Archive for the ‘CLASSIC ALBUMS’ Category

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While we’re still processing the full impact of their immense 2019 debut ‘Dogrel’, this Dubliners weren’t resting on their laurels – they were off crafting their next masterpiece – & a masterpiece it is for sure. Their follow up album ‘A Hero’s Death’ is the kind of second offering that makes you desperately hope & pray that this is just the beginning of a generation definining catalogue. although it’s an intensely confident record, it is also much more subtle, patient & complex. it arrives battered, bruised & beautiful – a heady & philosophical take on the modern world, equally elating and heartbreaking – made all the more visecral & lucid once again by super producer Dan Carey.

Everyone has made no secret of our adoration of these young Dubliners. ‘A Hero’s Death’ sees them follow up the spellbinding ‘Dogrel’ without missing a beat – they’ve taken their cues from the cure again, and have added the mood setting of joy division and a touch of the rougher edges of early 4ad. they manage to tread that line that makes old heads reminisce and rejoice in new music and young fans fall in love with loud guitars and pummelling drums at that same time.

Live, they’re on another level. we’ve been watching them tear up stages since they first made their UK debut. They may have slowed things down on record with more complicated structures but at heart, these are 5 young punks and their live show will make sure you remember that. fast, loud and adrenaline filled – you’re guaranteed to be leaving chalk sweaty and grinning.

The band’s explosive rise to the top has been potent, instantaneous and eventful, and a journey so fuelled by action always seemed destined to influence what followed.

Reacting to the challenge of sustaining the self as much as the individual expression, ‘A Hero’s Death’ represents the band’s reaction to the intensity of life on the road and managing the expectations of others. The debut album ‘Dogrel’ echoes the energy of their early gigs coupled with descriptions of Dublin. Transporting the listener to specific places and sights, the inclusion of local reference points formed a poetic reportage of their hometown, while the usage of critical commentary tackled topics like capitalism and consumerism through lyrics.

The seductive opener ‘I Don’t Belong’ tackles isolation and lets persistent rhythms merge. A perfect initiation, it outlines the overall theme. ‘Love Is the Main Thing’ runs through similar veins, its pulsating, hypnotic intensity and distinct drumming meld with spoken word.

Euphonic bass lines and subtle guitar tones blend on ‘Televised Mind’ while surreal sonics take over ‘A Lucid Dream’, a track of volcanic force. The sentiment of ‘You Said’ offers an alluring instant before the nostalgic, idealised imagery and Johnny Marr-resembling guitar lines of ‘Oh Such A Spring’ begin.

With an energy reminiscent of ‘Hurricane Laughter’ and ‘Boys In the Better Land’, ‘A Hero’s Death’ bestows a vibrant moment, dishing out dos and don’ts mingled with hints of sarcasm. But “You need not be/Born wealthy/If you care/You’re the heir” is a lyric from ‘Living In America’ where the vibe changes as industrial Suicide-like bleakness lingers and creates powerful sonics.

Elsewhere, the melodic Beach Boys-like moment of ‘I Was Not Born’ furnishes a contrast of sorts. “I was not born/into this world/to do another man’s bidding”, insists frontman Grian Chatten before the hazy, subdued mood of ‘Sunny’ becomes pleasantly disorientating.

Subversive, non-conformist and melodious, this record has the credentials of a classic rock and roll album. The decision to take a radical approach only works for the few, the possession of ammunition that’s needed to master such a challenge is not for anyone. Fontaines D.C. have it, and it seems as though they are only just scratching the surface of what’s to come…

Filmed by Collective Dublin & captured within 2fm radio’s studio in Montrose, Dublin – a sweeping space usually the reserve of orchestra performances – “A Night at Montrose, Dublin” will air on Monday 3rd august at 8pm. this is a global event and open to all ages.

“amazing!! how do we get to see this performance?”, let’s get the beers in & all virtually hang out together on the evening of 3rd august to celebrate the new album. it’s one hell of a record – trust us!.

American Head Artwork

The Flaming Lips have released another single from their forthcoming album, in the form of a new track and video for ‘You n Me Sellin’ Weed’. With their next record American Head due out in September, the band have unveiled the new single with its own video clip. The hazy effort pairs well with the sun-soaked music video, following the blurry journey of Wayne Coyne in a car.

It’s far from the up-tempo track you might associate with a name like ‘You n Me Sellin’ Weed’, and instead, The Flaming Lips have given us a mellow, slow-burner which begins to gather momentum, and is full of psychedelic moments. American Head, the follow-up to 2019’s Kings Mouth, is due to be released on Friday, September 11th. So far we’ve been gifted four singles ahead of its release, including ‘Flowers Of Neptune 9’ featuring Kasey Musgraves.

Since then we’ve head ‘My Religion Is You’, while the first single to be unveiled was titled ‘Dinosaurs On The Mountain’. The forthcoming record is their 21st album, but the band have arguably released only 15 if you don’t include collaborative LPs and limited-release collections. The Flaming Lips made headlines in June when they played a social distancing gig with both crowd and band situated in giant plastic bubbles. The gig was organised by The Late Show With Stephen Colbert, with each band member in their own plastic bubble while the live audience members watched from inside their own plastic bubbles.

It wasn’t the first time the Oklahoman band have utilised these props, as the giant plastic bubbles were often used by frontman Wayne Coyne’s at gigs in the past.

You n Me Sellin’ Weed’ from the upcoming album ‘American Head’ Out 9/11:

Old Flowers

On her third album for both Fat Possum and Loose Records, Courtney Marie Andrews has pulled in to one package all the song-writing skill, vocal prowess, and musicianship displayed on previous albums, into one career defining statement. A break-up record for sure, though due to Courtney’s extraordinary storytelling gifts, more of a modern day
coming-of-age tale of love won, love sustained, and unfortunately, love’s inevitable dissolution.

To celebrate, I’d like to share some personal sentiments regarding these songs…on ‘Old Flowers’:

You can’t water old flowers. Yes, you fall in love, you make mistakes, and so do they. You run through blackberry fields in the summer of your youth, dream in passenger seats gazing past towns and fields, imagining a future life where everything works out. I fell head over heels in love at nineteen. The kind of love where you call up your best friend and say, “I think I’ve found my soulmate.” The pull towards that first true love is strong. It consumes you, makes you question your own dreams.

We taught each other, grew up together, we were family. We fit just right, for a time. Then one day, after a long and rocky nine-year road, life changed and became a complicated mess too hard to untangle. We couldn’t get our love back, no matter how many dreams that shadowed this hard truth. We grew resentful, selfish, harbouring past mistakes and holding them up like armour from every blow. We grew up and our paths diverted.

On New Year’s Day, 2018, a great horned owl dropped dead at my exes’ feet in my mother’s yard. It felt like a daunting omen, ushering on change for the both of us. We were distraught. We couldn’t afford the taxidermy, so we placed it in a big blue plastic garbage bin. Now it felt so cheap, that mystic creature in a plastic coffin. That’s how love feels sometimes – like we don’t serve it the ending it deserves.

The omen was true. That year, I started to see the woman I could be, the woman I wasn’t yet. Anytime I felt like myself, I was alone and wandering, and I knew that was a sign that it was time for change. New Year’s Day 2019, I said goodbye to my first true love and moved across the country. Losing someone you spend every day for nearly a decade with is intense. We talked in our dreams. I knew where he was, even before I entered a place. He’d always be there if I had a feeling. Humans are connected in unexplainable ways.

I was writing a lot after we broke up as a healing technique, preserving each memory like an emotional archaeologist. Late one night, I woke up from a dream where I was searching for him, my ex, at a carnival. It was so vivid. I woke myself up to write a song on my piano. The next morning, he reached out to me for the first time in months. We went out, had a drink, caught up, and he told me that the hardest part about our separation was a reoccurring nightmare where he searched for me at a carnival. In that moment, I knew, humans have ways of connecting beyond words and touch. I truly believe that. We had the same dream, without seeing each other for months.

Even with all the mystic symbolism that year presented, this is an age-old story I can’t make up. We fall in love, we grow up, we change, and they don’t change with us. ‘Old Flowers’ is about heartbreak. There are a million records and songs about that, but I did not lie when writing these songs. This album is about loving and caring for the person you know you can’t be with. It’s about being afraid to be vulnerable after you’ve been hurt. It’s about a woman who is alone, but okay with that, if it means truth.

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This was my truth this year – my nine year relationship ended, and I’m a woman alone in the world, but happy to know herself.
These songs came to me alone, late nights in Bisbee, Lisbon, Nashville, and London. Sometimes I’d just cry and sing, and a song would come out. I drank too much wine while writing this record, lit too many candles. You could say this was my attempt to summon the muse, but that’s bullshit, because she was just standing there naked looking me in the eyes. So I told her the truth.

This is my story of the most heart-breaking, but soul-revealing, year of my life. I drove myself mad. I drove to the smoky mountains just to drive back. I danced with a Portuguese boxer and cried on his shoulder in a Fado cafe. I did everything an artist is “supposed to do.” But at the end of the day, beyond all the romance, these songs are my truth. I think they might be yours too.

Released July 24th, 2020

Robert Plant Digging Deep Subterranea

Robert Plant begins the third season of his podcast Digging Deep with Robert Plant on which he reflects on his storied career and shares the stories behind the music.  To coincide with the season premiere, Plant has announced a new career-spanning 2-CD set.  Due on October 2nd from his own Es Paranza label, Digging Deep: Subterranea compiles 30 tracks on two CDs (or streaming/digital) from his solo body of work.

Digging Deep: Subterranea will be the first 2-CD collection of the Led Zeppelin frontman’s solo works since 2003’s Sixty Six to Timbuktu and the first overall anthology since 2006’s 9-CD/1-DVD box set Nine Lives which featured expanded editions of all of his albums (also available separately) and a bonus DVD.  The new anthology takes Plant’s story further, featuring highlights from every one of his solo albums between 1982’s Pictures at Eleven and 2017’s Carry Fire with the exception of 1985’s Shaken ‘n Stirred.  None of his collaborative albums with Jimmy Page, Allison Krauss, or The Honeydrippers are represented.

In addition to highlights from those acclaimed albums – including the chart-topping Rock hit “Hurting Kind,” Grammy-nominated “Shine It All Around,” and acoustic version of “Great Spirit” (previously available only as a bonus track on Fate of Nations) – Digging Deep premieres three previously unreleased selections.  The Toussaint McCall-penned “Nothing Takes the Place of You” was recorded for the 2013 film Winter in the Blood.  “Charlie Patton Highway (Turn It Up – Part I)” previews Plant’s next studio album, a follow-up to 2010’s Band of Joy.  The third and final “new” track is a duet of Charley Feathers’ “Too Much Alike” with Patty Griffin.  She’s just one of the talents featured on the collection, along with Jimmy Page, Phil Collins, Richard Thompson, Buddy Miller, and many others who have lent a hand to Plant over the years.

While waiting for Digging Deep: Subterranea to arrive on CD, fans can enjoy the podcast for which five new episodes will premiere every two weeks.  All of the episodes were recorded earlier in the year at London’s Rough Trade East in front of a live audience; they can be heard on services including Apple Music, Spotify, and YouTube.

The upcoming anthology reflects Plant’s own brand of “world music,” taking in folk, blues, and rock-and-roll influences from around the world and filtering them through his own sensibility.  Look for it on October 2nd from Es Paranza.

Robert Plant, Digging Deep: Subterranea

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pretenders, hate for sale cover art

Pretenders are pleased to announce brand new album ‘Hate For Sale’. Arriving July 17th 2020. Hate For Sale, produced by the revered Stephen Street (The Smiths, Blur), is the latest studio album by The Pretenders via BMG records. The album features 10 new songs written collaboratively by Chrissie Hynde and the electrifyingly dynamic guitarist James Walbourne, in what is the first Hynde/Walbourne song writing collaboration to date.

The Pretenders’ latest single, “You Can’t Hurt a Fool” is a slinky and soulful ballad in which Chrissie Hynde sings about a woman commanding the room with diva like qualities. The timeless sounding track comes from the band’s brand-new album, Hate For Sale which was released on Friday 17th July. A nostalgic music video sets the scene with reflections of heroine’s dancing in the shiny silver chrome of a vintage ribbon microphone.

Hynde co-wrote all ten tracks on the new album with Pretenders’ guitarist, James Walbourne. “I wanted to write with [Walbourne] since day one,” Hynde said in a statement. “James is especially sought after and has recorded with Jerry Lee Lewis, Dave Gahan and the Rails, to name but a few. We always planned on writing while on the road, but as anyone in a band will tell you, being on tour is a procrastinator’s dream come true.”

Let’s recap on the Pretenders videos we’ve been graced with these past few months. This month sees the release of Hate For SalePretenders’ 11th studio album. Despite arriving 40 years after the band’s captivating 1980 self-titled debut, Hate For Sale expertly aligns with the band’s original oeuvre: jangling guitars, confessional vocals and no nonsense rock punch. In fact, for fans who have been following since the early days, the Bo Diddley beat of new single “Didn’t Want To Be This Lonely” even harks back to 1980’s “Talk Of The Town” B-side, “Cuban Slide.” 

Hynde played with future Devo member Mark Mothersbaugh in Saturday Sunday Matinee in 1967 when she was 16. She told Melody Maker, “I was so shy that I wouldn’t stay in the same room as the band to sing. I’d take the mike into the laundry room and shut the door.” Hynde only played one gig with the band, a show at an Ohio church hall. More than 40 years later, she opened for Mothersbaugh’s band, Devo. Hynde was an art student at Ohio’s Kent State University when, on May 4th, 1970, the National Guard were called in to control Vietnam protesters on campus and shot dead four students, with nine more wounded. The shocking event was memorialised in the Crosby, Stills, Nash & Young track “Ohio,” which was recorded within three weeks of the incident and released a month later. “I heard the shots, I didn’t see the shooting,” Hynde recalled. “We all refused to leave and we were carried off campus.” In her autobiography,RecklessHynde wrote of her friend Jeff Miller, who had died in the shooting, “I knew Jeff Miller had been a fan of Neil Young, so I was happy that Young had become our spokesman, our voice.”‘

They’ve previously teased the record with singles “The Buzz” and “Hate for Sale,” which bring Hynde’s potent punk roots back to the surface. Check out the music videos, created in lockdown below. Pretenders drummer Martin Chambers, who remains the only original member with Hynde in the 2020 Pretenders line-up, was recommended to Hynde,  Motörhead’s Lemmy. “Lemmy was very instrumental in my history,” Hynde told us “Without him the Pretenders wouldn’t have happened.”

Made entirely under UK Covid Lockdown, director John Minton takes the band’s basic iPhone footage and turns it into slices of celluloid greatness.

Hate For Sale, produced by the revered Stephen Street (The Smiths, Blur), is the latest studio album by The Pretenders via BMG. The album features 10 new songs written collaboratively by Chrissie Hynde and the electrifyingly dynamic guitarist James Walbourne, in what is the first Hynde/Walbourne song writing collaboration to date.

The official video for Didn’t Want To Be This Lonely by The Pretenders, from the new album ‘Hate For Sale’, out July 17th 2020.

Grateful Dead Dick's Picks 26 (4-LP Set)

Real Gone Music has announced another “vinyl adventure” for Grateful Dead fans, this one a reissue of Dick’s Picks 26: 4/26/69 Electric Theater, Chicago, IL / 4/27/69 Labor Temple Minneapolis, MN.

Described by the label as “a worthy counterpoint to what is one of the greatest ‘official’ live albums in rock ‘n’ roll history,” Live Dead, this hand-numbered, limited-edition 4-LP box set is available to purchase now.  You’ll hear tracks from the then-soon-to-be-released “Aoxomoxoa”  plus a thrilling “Dark Star” medley, a rendition of Jimmy Reed’s “I Know It’s a Sin,” and much more.

Having surveyed the ‘Seventies with our first two vinyl ventures (Dick’s Picks Vols. 24 & 34) into the Grateful Dead catalogue, we really wanted to travel back to the band’s ‘Sixties beginnings for our next multi-LP magnum opus’and boy, did we ‘pick’ the right shows! Recorded but a few months after the shows that formed Live Dead, and featuring a spellbinding version of the ‘Dark Star’/’St. Stephen’/’The Eleven’ medley that was that album’s centerpiece,

Dick’s Picks Vol. 26 stands as a worthy counterpoint to what is one of the greatest ‘official’ live albums in rock ‘n’ roll history. Add in the fact it also captures the band working on material for the forthcoming album Aoxomoxoa‘ including an incredible version of ‘Mountains of the Moon” and serves up a real live Dead rarity with a rendition of Jimmy Reed’s ‘I Know It’s a Sin,’ and this is a Pick that’s clearly worthy, one, of coming out on vinyl, and, two, of some special treatment when it does! Which is a challenge we at Real Gone Music relished; so, in addition to re-printing Bear’s notes from the original CD release on the LP insert, we enlisted Bear’s son Starfinder Stanley to provide some added context on behalf of the Owsley Stanley Foundation, from whence the tapes for these shows come. And speaking of those tapes, this 4-LP set is mastered for vinyl by Jeffrey Norman at Mockingbird Mastering, with lacquers cut by Jeff Powell, who got his start at Memphis’ legendary Ardent Studios and has worked with everybody from Bob Dylan to Gregg Allman to Irma Thomas. Pressed on 180-gram vinyl at Furnace Record Pressing, the whisper-quiet test pressings were approved by engineer Jeffrey Norman, Dead archivist David Lemieux, and Real Gone’s own Gordon Anderson, so the audio experience that awaits is truly a cut above. As for the packaging, each of the four LPs is housed inside a polyvinyl sleeve carefully nestled (with extra padding!) inside a two-piece hardshell box with insert. We are only pressing 1500 hand-numbered copies of Dick’s Picks Vol. 26; if prior experience is any guide, they will not last long!

The lift-off lid box features the original sleeve notes by Bear, a.k.a. Owsley Stanley, and new insights by his son Starfinder Stanley of the Owsley Stanley Foundation.  The music has been mastered for vinyl by Jeffrey Norman at Mockingbird Mastering, with lacquers cut by Jeff Powell.  It’s been pressed on 180-gram vinyl at Furnace and approved by engineer Jeffrey Norman, Dead archivist David Lemieux, and Real Gone’s Gordon Anderson.

The box set is limited to only 1,500 hand-numbered copies.

The Grateful DeadDick’s Picks Vol. 26 –4/26/69 Electric Theater, Chicago, IL 4/27/69 Labor Temple Minneapolis, MN[4-LP] (originally Grateful Dead / Rhino CD GDCD 4046, 2002 – reissued Real Gone Music, 2020)

Reissue on vinyl of the third PJ Harvey studio album to “Bring You My Love”. Produced by PJ Harvey with Flood and John Parish, and originally released in the February 1995, to “Bring You My Love” features the singles ‘Down By The Water’, ‘C’mon Billy’ and ‘Send His Love To Me’. the album – which celebrates its 25th anniversary this year – received wide critical acclaim on release, with nominations for grammy awards and the mercury music prize. reissue is faithful to the original recording and package, cutting by Jason Mitchell at loud mastering under the guidance of longtime PJ Harvey collaborator John Parish.

The album proper is pressed on black vinyl and the packaging is faithful to the original, while the other edition features 10 previously unreleased demos of all the songs from To Bring You My Love and features brand new artwork, with unseen photos by Maria Mochnacz.

Demo audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of John Parish. Mitchell has also cut the vinyl for the album reissue. Both come with a download card and as with Dry, the demos album is also available on CD, in a quite nice gatefold sleeve with printed inner.

A London-based independent label . Founded in 1984, Fire Records continues its history of maverick and inspired A+R. The turn of the millennium has seen Fire rise, phoenix like, under the watchful eyes and ears of A&R supremo James Nicholls and through a series of acclaimed reissues and new releases, revitalising the careers of indie royalty along the way, the label has a raft of new releases from the outer reaches of the sonic spectrum, combining the cosmic pop of Jane Weaver, Virginia Wing, Islet and Pictish Trail with the haunting ambience of Death And Vanilla and the uncategorizable mind-melting Vanishing Twin to become the industry’s leading Psychedelic Pop label

Fire has simultaneously developed one of the most impressive rosters of influencial alternative artists, at the top of their creative game.  Amongst the labels many established artists are The Lemonheads, Howe Gelb and Giant Sand, Kristin Hersh and Throwing Muses, The Bevis Frond,  Half JapaneseSebadoh, The Black Lips and The Chills

After the success of last years ‘Outer Limits’ label sampler (and festival) we bring you ‘Auteur Limits’ a @bandcamp exclusive follow up with a suitably dystopian feel and a little light at the end of the tunnel. Painstakingly compiled and sequenced by A&Rs James Nicholls. Hassled and hurried along by Fire Italia/Jonathan Clancy. Enjoy !

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Released June 5th, 2020

Throwing Muses reveal new video for ‘Dark Blue’ from their forthcoming album ‘Sun Racket’ out 4th Sept. Returning with their signature sound, the legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges, release their tenth studio album ‘Sun Racket’ on 4th September.

“Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, it’s the long awaited follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.

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When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that”. Two-minute songs reappearing as twisted instrumentals or another song’s bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. Throwing Muses has been a favourite band, They never EVER disappoint, and i simply cannot Wait to hear the full album!.

‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal”. “All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” –
Kristin Hersh

Releases September 4th, 2020

In a deft move of self-mythologizing, Fontaines D.C. provided the manifesto for their ascendant 2019 right out the gates, an already oft-quoted line from Dogrel’s charging opener “Big”: “My childhood was small/ But I’m gonna be big!” Ireland might be a small place, but it’s often the people from the smallest places, the people hungry to see the rest of the world, that make the biggest sounds. Accordingly, Fontaines’ prophecy is already coming true: Dogrel and their visceral live show have earned them feverish hype, fervent fans, and a Mercury Prize nomination. It’s one of the least likely and most fascinating rises for a young rock band in recent memory, but more importantly it’s a testament to the will for self-invention.

‘Hurricane Laughter / Winter In The Sun’ on 7″ vinyl