Here & Elsewhere is a loose assortment of singers and players, originally gathered together in Orange County, CA, including Emily, Nick, Ken, Mark, Travis, Mary (in spirit), Chris A. (in spirit), and Dan. All music was/is recorded on an 8 track Korg D888 Digital Recording Studio, in hallways and on headphones.
Composer Daniel McClure has said For the last few months I’ve been working on a soundtrack for a movie set in Mississippi, and the directors asked for open-tuned slide/dobro/drone blues (no strumming acoustic – which is my comfort zone). At the same time, I finally bought Carruthers’ Playing the Bass with Three Left Hands, which led me to do a deep chronological study of Spacemen 3 (go through LPs, singles, live stuff (thanks to all who put those incredible live downloads up!) – including a re-read of the 2004 book). As I was going through the Spacemen 3 catalog and playing dobro/slide/drone music for the soundtrack, I got an itch to record some songs (the Velvets/Stooges/Spacemen 3 lineage really makes you want to play music). The style that usually works for me (and my voice) is acoustic drone with a fluttering background. For side project, see Lazy Fair.
Australian musician Gordi shares the new single, “Volcanic,” from her new album, Our Two Skins, on Jagjaguwar Records. The release date for Our Two Skins has moved to June 26th due to disruptions related to COVID-19. Following previously released songs “Aeroplane Bathroom” and “Sandwiches,” “Volcanic” fizzles with a sense of urgency and swirling mania. Payten wrote the track in 2018 while in Sweden, when travelling with her parents and grappling with a new truth in her identity, against the backdrop of a Christian family and Australia’s same-sex marriage vote. The instrumentation came out of hours sitting at the piano behind the kitchen at Berlin’s Michelberger Hotel during PEOPLE Festival, the piano of which made it into the final version on the record (if you listen hard you can hear plates, pots and pans clinking from the kitchen). “Volcanic” is cathartic, driven by Payten’s deeply rich voice and frank lyrics.
“It speaks to a rush of anxiety – about why, about what is real and what is not, about the drama of it, about the vortex of it,” says Payten. “When it surges you can feel paralysed and out of control at the same time – ‘shut down’ and ‘manic.’ Its self-destructive nature can be so crippling. I wanted the song to feel like a wave of anxiety. The tempo never changes but the piano solo starts at half-time and rushes until it is double the speed, though the beat never changes. And then suddenly; it’s over.”
The accompanying video was directed by Madeleine Purdy and shot around Payten’s hometown of Canowindra, mostly on her family’s property.
“Volcanic” the new song by Gordi off ‘Our Two Skins’ out June 26th on Jagjaguwar
The “Fresh Evidence” era was the last original album. This is one of the best soundboard album’s, Included in this work is “Minneapolis” Performance on March 20th, 1991”. It is a sound board recording outflow of those concerned. Rory had toured until January 1995, six months before his death, but the world tour lasted in 1991. This tour also included the last performance in Japan,
This is taken from the 1990/1991 tour by Rory Gallagher. Even after 1992, tours were conducted with different members, but only in Europe. This was the last world tour to go to Japan, Australia and North America. Under such circumstances, the Minneapolis performance of his work was the concert corresponding to the last “North America” leg with 11 performance’s.
While covering 5 songs from his latest release “Fresh Evidence” thickly, it covers a wide range of tracks from his solo career for over 20 years. Speaking of this period, you can listen to precious numbers such as “Fresh Evidence” the other songs “Kid Gloves” “Walkin ‘Wounded” “Heaven’s Gate”, Nighthawk “Goin’ Down to Eli’s”, Stones’ Tumbling Dice ”on the sound board.
ROCKPALAST was a five-person group with a keyboard’s, but here it is the same four-person line-up as the performance in Japan. At the core is a trio with allied friend Gerry McAvoy and his friend Brendan O’Neill from his school days, with Mark Feltmann’s participating.
This recorded show is just among the best sound board recordings available. The show has been known for a long time, but this is from a new master leaked from a different party. Although it is clear that it is a new master because it is about 4 minutes longer, The important thing is the quality that goes through the whole set. I’m especially happy that the guitar is pretty intense. The balance that the guitar came out in front of the rhythm team may not be ideal as an ensemble for the whole band, but the main attraction is Rory’s guitar. Both hot and delicious phrases are directly connected. Although not as much as the guitar, the focus is on Rory’s vocals too. Although it is a level that can be called “official” in terms of audio quality, it is a sound board album that is more vivid than that existence of the experienced white bluesman. From the hard British hard rock to the deep blues like Chicago, it is the culmination of Rory. The late Rory was not able to deepen the ensemble with the new band due to the deterioration of the physical condition, but here he listens to a passionate performance that can be said to be the end of 20 years of solo career with McAvoy. A masterpiece of a live album where you can enjoy the full show
Rory Gallagher was one of the greatest rock/blues guitarist who ever graced this earth and the likes we will never see again with a profoundly beautiful heart and soul. Everything about this show was perfection. Rory’s guitar playing and his singing, Gerry’s bass playing, Brendan’s drumming and Mark Feltham’s harp playing. They were really having a good time that night. They were super tight.
Trace Mountains is the lo-fi project of Dave Benton, who as one quarter of LVL UP and also co-founder of indie label Double Double Whammy. The band’s album, “A Partner to Lean On”, features plenty of Benton’s observational and self-deprecating lyrics—his outlook is sometimes bleak, but often humorous. While there are plenty of anticipated, precise rock riffs, there’s also the occasional messy, unhinged guitar (“Forgiveness”) and experimental flourishes of captivating, oddball synths (“Cary’s Dreams”). This album is spectacular from start to finish. One of the best of 2018 album release . I was taken by Cary’s Dream, which popped up in a playlist, and immediately listened the whole album, and I’m so impressed.
These songs make me think of a time when i thought I was going to move to a little shack in the woods by a lake. I had dreams of recording alone there but it never happened. when i listen to this album, though, sometimes it feel like it did. A Partner to Lean On is easily one of my top favourite albums of all time. I heard it for the first time about 5 months ago and have essentially had it on repeat ever since. I’ve been basically unable to listen to anything else.
Dave Benton (Voice, Guitar, Synthesizer) Nick Corbo (Bass) Susannah Cutler (Voice) Jim Hill (Guitar, Synthesizer) Kyle Seely (Drums) Ben Smith (Voice)
This LP contains soundboard recordings of the Rolling Stones’ live performance at the Oakland Colisuem in Oakland, California at the start of their ground breaking November 1969 trek across North America.
Subsequently broadcast on Radio KSAN at the behest of Bill Graham, these nine tracks demonstrate why on this tour the Stones were introduced as “the greatest rock’n’roll band in the world.” Four of these songs – Prodigal Son, You Gotta Move, Gimme Shelter and Satisfaction – were not included on the Get Yer Ya-Ya’s Out! LP, recorded later on the tour in New York and Baltimore.
These LP is made by the person who operated the label which later calls the TMOQ. Ken and Dub are two people who have felt quite recognized among maniacs in the 2010s. It was that they released Bob Dylan’s “GREAT WHITE WONDER” famous for their first bootleg in the history of rock. This sound source boasts a different quality as the audience of 1969. Dub succeeded in capturing the performance on by using the shotgun microphone instead of the surrounding sound.
It is well known that it became the opportunity to release anecdotes about the album and official release ‘Get Yer Ya – Ya’s Out’. What is surprising than anything is that the value of the item and the sound source did not fade at all even after the appearance of the official. On the contrary, the sound source that Dub recorded, even in recent years, has been released in various forms. It is a testimony of how excellent it was that recording. This recording is referred to as Dub recording below.
What makes these parts mix SBD and succeeded in raising the balance of Mick’s vocal which was a distant subject in various audience recordings because of quiet performance. That surprisingly natural finish is another masterpiece. He showed outstanding sense, such as diverting SBD even in “Live With Me”. A masterpiece of audience recording comes out this week from the 1969 American tour, which pairs well with the soundboard masterpiece “GET YER YA – YA’S OUT! COMPLETE EDITION”!
Recorded at Stockholm’s legendary Vattenfestival, or Water Festival, during a European tour, ‘Swedish Fist’ captures Dinosaur Jr on ear-bleeding form, months before the group disbanded and undertook an eight year hiatus.
Performing material from across their career, including the classic ‘Freakscene’ and long-term live favourite ‘Sludgefeast’, this is a group doing what they do best – playing loud and hard in front of an enthusiastic audience.“Swedish Fist” will be available exclusively on Record Store Day 2020 and pressed in limited quantities on marbled chocolate coloured vinyl.
Today would have been Record Store Day, and though the event has been postponed and stores are not open you can still visit many of your favorite indie stores and support them online! When the rescheduled Record Store Day does come around, look for “Swedish Fist” from Dinosaur Jr. and Cherry Red Records,
“Sidewalk” is the first full-length album from Frankie and the Witch Fingers. Originally released on cassette in 2013. Now, totally remastered, re-packaged, and re-imagined by Greenway Records, the Witch Fingers’ most fuzzed-out bubblegum nightmare looks and sounds better than ever! Limited edition “Cocaine Dream Swirl” coloured vinyl with an intense Spot UV treatment on the jacket and full color inner sleeve, for Record Store Day 2020.
The garage psych brain poppers debut with a stonking great set of nimble riffs and clattering choruses that’ll have you regularly needing to pull up to catch your breath before gleefully diving back into the fray. Remastered from original source tapes, Record Store Day exclusive colour vinyl edition of 500. New art, spot uv covers + new full colour inserts that line up across the 4 reissues to combine 1 image. rsd hype sticker on shrink. It’s been out of print for years. newly acquired by Greenway Records, first pressing on new label.
It’s somewhat difficult to believe that Phil Seymour has been gone for nearly 27 years now, but thanks to the continuing Archive Series (now in its sixth volume), new material from the vault continues to see release. The latest collection is a 15-song feast that includes eight previously unreleased tracks, all recorded prior to Seymour signing with Boardwalk Records and releasing his first solo effort in 1980. (By the by, the overall fidelity is stronger here than on some other posthumous Seymour releases.) There are a clutch of well-traveled covers—including the Equals’ “BabyCome Back,” the Dave Clark Five’s “Come Home,” and a 1985 live version of Dwight Twilley’s “Looking for the Magic,” recorded for a radio broadcast during Seymour’s tenure with the Textones—but the real gold here is to be found in the lesser-known tunes. To wit: the title track is a slammin’, hyper take of a cool John Prine number; the Tom Petty-penned rarity “I Can’t Fight It” is a Chuck Berry-styled punk-ish rocker; and the pounding “Wish it Was a Saturday” (love the bluesy harp) lyrically recalls the Bangles-via-Prince hit “Manic Monday.” All feature the voice—that beautifully unique voice—that Phil Seymour fans cherish and still miss. The closing track is Seymour’s home demo (with just vocal and guitar) of the touching “I Really Love You,” a song from his first solo album. I’m not crying, You’re crying.
In his short career Phil Seymour was hailed by Shelter Records founders Leon Russell and Denny Cordell, received production offers from Phil Spector, played with Tom Petty, Chris Spedding, the Textones, Roy Orbison and Del Shannon, and counted among his friends and fans people from the worlds of power pop, roots rock, New Wave and indie Rock. With kindred spirit Dwight Twilley, Phil forged a determination to bring back melodic pop songs. They spent several years mastering harmony, piano, guitar, drums and the art of crafting a high-quality song, building a home studio where they spent endless hours recording under the name Oister. In 1974 they set off for Los Angeles and renamed themselves the Dwight Twilley Band.
Soon they were in the US Top 20 with ‘I’m On Fire’, but frustrations followed as Shelter dealt with financial difficulties, and Phil decided to go solo. Initially he struggled to find a foothold but once the new wave hit America, the Phil Seymour Band stormed Hollywood and became one of the hottest acts on the circuit. Signed to Neil Bogart’s Boardwalk label, by 1981 Phil was at #22 on Billboard’s Hot 100 with the self-penned classic ‘Precious To Me’. More terrific releases followed until his untimely death from cancer. IF YOU DON’T WANT MY LOVE / Archive Series 6, contains 8 previously unreleased tracks recorded prior to his record deal with Boardwalk, including productions by Denny Cordell and Phil Spector. These spirited masters and demos with songs by John Prine, Dwight Twilley, Jeff Barry and Ellie Greenwich, provide insight into the creative process of the early days of the Phil Seymour band and the development of his first two albums. A portion of the proceeds from this CD will be donated to TEEN CANCER AMERICA.
Two years ago, No Age returned after a five year stretch without releasing a new album with the excellent Snares Like a Haircut. Alongside their newly reconvened independent status in signing with the truly autonamous Drag City Records, their fifth full-length effort heard Dean Spunt and Randy Randall putting together the best of their scratchy lo-fi ethos with enriched fever dreaming throughout their soundscape that made for a deliriously, caffeinated binge of art punk. A return to form it was, but without rehashing the past, if you will.
It’s not going to take another half decade to get new No Age, thankfully. This June, the heroes of the Los Angeles Smell scene era will return with their sixth studio effort Goons Be Gone. It’s being touted as their most direct statement yet, and that’s not a bluff when listening to its leadoff listen “Turned to String”. The hook-concentrated listen swirls in a woozy chug-along of thick-riffed wave riding and sunspot synths looping their way into the static. “But I already know too much / Not better now,” Spunts reflections wane into the sky, though this listen proves otherwise.
No Age’s latest and greatest, Goons Be Gone, is finally out! Effortlessly raw and extravagant in one practiced swoop, Goons Be Gone sees No Age set their live/bedroom internal clock to get out early into a glorious wind-tunnel of naked beats and sunbaked guitars, forming a wave from which they hang eleven tunes.
Inspired by a painting in the Imperial War Museum, The Blinders have shared their new single and video, “Mule Track”, the latest to be taken from their upcoming album Fantasies Of A Stay At Home Psychopath, out on 17th July via Modern Sky UK.
A brooding blend of driving guitars and distorted vocals, the track weaves between explosive crescendos of volatile intensity and woozy passages which plunge into a dark and ethereal ambience, before igniting once again with blistering intent.
The darkly surreal video matches the raw, frenetic energy of the song perfectly.
The Blinders announced their new album, “Fantasies Of A Stay At Home Psychopath”, A dark blues-waltz underpinned by propulsive bass and evocatively prosaic lyricism, the track straddles the lines between ode and lament while addressing life’s confusing crossroads. The track is accompanied by an arresting video, which cuts between the band performing and wandering the atmospherically bleak landscape.
The Album will be the follow-up to their critically acclaimed debut album, “Columbia”, released in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, “Fantasies Of A Stay At Home Psychopath” is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.
Taken from the album ‘Fantasies Of A Stay At Home Psychopath’. Out July 17th 2020.
