In celebration of Record Store Day , Keith Richards has released a new video for “Hate It When You Leave,” a track on his second solo album “Main Offender” which was first released in 1992.
“The video portrays that the simplicity of life is what is most beautiful about the world and pays homage to people and places one loves, particularly at a time when family, friends and lovers have been kept apart,“ stated a press release. Directed by Jacques Naudé, the video begins with an empty road which leads into a collection of different moments of people working, at play, and interacting with one another.
On Record Store Day, June 12th, 2021, Keith Richards will release a limited edition (3500 units) red vinyl 7″ single ‘Wicked As It Seems‘, including two previously unreleased live tracks from Keith Richards & The X-Pensive Winos.
Recorded in December 1995 at the Town & Country Club, Kentish Town, London, as part of the Main Offender Tour, are a live version of ‘Wicked As It Seems‘, plus a live version of the Rolling Stones classic ‘Gimme Shelter‘. This specially curated single also includes newly created sleeve artwork based on the Main Offender album art.
Richards is also releasing a limited quantity vinyl on Record Store Day which according to a press release includes “track ‘Key To The Highway’ which only ever saw release on the Japanese version of the album Main Offender, along with ‘Hate It When You Leave.’”
Get ‘Hate It When You Leave’ and the rare Keith Richards track “Key To The Highway” (which only ever saw release on the Japanese version of the album Main Offender) on a red vinyl 7” single on Record Store Day.
The Besnard Lakes have passed through death and they’re here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band have sworn off compromise, split with their long-standing label, and completed a searing, 72-minute suite about the darkness of dying and the light on the other side.
The Besnard Lakes Are “The Last of the Great Thunderstorm Warnings” is the group’s sixth album and the first in more than 15 years to be released away from a certain midwestern American indie record company. After 2016’s A Coliseum Complex Museum – which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs – the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes – rock songs with chthonic heft and ethereal grace, five or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? “Who gives a shit!” the Besnard Lakes realized. Ignited by their love for each other, for playing music together, the sextet found themselves unspooling the most uncompromising recording of their career. Despite all its grandeur, ...The Last of the Great Thunderstorm Warnings honours the very essence of punk rock: the notion that a band need only be relevant to itself.
At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, like Spiritualized’s Lazer Guided Melodies or even Dark Side of the Moon, overflowing with melody and harmony, drone and dazzle, the group’s own unique weather.
Here now, the Besnard Lakes finally dispensed with the two/three-year album cycle, taking all the time they needed to conceive, compose, record and mix their opus. Some of its songs were old, resurrected from demos cast aside years ago. Others were literally woodshedded in the cabanon behind Lasek and Goreas’s “Rigaud Ranch” – invented and reinvented, relishing this rougher sound. Some of that distortion makes its way into the final mix: an incandescent crackle that had receded from the Besnards‘ more recent output. Rightly – nay, definitively! – The Besnard Lakes Are The Last of the Great Thunderstorm Warnings is a double LP. “Near Death” is the title of the first side. “Death,” “After Death,” and “Life” follow next. It’s literally a journey into (and back from) the brink: the story of the Besnard Lakes’ own odyssey but also a remembrance of others’, especially the death of Lasek’s father in 2019. Being on your deathbed is perhaps the most psychedelic trip you can go on: in Lasek’s father’s case, he surfaced from a morphine dream to talk about “a window” on his blanket, with “a carpenter inside, making intricate objects.”
That experience pervades the album, catching fire on the song “Christmas Can Wait”; elsewhere the band pays tribute to the late Mark Hollis and, on “The Father of Time Wakes Up,” they mourn the death of Prince. Here are a couple of outtakes from the video shoot for “Raindrops”. This song and video details a psychedelic flight through the mind while deep in an altered state.
The song lyrically references the death of Mark Hollis from Talk Talk (“Garden of Eden spirited”) and also describes the idea of evolution determining the story of the Garden of Eden. In these scorched and pitted times, as the world smoulders, there might be nothing less trendy than an hour-long psych-rock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more. ...The Last of the Great Thunderstorm Warnings is a bright-blazing requiem: nine tunes that are one tune and six musicians who make one band – unleashed and unconstrained, piercing and technicolour.
At the end of the golden day, the Besnard Lakes are right where they should be. Just announced,
Dinked Edition No.77 is the thrilling and quite epic new LP from The Besnard Lakes+ Dinked Edition No. 77 + Double 140g orange / red splatter vinyl + One-sided orange flexi disc featuring exclusive track ‘Superego’ + Hand-numbered sleeve+ Limited edition of 500
The Besnard Lakes have passed through death and they’re here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band have sworn off compromise, split with their long-standing label, and completed a searing, 72-minute suite about the darkness of dying and the light on the other side.
Kate Stables has released her next album under the This Is The Kit alias “Off Off On” with lead single “This Is What You Did,” which features Stables’ signature upbeat banjo, top-knotch vocals and restless, stream-of-consciousness lyrics. Stables describes it as “A bit of a panic attack song,” adding, “The negative voices of other people that are your own voice. Or are they? Hard to say when you’re in this kind of a place. How to get out of this place? Needing to get outside more.
Since 2008’s debut album Krülle Bol, This Is The Kit (lead by Kate Stables) have unpicked emotional knots and woven remarkable stories, but even by their high standards, “Off Off On” is a beautifully clear distillation of Stables’ song-writing gifts. By the end of 2018, the band had finished touring their last album, the talismanic “Moonshine Freeze” – leading to Kate’s Ivor Novello nomination, but when it came to Stables’ natural impulse to start the next record, her efforts were diverted by an invitation to join The National on the road for multiple tours and TV appearances – a continuation of the role she took on their album I Am Easy To Find. “It was so brilliant when I was writing to be away from my songs and the responsibility of being in charge of a band or a project – I think it really helped my writing and my getting through whatever I needed to get through.” Richly illuminating and acutely sensitive to the pulses and currents of life, Off Off On shows This Is The Kit overflowing with ideas.
In difficult times, it’s a record that feels like a lifeline, moving against the tide, standing against the storm. Keep going.
Taken from This Is The Kit’s new album ‘Off Off On’ out October 23rd,
Announcing McCartney III, to be released December 11th on Capitol Records across digital platforms, on CD, and on LP manufactured by Third Man Pressing. Vinyl configurations will include Third Man Edition of 3000 hand-numbered red vinyl copies sold on the Paul McCartney webstore, a ‘333’ Edition sold only via ThirdManRecords online store and limited to 333 copies on yellow-with-black-dots vinyl composed from a “regrind” of 33 McCartney & McCartney II records.
2020 marks 50 years since Paul McCartney released his self-titled first solo album. Featuring Paul playing every instrument and writing and recording every song, McCartney’s effortless charms have only grown in stature and influence over time. The chart-topping album would signify not only a creative rebirth for Paul, but also as a template for generations of indie and lo-fi musicians seeking to emulate its warm homespun vibe and timeless tunes including “Maybe I’m Amazed”, “Every Night” and “The Lovely Linda”.
The 1970s saw Paul forming his second band Wings and dominating the charts, stages and airwaves of the world, with multiple #1 singles, sold-out world tours, multi-million-selling albums including Band on the Run, Venus and Mars, Wings at the Speed of Sound, London Town and more. In 1980, 10 years from the release of McCartney, Paul wrapped up the decade of Wings with the surprise release of his second solo album, the electronic-tinged McCartney II. Once again featuring Paul entirely on his own, McCartney II would come to be regarded as a leftfield classic, with classic cuts such as “Coming Up”, “Temporary Secretary” and “Waterfalls”.
The 1980s saw Paul start again, this time kicking off an unprecedented solo run. The following four decades would see Paul’s iconic and legendary status grow exponentially, with solo masterpieces including Tug of War, Flowers in the Dirt, Pipes of Peace, Flaming Pie, Memory Almost Full and New, and massive live shows the world over — actually setting the World Record for the largest attendance at a concert. In 2018, 54 years since The Beatles first hit #1 on the Billboard Album Charts – Paul’s Egypt Station would be yet another historic #1 McCartney album.
Hard as it is to believe, it’s only been two years since Egypt Station went #1–and it was only last year that Paul’s Freshen Up tour played its last show before Covid hit pause on live music, a legendary blowout at Dodger Stadium in Los Angeles.
Paul hadn’t planned to release an album in 2020, but in the isolation of “Rockdown,” he soon found himself fleshing out some existing musical sketches and creating even more new ones. Before long an eclectic collection of spontaneous songs would become McCartney III: a stripped back, self-produced and, quite literally, solo work marking the opening of a new decade, in the tradition of 1970’s McCartney and 1980’s McCartney II.
Recorded earlier this year in Sussex, McCartney III is mostly built from live takes of Paul on vocals and guitar or piano, overdubbing his bass playing, drumming, etc. atop that foundation. The process first sparked when Paul returned to an unreleased track from the early 90s, When Winter Comes (produced by George Martin). Paul crafted a new passage for the song, giving rise to album opener Long Tailed Winter Bird—while When Winter Comes, featuring its new 2020 intro Winter Bird, became the new album’s grand finale.
Speaking about III, Paul said: “I was living lockdown life on my farm with my family and I would go to my studio every day. I had to do a little bit of work on some film music and that turned into the opening track and then when it was done I thought what will I do next? I had some stuff I’d worked on over the years but sometimes time would run out and it would be left half-finished so I started thinking about what I had. Each day I’d start recording with the instrument I wrote the song on and then gradually layer it all up, it was a lot of fun. It was about making music for yourself rather than making music that has to do a job. So, I just did stuff I fancied doing. I had no idea this would end up as an album.”
Long Tailed Winter Bird and Winter Bird/When Winter Comes bookend McCartney III’s vast and intimate range of modes and moods, from soul searching to wistful, from playful to raucous and all points between — captured with some of the same gear from Paul’s Rude Studio used as far back as 1971 Wings sessions. And Paul’s array of vintage instruments he played on the new album have an even more storied history, including Bill Black of Elvis Presley’s original trio’s double bass alongside Paul’s own iconic Hofner violin bass, and a mellotron from Abbey RoadStudios used on Beatles recordings, to name but a few.
In keeping with McCartney & McCartney II’s photography by Linda McCartney, the principal photos for III were shot by Paul’s daughter Mary McCartney—with additional photography by Paul’s nephew Sonny McCartney as well as photos Paul took on his phone (it’s a family affair). The cover art and typography is by celebrated American artist Ed Ruscha.
McCartney and McCartney II each saw Paul open up a new decade with reinvention, both personal and musical. Just as McCartney’s 1970 release marked Paul’s return to basics in the wake of the biggest band break-up in musical history, and the 1980 avant-garde masterpiece McCartney II rose from the ashes of Wings, McCartney III finds Paul back on his own, turning unexpected circumstances into a personal snapshot of a timeless artist at a unique point in history.
McCartney III will be released December 11th on Capitol Records manufactured by Third Man Pressing. Vinyl configurations will range from standard 180g to a Third Man Edition of 3,333 hand-numbered red vinyl copies, a‘333’ Edition sold only via Third Man Records online store and limited to 333 copies on yellow-with-black-dots vinyl created using 33 recycled vinyl copies of McCartney and McCartney II, a U.S. indie retail exclusive pressing of 4000 hand-numbered white vinyl LPs, and more.
Here is an Australian band that will appeal to the Khruangbin crowd, as well as to fellow countrymen like Tame Impala or King Gizzard (but their more mellow side). They cut their psychedelics with pretty poppy hooks, sometimes even going a little overboard on the sweet and sugary to my taste. “Songs Of Worship” is strongest when it explores repetition, taking on an extremely comfortable floaty, atmospheric, fleeting sound. Kudos to their producer too, because sound-wise this is a treat. Taking influence from heavy psych/world music peers such as Goat, Here Lies Man and Kikagaku Moyo,
The Sydney 7-piece Kimono Drag Queens are coming in hot with their much-anticipated debut album “Songs of Worship”, after a steady stream of stellar singles over the past half decade. Kimono Drag Queens are a psychedelic/world music seven piece with musical influences spanning continents, genres and flavours. With a focus on rhythm heavy walls of sound, they’ve formed a style that blends elements of psych rock, Tuareg music, 60’s pop and noirish lyricism that fails to draw comparison
“Wild Animals” has a strong Band Of Skulls vibe which I dig, while “Evil Desires” shears past my allergy zone with its merry Afro-beats and guitar lines, but it saves itself as it gets a tad heavier along the way with some rhythmic fireworks at the end Willys World” starts of a little problematic with its obligatory guitar/citar sounds, but develops as the album’s strongest song with a perfect built-up and a powerful head-bobbing riff that will worm itself inside your head for a while afterwards.
The record twists and turns through a broad array of psych wizardry, touching on many cornerstones of the genre, with single. ‘Wild Animals’ evoking memories of Goat’s breakout single ‘Run To Your Mama’. ‘Hunters’ displays a memorising percussion performance driving the record as it pulls you deeper under its spell before you have time to brace yourself, after which the album crescendos through the euphoric ‘Willy’s World’ to its climax, leaving you gasping for breath. “I like my psych to have transcendental qualities, with the ability to transport me out of my reality, and place me far above the world and its troubles. I want a journey of sound that changes my perception while listening, and Kimono Drag Queens was able to offer me that on ‘Songs of Worship’, along with a whole lot more.”
Like Utopia Avenue, Songs Of Worship won’t necessarily bring new content to the table, but it does provide a modern angle to psychedelics that sheds some new light to it. Besides that, it is a very pleasant listen that will go down easily like some THC-infused candy. Sometimes too sweet to my taste, yet addictive all the same. ‘Songs of Worship’ is due for release digitally on the 6th of November 2020 and will have a vinyl release to accompany it, with presales live on Friday September 11th 2020. ‘Wild Animals’ evoking memories of Goat’s breakout single ‘Run To Your Mama’. ‘Hunters’ displays a memorising percussion performance driving the record as it pulls you deeper under its spell before you have time to brace yourself, after which the album crescendos through the euphoric ‘Willy’s World’ to its climax, leaving you gasping for breath. “I like my psych to have transcendental qualities, with the ability to transport me out of my reality, and place me far above the world and its troubles. I want a journey of sound that changes my perception while listening, and Kimono Drag Queens was able to offer me that on ‘Songs of Worship’, along with a whole lot more.”
Like Utopia Avenue, Songs Of Worship won’t necessarily bring new content to the table, but it does provide a modern angle to psychedelics that sheds some new light to it. Besides that, it is a very pleasant listen that will go down easily like some THC-infused candy. Sometimes too sweet to my taste, yet addictive all the same.
http://‘Songs of Worship’ is due for release digitally on the 6th of November 2020 and will have a vinyl release to accompany it, with presales live on Friday September 11th 2020.
Like most artists, Rosanne Cash has been stuck in her home for the bulk of the past year. But unlike some singer-songwriters who feel creatively paralyzed by the moment, Cash has been able to process what’s happened throughout 2020 — a deadly pandemic, an uprising for black lives, a looming election — into art. “My tour was cancelled, and I was off the road, sequestered in my own home, with time, a stack of writing journals, and a recording studio in the basement,” Cash says. “The only thing to do was write songs.” I’ve been a bit quiet lately, as I’ve been working on something really important to me. The vortex we find ourselves in at this moment of suffering, fear, outrage, but also a faith in our better angels, led me to write the lyrics to a new song called “Crawl Into The Promised Land”. John Leventhal wrote the music.
The first of those songs, “Crawl Into the Promised Land,” which she recorded in her home studio with John Leventhal, is a cautiously hopeful anthem that preaches the hard work of dissent and patriotism. “50 years away from here/60, if I run,” she sings. “Deliver me from tweets and lies/and purify me in the sun.” Sarah Jarosz and Jakob Leventhal provide backing vocals. “We can get back to our dream of America, where the ‘enemy’ is an individual burden, inside each of us, aching for a truce,” Cash says in an essay accompanying “Crawl Into the Promised Land.” “Were exhausted. We’re disoriented. But I know we have the strength and will to deliver ourselves.”
The sublime Sarah Jarosz was kind enough to sing background harmonies and was joined by moody indie icon Jakob Leventhal. Lift your head and raise your hand, my friends.
Houston-via-Dallas band Narrow Head is often classified as shoegaze, but as the band’s guitarist, vocalist and only original member Jacob Duarte puts it, “I don’t even think I like shoegaze.” He elaborates, “I like My Bloody Valentine, Slowdive, Chapterhouse all the main stuff — but when it gets too on-the-nose, it’s like, I need aggressiveness. ”Released through Run for Cover Records, blast of grungy hard rock that reminds me of Nirvana but with even more guitar. The most “rock” of any record I bought this year and loving it.
“Nobody has riffs anymore,” says founding member/vocalist/guitarist Jacob Duarte when asked about his approach on Narrow Head’s highly anticipated LP due out on August 28th. “That’s the kind of band we are and to me, that’s just how you write songs. Drums, bass, guitar, vocals. Nothing else. There are no other instruments on the record.”
The Houston-based band’s latest entry is the distillation of the greatest moments in 90’s alternative and hard rock with a fresh set of ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked song writing showcases a core piece of the band’s identity as one of the best releases of 2020.
Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption as the title suggests, a rock-focused LP themed on transition– exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head’s wall of riffs add stark contrast to their best quality– deceptively sweet pop melodies that channel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once.
Released August 28th, 2020
Narrow Head is: Jacob Duarte Carson Wilcox William Menjivar Ryan Chavez Kora Puckett
Performed by Jacob Duarte, Carson Wilcox, William Menjivar, Ryan Chavez
Stoner-rock outfit Fuzz shared “Mirror”, the final single to appeared on their forthcoming third studio album—appropriately titled III—due out this Friday. The eerie video which arrives just in time for Halloween was directed by Joshua Erkman, and features homages to the body horror work of David Cronenberg. The horror-inspired video finds Fuzz back in the fold that made them a highlight of the stoner metal genre in the 2010s, as well as launched Segall into indie prominence.
Combining the heavy-hitting sounds that fans have been clamouring after for five years with the grotesque imagery of body horror puts an exclamation point on Fuzz’s statement: We Are Back.This latest track follows previously-released III singles “Spit” and “Returning”. This new album is the first from the Ty Segall-led project in five years, and was set to be accompanied by the group’s first North American tour. Unfortunately, COVID-19 laid waste to those plans, but Fuzz still plans to head out on the road this winter.
Director Joshua Erkman said of his involvement in the projectIn an abstract way I wanted to incorporate some of the thoughts that have been swimming around in my head about isolation; it’s pretty hard to avoid thinking about that these days. Making the video was an exciting challenge given our current circumstances – how do you shoot a rock ‘n’ roll band performing in a safe, but visually interesting way? In this case the answer was myself and the cinematographer, Star Rosencrans, dragging the band out to the middle of the desert with just a camera, some optical filters, and the bare minimum amount of lights needed.
Ty Segall on drums, Charles Moothart on guitar, Roland Cosio on bass.
The new Fuzz album including “Mirror” . III is out Friday 25th October
Co-founded by former Byrds members Chris Hillman and Gram Parsons, the Flying Burrito Brothers formed their own massive country-rock family tree: Rick Roberts, the band’s guitarist in the early ’70s, later fronted Firefall; guitarist Bernie Leadon left for the Eagles; and pedal-steel guitarist “Sneaky” Pete Kleinow recorded with just about any pop or rock artist who craved a little twang. The Burritos only released one album in the ’60s, but it’s enough to warrant their inclusion: 1969’s ‘The Gilded Palace of Sin’ is a high watermark of the genre, adding elements of psychedelia and gospel to their country core.
On the heels of recent releases including the first-ever reissue of GeneClark’s classic A&M album White Light, Intervention Records has turned its attention once more to a group of California legends with ties to The Byrds: The Flying Burrito Brothers. Following its previous release of the Burritos’ debut “The Gilded Palace of Sin” on both hybrid SACD and deluxe vinyl, Intervention will reissue the band’s sophomore LP, “Burrito Deluxe”, in those formats. The 180-gram vinyl LP will arrive by October, .
Burrito Deluxe marked the second and final album by the country-rock pioneers to feature founding member Gram Parsons. Drummer Michael Clarke, late of Gene Clark’s duo with Doug Dillard, came on board along with another Dillard and Clark alumnus, guitarist Bernie Leadon. Chris Hillman, who played guitar on Gilded Palace, moved over to bass to replace Chris Ethridge. Pedal steel guitarist “Sneaky” Pete Kleinow continued to round out the roster.
The sad story of the Flying Burrito Brothers is that they were always far, far ahead of their time. Hillman “We had always hoped the band would become as successful as the Byrds were, but it never happened. We never had a hit single . . . just a lot of ups and downs. It was a magical, very productive period in my life. But nobody was really ready for us. Now, even the new Flying BurritoBrothers are doing all right. I do really suspect their motive, though. It’s like me hiring four other guys and calling myself the Byrds. My point, though, is what we were doing is real popular now. For God’s sake, I watch these groups with their rhinestone suits on, singing out of tune, playing shitty, and they’re being accepted. It breaks my heart. “We all worked so hard with that band. Goddamn it, we deserved success.”
Like most bands in their position, the Flying Burrio Brothers splintered out of desperation. ChrisHillman was helping Stephen Stills with his third solo album at the time of the final breakup. When Stills promptly offered him a partnership in Manassas, it seemed a comfortable solution to post-Burrito depression. “We were always more of a band than people thought,” Hillman recalls fondly. “Stills wouldn’t have been the same without us, that’s for sure. Stills was playing a concert in Cleveland with the Memphis Horns. I was sitting in the audience, going, ‘Jesus Christ. They’re making 25,000 bucks and they’re shitty. The Burritos are better than this.’( Rolling Stone ’72)
Like the first album, Burrito Deluxe blended both band originals and cover versions – this time including Bob Dylan’s “If You Gotta Go (Go Now),”Harlan Howard and Wayne Kemp’s “Image of Me” (most closely associated with Conway Twitty), the southern gospel standard “Farther Along,” and most notably, Mick Jagger and Keith Richard’s “Wild Horses” – a year before The Rolling Stones released it themselves. The opening track, Parsons’ “Lazy Days,” also had history as it was previously recorded by both The International Submarine Band and The Byrds, though neither version had been released at the time. Just two months after the release of the album in April 1970, Parsons was fired from the group he founded. He would be replaced by Rick Roberts for the band’s next LP.
Intervention’s 180-gram vinyl LP reissue has been remastered by Kevin Gray from original analog tapes (a 1/2-inch safety copy of the original stereo master), and has been pressed at RTI in an old-school Stoughton-printed “tip-on” jacket. The artwork has been restored by Tom Vadakan and features red foil accents on the front cover. Look for this country-rock classic on vinyl in October.
The Flying Burrito Brothers, Burrito Deluxe (A&M SP-4258, 1970 – reissued Intervention Records IR-022, 2018)
In November of 1991, Neil Young told Rolling Stone about his ambitious plans to dig into his archives and release “eighteen to twenty albums’ worth of unreleased material” in some form or another. “We can’t put it all out,” Young said. “But it will be like an archive. There will be a lot of detail, things you wouldn’t usually find on a box set. I’m not so much concerned with how or when it comes out but that it’s in order. I want to do that myself. And I only have so much time to do these things.”
Well, it took him nearly 30 years, but Young’s vision has finally been realized on the revolutionary Neil Young Archives interactive website and app. Not only can fans hear every song in his catalogue with significantly better sound quality than the offerings on Spotify and Apple Music thanks to the Xstream streaming platform (which utilizes a 192-kHz/24-bit sample rate), but there’s also an interactive timeline packed with unseen video, photographs and lyric manuscripts from throughout his entire career. There’s also the Times-Contrarian newspaper where Young and his team post regular news updates and respond to fan letters.
The Neil Young Archives was initially free and anyone can still browse through it, but late last year he opened it up for paid subscribers ($1.99 a month/$19.99 a year) that allows complete access to the site and exclusive early access to concert tickets for all of his shows. Subscribers can also watch livestreams of select concerts and watch vintage Neil Young movies in the Hearse Theater, including films like Muddy Track and Solo Trans that are practically impossible to find anywhere else.
Ahead of his “Archives Volume 2″ box-set release, Neil Young has officially dropped a previously unreleased version of ‘Powderfinger’. While we can access the era vicariously on various platforms and with tangible items like records, sometimes there’s nothing like new music, or a re-release. One of the latest pieces of re-release news comes from legendary rock artist, Neil Young, who in 2020 is continuing to keep on rocking in the free world.
Right now, a previously unreleased version of Neil Young’s ‘Powderfinger’ is available The ‘Powderfinger’ re-release further ramps up the hype of his upcoming special release, with Young recently announcing the complete track list from his highly-anticipated Archives Volume 2 Box-set. You can pencil the release date in for Friday, November 20th. Right now we’re still waiting on further details, but for now you can catch up on other great Neil Young music news here or listen to the previously unreleased version of ‘Powderfinger’ .
The deluxe edition box set of Archives Volume II: 1972-1976 contains 10 CDs with 131 tracks, including 12 songs that have never been released in any form, and 49 new unreleased versions of Young’s classics—studio and live recordings, both solo and with Crazy Horse (Odeon Budokan), The Stray Gators (Tuscaloosa), the Santa Monica Flyers (Roxy: Tonight’s the Night Live), Crosby, Stills, Nash and Young, and The Stills Young Band. It also includes a 252-page hardbound book with hundreds of previously unseen photographs, additional archival materials, a partial tape database, a detailed description of the music, a fold-out timeline of the period.
In addition, each purchase includes the hi-res 192/24 digital files of all 131 tracks, as well as a free one-year membership to the Neil Young on-line archives. The box also includes a massive poster Box sets are strictly limited worldwide to 3,000 units and available exclusively from NYA’sGreedy Hand store only.
Neil Young Archives Volume II – 10 Disc Retrospective The Limited Edition, 10 Disc Box Set includes: 131 Tracks with 12 Previously Unreleased Songs & 49 Previously Unheard Versions 252 Page Hardcover Book with Hundreds of Photos Full-length Archives Poster Releases November 20th, 2020
