Archive for the ‘CLASSIC ALBUMS’ Category

JAUNT – ” All In One “

Posted: July 28, 2020 in CLASSIC ALBUMS, MUSIC
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Jaunt

For the past six years, Toronto’s experimental pop mutineers, Jaunt, have been working on and anticipating the release of their first album, All In One. The band, which features several of the city’s well-avowed musicians, created a richly imagined, fully developed project which is emblematic of Jaunt’s realized sound and spirit — a kind of bright generativeness, which came from a wide rolodex of influences, pleasantly ranging from hip-hop to new-age.

With two EPs under their belts over the past four years, Jaunt‘s “All In One” the Toronto experimental pop band’s first full-length — is the fruit of years of labour and it shows in the tightness and completeness of each track.
With the help of co-producer Alex Sowinski of BADBADNOTGOOD, the band are united in their ability to create so many moving parts and countermelodies while maintaining focus on one lead expression throughout each track. Jaunt’s ability to replace the hegemonic idea of lead guitar with a variety of acoustic piano licks is refreshing and allows the guitars to shine in a more rhythmic role.

This move can be tricky, but Jaunt introduce subtle hooks that keep the listener up to speed with the progressions of each composition, like in second track “Nostalgia for the Present Moment,” which features catchy, cutting piano melodies throughout the composition. The harsh upper register of an old piano dangles over the vocal melodies in contrast to the smoothly chorused synths that melt to fill the spaces in-between.

Our debut album ‘All in One’ is out everywhere today! We’re beyond thankful for everyone who helped shape the record in some way or another over the last few years. Despite the strange moment we’re currently collectively experiencing, it feels important for us to release this music now. It was a labour of love, and I feel the music reflects a sense of optimism and positivity that’s good for all of us!

Thanks for being here,
The Band:
Pat, Caitlin, Daniel, Duncan, Nick & Tom

Two dollars from each record purchased will be given to Black Women in Motion, a “Toronto-based, youth-led organization that empowers and supports the advancement of Black woman and survivors of sexual violence.” Jaunt will match all proceeds/gross sales up to $5000 CAD.

The Debut Full-Length Record from the Toronto Experimental Pop Group Jaunt. On Exclusive Light Blue Vinyl

ANGEL OLSEN – ” Whole New Mess “

Posted: July 28, 2020 in CLASSIC ALBUMS, MUSIC
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Angel Olsen has announced a new album called “Whole New Mess”, the first material she’s recorded and released without any bandmates since 2012’s Half Way Home. It’s out August 28th via Jagjaguwar Records. Watch a video for “Whole New Mess” below. The time had come, Angel Olsen realized in the fading summer of 2018, to take her new songs out of the house. Olsen’s 2016 marvel, My Woman, had been a career breakthrough, but it catalyzed a period of personal tumult, too: a painful breakup, an uneasy recovery, an inadequate reckoning. At home in North Carolina’s Blue Ridge Mountains, Olsen penned songs that finally grappled with these troubles, particularly love—how forever is too much to promise, how relationships can lock us into static versions of ourselves, how you can go through hell just to make someone else happy.

Find physical editions of Angel Olsen’s Whole New Mess at Rough Trade. Olsen recorded Whole New Mess in October 2018 at The Unknown, the church-turned-studio run by Phil Elverum and Nicholas Wilbur in Anacortes, Washington. The album features more intimate versions of several songs that appeared on last year’s All Mirrors. Olsen explained her approach in a brief statement:

I had gone through this breakup, but it was so much bigger than that—I’d lost friendships, too. When you get out of a relationship, you have to examine who you are or were in all the relationships. I wanted to record when I was still processing these feelings. These are the personal takes, encapsulated in a moment.

At least nine of the eleven songs on Whole New Mess should sound familiar to anyone who has heard All Mirrors, Olsen’s grand 2019 masterpiece that earned high honours on prestigious year-end lists and glossy spreads in stylish magazines. “Lark,” “Summer,” “Chance”—they are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for All Mirrors. Instead, Whole New Mess is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest. If the lavish orchestral arrangements and cinematic scope of All Mirrors are the sound of Olsen preparing her scars for the wider world to see, Whole New Mess is the sound of her first figuring out their shape, making sense for herself of these injuries.

Angel Olsen “Whole New Mess”

LAURA MARLING – ” Song For Our Daughter “

Posted: July 28, 2020 in CLASSIC ALBUMS, MUSIC
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For more than ten years now the name Laura Marling has stirred images of acoustic guitars, folksy ditties and gentle lullabies. By 2018, her project Lump with collaborator Mike Lindsay proved she was no one-trick pony. On Song For Our Daughter – released early as a quarantine gift – Laura Marling has presented a timeless record that sits her alongside the singer-songwriting greats.

One of very few artists to pull the release of their album forward instead of pushing it back to accommodate the pandemic, folk darling Laura Marling made one of the smartest decisions of 2020. Her stirring acoustic Song For Our Daughter – addressed to a non-existent child – presents a prolific artist at the height of her powers. Confessional, searing and unmistakably contemporary despite beautiful touches of the vintage, Marling’s seventh full-length places her in the canon of the world’s greatest singer-songwriters.

The decision to release this early, as the world felt like it was slowly imploding was smart but hardly surprising given the oracle-like understanding of the human spirit contained within all of Laura Marling’s work to date. She knew we needed it. It’s the insight of someone drawing on past lives that rides in the front seat of her seventh album. This knowledge feels simultaneously everyday and exhumed from lost civilisations. Like great literature, the lyrics feel like truths that are universal and timeless, which is perhaps befitting of a year when our individual and collective perception of time stretched and folded into a muddle of confusion like never before.

This record is the perfect companion for that moment when your heart becomes a blue wisp of smoke. It’s a collection of songs that leave you buoyant, floating, and lost at sea… It stares you in the eye, giving you bad news, but the way it’s done is so glorious that you don’t truly begin to process what’s being said.

Single ‘Held Down’ introduces a Laura Marling more relaxed in her writing than she has ever been: confessional, layered with her own ghostly vocals, laden with precisely-chosen strings. It is apparent almost at once that this is an artist at the top of their game.

Confessional and searing, her many ideas; her poetical lyrics unfurl petal by petal, paced to perfection. By the middle section of her LP, Marling seals the deal on the best singer-songwriter album of recent years, making one thing very clear – Song For Our Daughter will survive as a modern classic.

The title track does what it says on the tin, addressing the imaginary daughter she might one day have: “Lately I’ve been thinking of our daughter growing old/all of the bullshit that she might be told,” she sings. It is introspective and comforting, easy to receive as the listener in the absence of recipient offspring. It tracks, too, like a note to Marling’s own past, present and future self.

Highlight ‘Fortune’ sails onward on a distinctly vintage tide of strings and Joni-worthy acoustic riffs: a timeless, bittersweet ballad with roots in a great tradition of confessional writing –  though still unmistakably contemporary. Marling does faster bpm’s justice too: album opener ‘Alexandra’ trumps popular folk predecessors from Alas I Cannot Swim with restrained, delicate ease. Longtime fans never fear: ’For You’ proves lullabies are still a knack of Marling’s too.

Everything about Song For Our Daughter is extraordinary: the songwriting and Marling’s voice (still ponds filled with quivering swans), the delicious use of expletives, the reflections upon words unsent, the half-spoken moments leaning on the third wall, the mulch of memories… The one constant, the acoustic guitar, combines with the intricate nest of words in such a way that each strum begins to leave another paper cut reminder of lives unlived, of nullified agreements, village secrets, everlasting hope in early morning light, and too few promises kept.

Mostly, it’s a record of towering songs that are nourishing and restorative; an open sandwich in a land of soup.

Laura Marling has been releasing prolifically since 2007. Despite that, one of her most-streamed songs is not one of her own but a cover of Bob Dylan’s ‘A Hard Rain’s A-Gonna Fall’. With Song For Our Daughter, she joins the ranks of the world’s most extraordinary singer-songwriters. Laura Marling has written her own Freewheelin’ classic: a Blue for the 21st Century.

Song For Our Daughter is out now via Chrysalis/Partisan.

 

BABEHEAVEN – ” Cassette Beat “

Posted: July 28, 2020 in CLASSIC ALBUMS, MUSIC
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“Home For Now” will be the name of the debut Babeheaven album. Announced this morning with a soft, beautiful 35mm music video of trippy dream ‘Cassette Beat’, it’s a very strong announcement for the West London pair.

Spinning out like a tendril of tape from a machine, ‘Cassette Beat’ luxuriates in gently glitching beats and langurous, smoky drums – all filled in with the sweet, clear vocals of Nancy Andersen.

It recalls Portishead in its woozy sensuality, though there’s an almost indie certainty to this longing narrator, On the lyrics, Andersen said: “I wanted to write a song about creation. Whenever we create we subsequently end up destroying something in a huge way or a small way. But there is always light behind the dark even when you can’t see it yet.”

It’ll be one of 14 songs to appear on the November’s release debut album Home For Now, also containing previous releases ‘November’, ‘Jalisco’ and ‘Human Nature.’

“Home For Now” album arrives 6th November via AWAL.

FONTAINES D.C. – ” A Hero’s Death “

Posted: July 28, 2020 in CLASSIC ALBUMS, MUSIC
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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!.

The FLAMING LIPS – ” You n Me Sellin’ Weed “

Posted: July 28, 2020 in CLASSIC ALBUMS, MUSIC
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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:

COURTNEY MARIE ANDREWS – ” Old Flowers “

Posted: July 27, 2020 in CLASSIC ALBUMS, MUSIC
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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 ” Anthology

Posted: July 27, 2020 in CLASSIC ALBUMS, MUSIC
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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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The PRETENDERS – ” Hate For Sale “

Posted: July 27, 2020 in CLASSIC ALBUMS, MUSIC
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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 Sale, Pretenders’ 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,Reckless, Hynde 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)

Posted: July 27, 2020 in CLASSIC ALBUMS, MUSIC
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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 Dead, Dick’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)

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