (in addition to a collection of live recordings) and the initial project on Blue Sky Records following Waters’ departure from his long-time home label Chess Records. Rather than demonstrate health issues that would afflict him later this same year, the concert clip from 1981 exhibits all the joy and pathos in the best work of the man born McKinley Morganfield.

Here you’ll find Chicago blues titan Muddy Waters on his home turf near the end of his life. This 1981 performance (Waters died in ’83) features the final version of Muddy’s band, including pianist Lovie Lee and harmonica man George “Mojo” Buford, but there’s also a guest appearance from blues-rock guitar hero Johnny Winters, who had produced a trio of late-’70s albums that gave Waters a comeback of sorts. The set list includes plenty of Muddy’s classics, like the carnal stomp “Mannish Boy” and the frenzied “Got My Mojo Working.”

“The One & Only” Scott H. Biram showcases the singer’s signature unapologetic style. Tracks like “No Man’s Land” describe the hazards of growing up poor in a small Texas town, breathing the fumes from oil wells and brush fires. “Inside a Bar” captures the feel of an empty saloon on a slow Monday night. “I was going for the sound of loneliness and alcoholism colliding.”

“I view my albums as collages, combining elements from punk, metal, blues, country, and bluegrass. They reflect the diverse aspects of life – it’s not a concept but an expression,” explained Biram.

With “The One & Only” Scott H. Biram the singer once again proves to be an unstoppable force and demonstrates his unique ability to live up to the traditions of rough-hewn, individualistic Texas-borne music.

With the new album “Wiggle Your Fingers”, GospelbeacH is back with their 70s Laurel Canyon sounds drifting down to Hollywood in the early 80s – this time the Lonesome LA Cowboy vibes reflect the neon lights of New Wave, Power-Pop, and Post-Punk. The Los Angeles group was formed in 2014 by Brent Rademaker, Tom Sanford and ex Cardinals Neal Casal all from the Beachwood Sparks camp. Over the years has featured many harmonious friends, luminaries and guest stars over the years. The sound harks back to several eras of California sounds, folk-rock, sunshine pop country-rock and of course, the Paisley Underground.

GospelbeacH was formed in 2014, their sound harkens back to several eras of California music, from folk-rock and sunshine pop, to country-rock and the Paisley Underground. The band has featured many California music luminaries, but at the center of the spinning wheel is singer-guitarist Brent Rademaker, a veteran of the southern California rock scene and a founding member of iconic country-rock band Beachwood Sparks.

The album will be released through Curation Records on April 26th. Lead single “Hang Thyme” is out now, accompanied by a music video.

GospelbeacH debuted with an album that paid homage to the spirit and sound of early-’70s Grateful Dead (2015’s “Pacific Surf Line“), followed up by 2017’s Tom Petty & The Heartbreakers-inspired “Another Summer of Love” (Voted Shindig Mag #1 Album of The Year). In 2019, the band added lush, Laurel Canyon-inspired sounds to the mix on their third LP “Let It Burn” and 2021’s “Jam Jam” EP found the band just as adept at bubblegum and glam-rock, notably on the single “Albatross Baby”.

In 2024 Gospelbeach is back with “Wiggle Your Fingers” (”the title came to me in the middle of the night while listening to the Meat Puppets play live on the Howard Stern Radio Show”, professes Rademaker).

On her fourth album, west coast artist Jessica Pratt expands the scope of her artistry, placing her sharpest songs to date within an ever-broadening pool of influences including spectral ’60s pop, Hollywood psychedelia and bossa nova. Whereas Pratt’s 2019 record, “Quiet Signs”, floated elegantly in the ether, “Here in the Pitch” is entrenched in more earthen characteristics, as the title suggests, and her craft is emboldened with a newfound gravitas.

The record, Pratt says, takes in “big panoramic sounds that make you think of the ocean and California”

Featuring nine tracks, the record makes use of timpani, glockenspiel, baritone saxophone and flute, and is said to feature “big panoramic sounds that make you think of the ocean and California” in Pratt’s own words. To mark the album’s announcement, she’s shared a video for lead track ‘Life Is’, Describing the song as “a statement of intention”, Pratt explained the lyrics thusly in a statement: “Life came and went and you didn’t land where you thought you would. It’s the third act and you’re trying to climb back on the horse before it gets dark.”

The third album from Jessica Pratt on classic black vinyl. The album was written in Los Angeles and recorded at Gary’s Electric in Brooklyn, NY over 2017/2018.

From the album ‘Here in the Pitch,’ out May 3, 2024 on Mexican Summer/City Slang Records

Ducks Ltd.’s acclaimed new album “Harm’s Way” is out today via Carpark Records. The Toronto duo’s sophomore LP has been earning glowing press, including features at Stereogum, FLOOD Magazine, Brooklyn Vegan, Exclaim!, while its singles “Heavy Bag,” “Train Full of Gasoline,” “Hollowed Out,” and “The Main Thing” have caught the attention of Paste, Pitchfork, Rolling Stone, and Uproxx, among others.

Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence.

On “Harm’s Way”, the duo of McGreevy and guitarist Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart. Even with its often dark subject matter, the album is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, “Harm’s Way” displays the band’s finely tuned songcraft and well-earned, road-tested confidence. 

The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their acclaimed 2021 debut LP “Modern Fiction” and their 2019 EP “Get Bleak”, both self-recorded and self-produced in a Toronto basement—wanted to bring “Harm’s Way” to life in a new city, with an outside producer, and with some of their favourite musicians. Working with producer Dave Vettraino (Dehd, Deeper, Lala Lala), they enlisted a marquee cast of Windy City collaborators to round out the tracks on “Harm’s Way“, including: Finom’s Macie Stewart (violin, string arrangements); Ratboys’ Marcus Nuccio (drums on most tracks); Dehd’s Jason Balla (who helped arrange the backing vocals, to which he also contributed); and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

Dent May is back with a new collaboration, a track entitled “Coasting On Fumes” that features Jordana and is out to announce his new album “What’s For Breakfast?” (due out March 29th via Carpark Records).

Accompanied by a charming video in which Jordana co-stars, the track sees Dent May hit a new peak of power pop perfection. Opening with a verse sung by Jordana, the track rides a laid back jangle towards an irresistible chorus that beautifully encapsulates May’s untarnished brilliance as a pop songwriter.

Every morning when Dent May wakes up, the first thing he says is, “What’s for breakfast?” For the Los Angeles-based songwriter and pop auteur, this question is part inside joke with his girlfriend, part sitcom-style catchphrase, and part mantra about getting up every day and persevering in the face of good or bad is happening around you in your life. It’s also the title of his sixth album, which is out on March 29th, 2024 via Carpark Records. “What’s For Breakfast?” is May’s most immediate, nostalgic, and rollicking LP yet, one that’s concerned with breaking daily routines and rediscovering the joys of songwriting. 

Over the past 17 years, May has been a consistently adventurous and prolific bedroom pop pioneer and connoisseur of impeccably crafted melodies. Though his songs are always well-written and comfortable, with “What’s For Breakfast?”, May has freed himself up to more playfully experiment with new and vintage musical inspirations. “I’ve occupied a lot of different lanes over the years,” says May. “I’ve always been drawn to making kaleidoscopic pop inspired by old soul, disco, country, whatever. This time around, I was tapping into music from my childhood, like The Strokes, Weezer and Elephant 6 Collective bands.” By revisiting the music of his youth—energetic and infectious guitar rock—he found a vibrant palate to explore for this new LP. 

“What’s For Breakfast?” marks another first for Dent in being his most collaborative LP yet. Alongside guest appearances from Jimmy Whispers and co-writes with Paul Cherry, are two standout singles with Jordana and Pearl & The Oysters respectively. Jordana assists on the wistful “Coasting on Fumes,” which captures the feeling of being stuck in a rut while the yearning “Time Flies When You’re Having Fun” guests Pearl and the Oysters. “My first album came out almost 15 years ago, so bringing in others to help out is crucial to keep things interesting,” says May. “I’m constantly falling back in love with music through the eyes of others. This album is about remembering why I like music.”

the single from Dent May’s album ‘What’s For Breakfast?’ out March 29th, 2024 on Carpark Records.

The Edgar Broughton Band burst on to the UK music scene in 1969 and were trail blazers for the underground counterculture, performing rock music with a social conscience. Hailing from Warwick and featuring EDGAR BROUGHTON (guitars, vocals), STEVE BROUGHTON (drums, vocals) and ARTHUR GRANT (bass, vocals), their hard-hitting approach over a series of hit albums for EMI’s Harvest label and appearances at the legendary Hyde Park Free Concerts earned them many loyal fans and several hit singles (including their anthem ‘Out Demons Out!’) and the reputation of being a true “people’s band”. In 1970 the band was expanded to include guitarist VICTOR UNITT.

The band’s relationship with the BBC began in January when they recorded their first session for John Peel’s Top Gear show. Peel was an early champion of the band, and this session appeared some months before their debut album ‘WASA WASA!’ Over the next four years The Edgar Broughton Band recorded a number of sessions for Top Gear and Sounds Of The 70s along with two memorable BBC In Concert appearances.

This new official 4CD set gathers together these recordings, all newly remastered from the BBC masters and features 32 previously unreleased tracks.

Coming in May, Edgar Broughton Band’s Gone Blue – The BBC Sessions. A 4CD boxset featuring all the surviving sessions recorded for the BBC between 1969-1973. The set features 32 previously unreleased tracks, all newly remastered from BBC Masters.

Ryan Adams has taken the lead and has released 5 new albums to start 2024: “Sword & Stone”  “Star Sign” “Prisoners (Live)” “heat wave” and “1985”. All of them, under their own record label, PAXAM, founded in 2004.

The albums have been available on digital platforms since January 1st, the date on which the North American singer songwriter decided to surprise his fans with a somewhat late, but unique Christmas gift. As a curiosity, the singer has revealed where the covers for each of his projects came from.

“Stephen is the guiding light and voice of PAXAM’s aesthetic. In this moment when my bizarre ideas and arbitrary photos mix like clouds or a lost rosary that I see when I go for a run he has been able to transform covers, t-shirts and any crazy thing we can think of into the most beautiful, classic, cool and easily recognizable thing in the world.”

“Heatwave” resonates with Ryan’s rock side. Those familiar with Ryan’s work know he’s a chameleon. Sometimes a crooner, sometimes a rocker, and sometimes crafting witty improvisation tunes about boogers like “Mr. Booger Man” from Life After Deaf (2012).

No matter the side Ryan shows, he wears his heart and frustrations on his sleeves. I think that’s why he is able to connect to so many through his music. The emotions, from hurt to happiness, possess a genuine feel and are not manufactured propaganda from a corporate machine..

“Heatwave” clocks in at around forty minutes with fourteen songs that capture Ryan’s signature rock-n-roll vibe. Among these, the closing track “5th Avenue” stands out as the quintessential Ryan rocker. The song is lush from beginning to end. Reverberating guitars and bass, time ticking away on the drums, and Ryan’s heartfelt vocals end “Heatwave” on a high.

The opening track, “Lies”. The song has the punk vibes of “1985” but less angst and it’s easy to see why it wasn’t on the album and it makes sense to kick off “Heatwave“. The bass in “Mercy”, “Heatwave”, “I’m Sorry”, “Too Late” are clutch. It brings such a beautiful element to each song that enhances the depth and soul of each melody.

Be still my bass loving heart, “Supernatural” is perfect. From vocals to lyrics to guitar, bass, and drums there is nothing wrong with this song. The addition of keys lends a nostalgic 70s aura where organs and pianos tethered an audience to an aural experience and they are absolute magic in “Supernatural”.

The disco funk of the guitars and the sliding bass are absolute stand out gems in “Walls”. They steal the spotlight and run away with it. It’s one of the best songs on “Heatwave“.

Meanwhile, “The Blue Canoe” flaunts a surfy 50s vibe, showcasing Ryan’s storytelling prowess with an intriguing narrative and infectious, fun melodies.

Fans of Ryan will understand that all I need to say about “I’m Insane (Again)” is that the harmonica wins. 

Ryan’s rock side has always been underrated. Not rock enough for rock radio and too much rock for alternative radio. He’s always been on the fringe of music and before his time, and “Heatwave” is proof that Ryan’s rock side is a perfect balance that allows him creative freedom without the constraints of genre norms.

If “1985” was a cathartic purge of negativity and inner turmoil, then “Heatwave” is an acknowledgement of the hurt, pain, and loss.

 My brother turned me on to records when I was a kid. His kid brother, weirdo I was with OCD and likely on the spectrum. So he made me compilation tapes of Ozzy and the Scorpions and just tons of cool music. He didn’t believe in having any allegiance to one genre so there would be amazing deep cuts from Christopher Cross, then AC/DC then some cool metal.

In a single day, Adams has released a total of 77 songs, among which are the live versions of their album “Prisoners” published in February 2017. The majority, however, are unreleased and navigate between the rock and roll of Bruce Springsteen and the punk rock (garage and somewhat dirty) of Ramones.

It should be noted that it is especially striking that several of the tracks “1985” They barely reach a minute in length, So we can venture to say that they are simple demos and unfinished songs in which Ryan has experimented with sound and specific themes. To recap, “1985” is punk angst, “Heatwave” is a rock revelation, and “Star Sign” is Ryan in his singer-songwriter glory.

For forty-one minutes and across ten songs, the listener finds Ryan at his most vulnerable. His heart and feelings are on his sleeve, baring his soul for anyone who listens. It’s a beautiful experience. It’s a heartbreaking experience. It’s an experience Ryan fans know and understand when it comes to his crooner side. Raw, real, and emotional, Ryan writes stunning prose that paints gorgeous pictures steeped in emotions that coloured in gold and red tones and at times blues and pinks.

The most wonderful thing about “Star Sign” is that you can get lost in the album. Be it the words or the music, the album is one that you sit with and meditate on. It’s both a reflective and introspective album. One could listen to the album a multitude of times and find new meaning each time.

Fans of his slower side, ballads, and quieter works are going to be thrilled with “Star Sign“. The one upbeat tempo song, “Shinin’ Through the Dark” makes me think of Ryan in his Whiskeytown days. The accordion (it sounds like one to me, so if I’ve got the instrument wrong, please forgive me) brings a wonderful sway to the song that feels like you’re sitting on a front porch swing with your grandparents. It’s safe, comforting, and warm.

The stunning electric guitar work in “Be Wrong” coupled with the lyrics is sure to make this song a classic like “Come Pick Me Up”, “When the Stars Go Blue”, and “When Will You Come Back Home”. The harmonica in “Tomorrow Never Comes” made my heart ache. Combined with the electric guitar wails and cries, the song is gut wrenching. An even more gut wrenching song is “I Lost My Place”. The piano accompanying Ryan’s voice and lyrics is poetic and tear inducing.

The ticking clock and the mood of the melody in “Staying Alive” makes me feel as if this could be a song in a Disney or Pixar film where the main character has the epiphany that turns their life around to save the day. On a note of hope and love, it’s a lovely way to end “Star Sign“.

“Happy New Year. Happy 2024. I’m Ryan Adams, he of music, novels, art and questionable guitar solos. I just wanted to thank everyone who has pre-ordered an album and those who have made it possible be a great day of reproductions in streaming for me. “It’s incredible,” he thanked the reception through his social networks.

Despite being twenty-nine tracks, “1985” only clocks in at thirty-five minutes. For those who only know the crooner side of Ryan, “1985” could be a shock to the system as it is punk rock through and through.

But that’s the versatility of Ryan and his talent. One minute he could be belting out a heartfelt song and the next an in your face song of anger. Despite those attempts to pigeonhole him into a specific sound or genre, Ryan has defied those labels and chains again and again. Most, if not all of the songs are quick and filled with a sense of frustration and rage. It’s as if Ryan took all the negativity and hate he’s received be it from haters or internalisation of his own mind and channelled it through 1985 as a cathartic cleanse.

The down tempo song, “Down the Drain” is a literal moment of reprieve that clocks in at thirty seconds. Following it is “Bag of Trash” that is the familiar blend of rock that Ryan creates.

1985 is a visceral middle finger of defiance and a welcoming swift kick to the face.

Available as only vinyls, Ryan dropped the tetralogy of “1985“, “Heatwave“, “Star Sign“, “Sword & Stone“, and the live version of “Prisoners Live” at the start of the year.

The twelve track album sits at approximately thirty-six minutes on the clock and is a wonderful blend of Ryan at his best. While I appreciate and like Ryan’s versatility, my personal preference of Ryan’s style for an album is his more upbeat rockers mixed with the melancholy sadness of his slower songs.

Like “Star Sign“, it’s easy to get lost within “Sword & Stone“. Too focused on the music, one will miss the candid lyrics. Too focused on the lyrics, one will miss some of the best guitar, bass, and drum work across all of the four albums. “Sword & Stone” makes you hit repeat so you don’t miss anything and in a day and age where one hit wonders and singles reign supreme, being able to listen to an album on repeat is proof of heart. At least that’s my thought. I’m happy to spin albums on repeat for days if not months or years.

Some of the songs, especially “Nuclear War” have a Ryan Adams & the Cardinals vibe and I’m curious as to if they were originally written for that project or not.

“Sword & Stone” has wonderful music be it the soulful bass, the slide guitar, the brushstrokes on the drum, and nary a harmonica. I don’t think I missed hearing it as Ryan has a pretty distinct harmonica playing style. But not having the harmonica doesn’t break the album, if anything, it allows “Sword & Stone” to float between that alt rock and alt country sound that Ryan can sometimes fall between.

Live albums or live recordings in general can be great ways to connect to fans who haven’t seen an artist live or might not get to experience a live performance. It gives fans a taste of what it’s like to be standing in the crowd with others, but seeing a band live can also showcase a litany of flaws of an artist or band.

“Prisoners (Live)” though only showcases a litany of reasons why one must catch Ryan Adams live at least once in their life. “Prisoners (Live)” like all of Ryan’s live albums capture the raw talent the man possesses. It also allows for a nuanced experience that only a live show can provide.

Like the saxophone in “Prisoner”. Christ almighty. The saxophone combined with the harmonica on “Prisoner” is absolutely stunning. The instrument compliments his music and voice beautifully.

Another stand out track is “Outbound Train”, the song feels brighter, the bass is heavier, and Ryan’s vocals are more full emotion than the studio album. If one can’t get to see Ryan live, “Prisoners (Live) allows one to experience an intimate and emotional portrait of a man that wears his heart and emotions on his sleeves.

What I don’t believe in is wasting time. There’s my work and my faith. The rest is just noise and it has no place in my work or my life. It has no hope of surviving here in this beautiful machine I built inside me that feels the power and importance of every colour your eyes can absorb and every beautiful thing created from the moments we are allowed to have on Earth.

So here is it, my newest songs

DAIISTAR announce limited edition 7″ vinyl ‘Clear’ with B-Side Sonic Boom remix

The Austin, TX noise-pop upstarts DAIISTAR are today releasing this blissed-out new single ‘Clear’. The new track arrives off the back of their highly-praised 2023 debut album ‘Good Time’ – an 80s/90s-indebted blend of narcotic noise and melody produced by Alex Maas of The Black Angels and engineered by White Denim’s James Petralli. Backed by a Sonic Boom remix of ‘Good Time’ album track ‘Velvet Reality’ on the B-side, ‘Clear’ will be released on a limited neon-pink 7″ due out May 10th 2024. 

An unheard cut from the ‘Good Time’ sessions, DAIISTAR’s Alex Capistran (guitar/vocals) says that “the idea behind ‘Clear’ was to write the perfect song for a perfect day. A song that comes to mind on a warm and sunny afternoon; inspiring thoughts of attainable bliss and encouraging you to dream up something nice for your future self.”

Having spent 2023 touring North America with The Black Angels, The Brian Jonestown Massacre and The Dandy Warhols – including festival appearances at Levitation/Austin Psych Fest, Desert Daze, SXSW, Freak Out, Treefort and a recent KEXP session to boot – and with a seven-week European tour kicking off in April 2024, ‘Clear’ is the woozy, reverb-soaked sound of a band on the rise. 

The Austin, TX noise-pop upstarts Daiistar have released their blissed-out new single ‘Clear’ Backed by a Sonic Boom remix of ‘Good Time’ album track ‘Velvet Reality’ on the B-side, ‘Clear’ will be released on a limited neon-pink 7″ due out May 10th 2024.

An unheard cut from the ‘Good Time’ sessions, DAIISTAR’s Alex Capistran (guitar/vocals) says that “the idea behind ‘Clear’ was to write the perfect song for a perfect day. A song that comes to mind on a warm and sunny afternoon; inspiring thoughts of attainable bliss and encouraging you to dream up something nice for your future self.”

‘Clear’ is the woozy, reverb-soaked sound of a band on the rise

‘Clear’ is the new single from Austin noise-pop band DAIISTAR, out May 10th 2024