Prince – “Purple Rain” – The Concert 10-Inch Double Album on Purple Vinyl in Gatefold Sleeve Limited To Just 2000 Numbered Copies!. This limited edition 10-inch collector’s double album pressed on purple vinyl comes in a gatefold sleeve. This is the ultimate anthology featuring Prince performing tracks drawn from his classic album “Purple Rain”.
The live-to-air broadcasts collected together on this anthology reflect Prince at his very best. This is Prince with no second chances, no prospect of retakes and no overdubs. Here is the ultimate proof of the quality of Prince as a revolutionary music phenomenon and an inspiring artist. Prince had an incredible ability to deliver the most amazing performances in the live arena. The evidence of that fact lies in the wide variety of performances which were broadcast live-to-air without a safety net.
The tracks on this album are drawn from two legendary shows. Firstly there is a wonderful show from on Syracuse On March 30th, 1985, Prince and the Revolution performed in Syracuse at the Carrier Dome where they taped Prince and the Revolution: Live, which was distributed on VHS after the tour was completed on July 29th, 1985. The concert was also broadcast live throughout Europe.
Also featured is the landmark Madrid radio broadcast on 22nd June 1990.
The deluxe limited collector’s set includes a unique QR code which unlocks a full-length E-book and audio documentary.
Track Listing:
Side A 1. Let’s Go Crazy 2. I Woud Die 4 U 3. Little Red Corvette
Side B 1. Computer Blue 2. Darling Nikki 3. The Beautiful Ones
Side C 1. Purple Rain 2. Take Me With U 3. When Doves Cry
Electronic music played by a rock band, or post rock you can dance to. Reverb-drenched kosmische mixed by Four Tet and mastered at Invada (Portishead, BEAK. “Barking to Gospel” was written over the past year at the band’s rehearsal studio in Hackney, and then recorded live over a weekend just before the UK went into lockdown. As the world ground to a halt, the band sent the raw files to Kieran Hebden (FOUR TET), who agreed to mix the EP while self-isolating in upstate New York, and then the EP was mastered at Invada, the studio run by Geoff Barrow.
Electronic music played by a rock band, or post rock you can dance to. Reverb-drenched kosmische.
For fans of: NEU!, Public Service Broadcasting
Original release: 16 September 2020 “Barking to Gospel” Sonic Deterioration, Original release: 16th September 2020 on Limited Edition 12″ Black Vinyl, signed by the band – exclusive edition of 50 only.
An incredible mix of 90s grunge and millennial DIY from a duo we can comfortably call our favourite two-piece from Luxembourg. “All Change” is the debut EP by the Luxembourg-based, Canadian-American duo Francis Of Delirium, a band fast on the rise. First appearing back in January with the instantaneous track ‘Quit Fucking Around’, Francis Of Delirium have caught attention by making a powerful sound where 90’s grunge collides with indie folk and millennial DIY; different generations of rock explained in part by 18 year-old songwriter Jana Bahrich being thirty years junior to her collaborator Chris Hewett.
A highly creative and self-contained duo, intimacy and vulnerability lies at the heart of their music, made impactful by Jana’s high energy vocals and genuine passion to connect with each member of the audience. All Change perfectly illustrates this, a five-track primer that not only delivers on their early promise but shows they’re just getting started.
Vancouver art collective Crack Cloud have shared their debut album “PAIN OLYMPICS”, marked by album highlight and lead single “Ouster Stew.” It was self-produced and written and recorded in Calgary and Vancouver between June 2017 and December 2019. The group’s previous release was their 2019 single “The Next Fix,” which followed their exceptional 2018 self-titled EP. Earlier this year, Paste featured them in our list of 30 Canadian artists you need to know in 2020. In comparison to the tightly-coiled, guitar-driven post-punk of their self-titled release, “Ouster Stew” is more colorful and eccentric—adding synths and saxophone into the mix. Lead singer Zach Choy’s (the group are adamant not to call him a frontman, doubling down on their decentralized model) vocals are positively waggish as their guitars squawk with an art-rock-meets-funk vivacity.
Like Psychic TV before them, Crack Cloud have a philosophy, and one that they are not afraid to wear on their sleeves. While their anarchic, phantasmagorical visuals, heavy use of symbology, and seemingly never-ending cast of colourful collaborators have often invited cult comparisons, this really does the collective no justice.
There is no apocalyptic death drive here; no cult of personality; no hierarchy of power. While frontman and lyricist Zach Choy is in many ways the face of the group, the collective is one founded on equality, and in his cryptic lyrical blending of poetics, polemics and personal experience, Choy is truly the mouthpiece of something far larger than himself. Nowhere else is this more apparent than on the album’s first single, ‘The Next Fix.’ What begins as a caustic, claustrophobic account of addiction swells into a sprawling, euphoric hymn as Choy is joined by a choir of seemingly endless celestial voices. Less a cult then; more a church. Listening to this song or watching its accompanying self-directed video is a truly spiritual experience, and in its building, jubilant movement it offers a glimpse of Crack Cloud’s most vital message: using community to turn adversity into hope.
This isn’t just bravado; its a story born of deep, personal experience. Crack Cloud operate on the frontline of Canada’s out-of-control opiate crisis, mobilising and organizing in Vancouver’s harm reduction programmes.
The group themselves have had their fair share of trauma, and the collective LP offers its members a vital vehicle for rehabilitation and recovery. As the tagline on the album’s back cover makes clear then, this is absolutely ‘based on true shit.
Part Three of the “Pain Olympics” 2020 series, made DIY by the Crack Cloud Media Collective
“176” boasts five new tracks written and recorded over a fruitful five days at PRAH Studios, Margate. The band took a more expansive approach to the composition process, taking inspiration from the spatial and rhythmic sonics of electronic music and blending it with their existing unique sonic palette of drums, bass, violin, vocals…and no guitars. Taking its title from the eponymous London bus route that runs from Penge to Tottenham Court Road, 176 contains themes of paranoia, social anxiety, jealousy and the accompanying nightmares these can create. The band explain: “All five songs have quite grim, dark subject matter. Once we’d started exploring that paranoid, angsty kind of path, the floodgates seemed to open and we ran with it”
Title track “176” finds the narrator sat on the top deck of the 176, feeling alienated from their surroundings and shell-shocked at the public’s decision to vote in favour of Brexit, whilst “While You Wait” is written from the perspective of a dog recalling happier times rolling in fields, as it waits to be put down at the veterinary surgery – penned while the UK waited to leave the EU, the metaphor couldn’t be clearer. Elsewhere, “40 Faces” builds on a Morricone-esque bass riff to depict a jealous human waiting at home, tormenting themselves with images of what their partner might be up to without them. “The Nightmare” employs jarring call and response-style vocals to construct a sonically disorientating sound, creating a feeling similar to how you might feel after waking from a panic stricken bad dream or the anxiety you feel when trapped in an unnerving social situation.
For fans of: Warmduscher, Pottery, Depeche Mode Original release: 3 July 2020 Limited Edition White 12″ Vinyl – 300 copies worldwide
Meadow Meadow is the debut collaboration from former Spring King members, James Green and Peter Darlington. After the breakdown of their previous band, their writing together became a meditative, healing process. Sharing demos between Manchester and London, the pair developed a distinct musical palette, using creativity as a “constant source of peace and catharsis”. Themes of childhood nostalgia and the natural world are juxtaposed with a sense of loss and dystopian malaise. “Memory is strange, it connects seemingly disparate experiences together to form a storyline that you then carry with you”.
Gently swaying, meditative pastoral indie from two former members of Spring King, their new name taken from a line in a Silver Jews song.
Queen and Adam Lambert have shared a live performance video of “Somebody To Love” from Isle of Wight Festival at Seaclose Park on June 12th, 2016. The performance initially appeared on the collaborator’s first live album and concert film, “Live Around the World”, which saw worldwide release on October 2nd.
While Queen has rocked festivals for decades, this 2016 performance marked the first time the band had played with Adam Lambert in such a setting, and the vastness of the crowd cannot be understated. Sitting at the midpoint of their set, between “Don’t Stop Me Now” and “Love of My Life”, this high-energy rendition of “Somebody To Love” was impressive. Though nobody can compete with the raw showmanship of Queen’s original frontman Freddie Mercury, Lamberts stage presence is notable in this performance. He worked the crowd well, even having fun with a brief call-and-response section, while also proving his vocal prowess on some of the more difficult sections of the song.
“Adam has the ability to sing anything and everything we throw at him,” said drummer Roger Taylor in a press statement, “There’s nothing he can’t handle. Our songs are big and theatrical and Adam fits that easily. I think he’s the best singer around. His range is staggering.” Explained Lambert , “Some of Queen’s songs are just so vocally athletic and physically demanding. For example, ‘The Show Must Go On’ is certainly demanding, ‘Who Wants To Live Forever’ goes from zero to 99. ‘Somebody to Love’ is really intense and big.
Their first ever Live album; Queen + Adam Lambert , ‘Live Around The World’
After an agonising long wait for new Foo Fighters music, we finally got a new single in the form of the surprisingly funky ‘Shame Shame’. There was a lot of teasing over the last week or so for what appears to be a new Foo Fighters album, yes, they have a new album coming called “Medicine At Midnight” and the first single off it is called ‘Shame Shame’, perhaps unlike any Foo Fighters single we’ve heard either as the band really go hard on the groove and funk with this new banger. Think of a poppy dance track but done with the Foo Fighters’ guitar-heavy aesthetic.
Since this was a new musical direction for the band, Chris Shiflett and Nate Mendel unpack what they were going for this time around. And as with most Foo Fighters songs, it all begins with Dave Grohl. During last night’s episode of Saturday Night Live, musical guest Foo Fighters took the opportunity to debut “Shame Shame” from their new album. The new record—also announced on Saturday—is titled Medicine at Midnight and is out on February 5th, 2021 via Roswell Records/RCA.
“[‘Shame Shame’] kind of stands out on the record, it’s definitely a little different than anything we’ve ever done before and it’s a little bit different than anything else on the record, although the record has a lot of songs that are, you know, groove-based like this one is,” says Chris. “Dave’s a drummer so he’s always coming up with rhythmic twists and riffs based on rhythms that he hears in his head.”
The lyrics reference feelings of shame and the music video, which will be released soon, is something we haven’t really seen from the Foos before. So were the band feeling shameful when writing ‘Shame Shame’? “That’s a great question to ask Dave!” laughs Chris. “He wrote the lyrics, I don’t really know what he’s referencing so I should ask him!”.
Ambiguous lyrics aside, the band went through a number of wildly different versions of ‘Shame Shame’ before settling on the final one we got. In fact, Nate says he originally wasn’t even supposed to play on the song. “For ‘Shame Shame’, it started of as just a bunch of clicks from Dave [clicks fingers], almost like flamenco, and it just grew out of that,” recalls Nate. “There wasn’t going to be any bass line originally, like, it just felt like it needed keyboards and I was fine with that.” The November 7th episode of SNL featured the venerable alt-rockers performing in support of host Dave Chappelle. In a fortuitous twist, Saturday was also the day that Joe Biden was declared the winner of the 2020 presidential election, likely resulting in an increased viewership which made this the ideal opportunity for Dave Grohl and co. to share their new music.
“Shame Shame” starts off sparing, with the song built around pulsating beats. For the first verse, Grohl is just focused on his vocals as the rhythm is controlled by his fellow guitarists Christopher Shiflett and Pat Smear. Along with the help of a pair of backup vocalists, the song takes a delicate and lyrical approach which displays an added layer of depth that is hopefully present throughout the band’s 10th studio endeavor. “I like the idea that you don’t need an electric bass on every single fucking song, and I ended up playing on it just to give it extra character on top of what was already there like a bit of extra added texture. So that was the plan, just to throw out the rule book.” There was a lot of talk about how Medicine At Midnight would contain a riff Dave has been working on for 25 years. So did we hear it on ‘Shame Shame’?,
Foo Fighters also performed “Times Like These” from their 2002 album One By One.
Stay tuned for more Foo Fighters coverage because we got a lot more from Chris and Nate about the Medicine At Midnight, dealing with COVID and lockdown, looking back on the Foo Fighters’ long career, and that 25-year-old riff coming very soon.
Keith Richards has done a lot of great stuff over the last several decades and one of the most memorable solo projects is his work with The X-Pensive Winos. It’s been over 30 years since The X-Pensive Winos released their iconic “Live At The Hollywood Palladium” album and it seems like Keith is feeling a bit nostalgic because he’s re-releasing a special deluxe box set of that very record.
The restoration and reissuing of the storied solo album release catalogue from main guitar slinger Rolling Stone Keith Richards continues with this set featuring the solo hit “Take It So Hard”, Richards-led Stones classic “Happy” and previously unreleased performances of “You Don’t Move Me, Little T&A” and the Lennon/McCartney penned “I Wanna Be Your Man“.
For those wondering what exactly is in this special deluxe box set, it comes packed full of goodies including the remastered album on two 180g vinyl records and on CD, three unreleased bonus tracks exclusive to this box set, a DVD of the original concert film, a 40-page hard book featuring an essay written by David Fricke.
Recorded on December 15th, 1988, during the tour for Talk Is Cheap, “Live at the Hollywood Palladium” is a loose, groove-laden affair, featuring the best from Keith Richards’ first solo album as well as some Stones classics — mostly tunes he took lead vocals on. Opening with “Take It So Hard,” the first thing that hits the listener is the lack of the gloss that was probably the only drawback to Talk Is Cheap, which is a very good thing, because while the album was still leaps and bounds more real than, say, Dirty Work, this live collection is loose without ever getting away from the band, and has an organic feel not present in the Stones’ work since the early ’70s. Rockers like “Whip It Up” and “Struggle” swagger, while Sarah Dash shines on “Make No Mistake” and “Time Is On My Side.” Richards even manages to get into the reggae groove without sounding too clichéd on “Too Rude.” Live at the Hollywood Palladium is a solid live album that stands head and shoulders above most of the Stones‘ live records, and is easily a must-have for any serious Rolling Stones or Keith Richards fan.
Deluxe packaging. Remastered sound. Restored DVD video.
Keith Richards & The X-Pensive Winos – Live At The Hollywood Palladium tracklist:
LP: 1. ‘Take It So Hard’ 2. ‘How I Wish’ 3. ‘I Could Have Stood You Up’ 4. ‘Too Rude’ 5. ‘Make No Mistake’ 6. ‘Time Is On My Side’ 7. ‘Big Enough’ 8. ‘Whip It Up’ 9. ‘Locked Away’ 10. ‘Struggle’ 11. ‘Happy’ 12. ‘Connection’ 13. ‘Rockawhile’
10″: 1. ‘I Wanna Be Your Man’ (Box Set Only) 2. ‘Little T&A’ (Box Set Only) 3. ‘You Don’t Move Me’ (Box Set Only)
Box Set Includes: – The remastered album on 2 180g LPs – 10” vinyl of 3 unreleased bonus tracks (I Wanna Be Your Man, Little T&A, You Don’t Move Me) exclusive to this box set only – Remastered CD of original album – DVD of original concert film – 40 page, hardback book with David Fricke essay featuring a new interview with Keith, plus extensive rare and unseen photos from Keith’s archives
Reproductions of archival materials from the tour including: – Tour press release – Keith’s handwritten setlist – Hand-drawn band dressing room sign – Tour itinerary – Press photos – Ticket stub – VIP & backstage passes – Keith’s custom Hollywood Palladium plectrum – Promotional wine label & bag given away at the show … and more!
Keith Richards & The X-Pensive Winos – “Live At The Hollywood Palladium“. Released in 2020 via BMG Records.
Melbourne-based singer-songwriter Riley Pearce tackles his current dilemmas head-on with the new single and visual for ‘Electricity’. Always one to portray working-class love and big picture philosophy over a magnetic alt-folk melody, Riley Pearce’s latest offering is another deep-dive into life’s uncertainties. Lifted from his forthcoming EP, “Love and Other Stuff”, out March 19th, 2021, Pearce says the song deals with a young couple faces as they pursue their passions and careers.
My girlfriend and I have these dreams of one day owning a home and starting a family, but there’s a lot of uncertainty involved and a lot of distance between ourselves now and reaching the eventual dream,” he says. “With that in mind, the song is about being happy no matter where we land, with each other’s presence and being in this journey together.”
Love and Other Stuff follows the release of Riley Pearce’s last EP, “Maybe I Can Sleep It Off”, released in September. His imitable self-reflection and ability to grapple with his own feelings in real-time has seen his trademark brand of storytelling resonate across the globe, with over 50 million streams to date.
Last year, Riley Pearce toured all through Australia, Europe and the United Kingdom before returning to live in Melbourne. His upcoming EP was produced by Andy Lawson, who loaned Pearce his Japanese Fender Jaguar for the recording. Coupled with a pedal Pearce found at a second-hand shop in London, “Love and Other Stuff” will speak to the times while also offering a reprieve from it.
Filmed by Riley Pearce from lockdown in Melbourne. WRITER / MUSICIAN: Riley Pearce
