Archive for the ‘CLASSIC ALBUMS’ Category

RON SEXSMITH – ” Hermitage “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Canadian songwriting legend Ron Sexsmith’s 2020 album “Hermitage”. Producer Don Kerr. Released via Cooking Vinyl Limited. Recorded in Ron’s living room where Ron played all the instruments for the album, with the exception of the drums. “When Love Pans Out” from Ron Sexsmith’s upcoming April 17th album “Hermitage”

Canadian songwriting hero Ron Sexsmith comes back into our lives with a new album on Cooking Vinyl. Ron worked with producer Don Kerr to create this album; the two set up in Ron’s living room to record where Ron played all the instruments for the album, with the exception of the drums. The result is the songwriter’s most self-assured collection, still charmingly subtle yet increasingly full of musical vigor, as onChateau Mermaid an ode to his own Stratford Graceland, or the surprisingly hopefulmall Minded World in which Sexsmith croons, “Oh now don’t feel blue ‘cos they don’t get you, you’ll win this small minded world”. This new zen can be heard from the first moments of Kinks-esque album opener, Spring of the Following Year as the serene sound of birds situate the listener into Sexsmith’s state of grace.

To go along with it, we’ve just got the first single “You Don’t Wanna Hear It.”

Describing the new song, Sexsmith said in a statement, “It’s a song about someone who has their nose all out of joint about something and are not in the mood to hear the truth.”

TOY – ” Happy in the Hollow ” Deluxe Tracks

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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The London five-piece Tom Dougall, Dominic O’Dair, Maxim Barron, Charlie Salvidge and Max Oscarnold release their first album on Tough Love and their fourth for the world. It’s recorded in home studios, mixed at Studio B in South London and completely self-produced. This extra material recorded and commisioned around the same time the original album was made. The deluxe version of Toy’s fourth album, “Happy In the Hollow”, is now available online. It includes the original album alongside new artwork and four rare or previously unavailable songs, as below.

Happy in the Hollow
The Willo (Sonic Boom remix)
Strangulation Day (Cosey Fanni Tutti remix)
Move Through the Dark (Daniel Melero & Yuliano Acri remix)

Grooving looping guitar psych-out dream-state vocals bring you trippy melodies. Originally released February 14th, 2020

FATHER JOHN MISTY – ” Off-Key In Hamburg “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Father John Misty has surprise-dropped a new live album on Bandcamp, titled “Off-Key in Hamburg”. The singer-songwriter, born as Joshua Michael Tillman, will donate all proceeds from the album to MusiCares‘ COVID-19 Relief Fund, which benefits the musicians and music industry professionals who have been most impacted by the ongoing coronavirus pandemic.

Off-Key in Hamburg sees FJM and his band joined by the Neue Philharmonie Frankfurt Orchestra during their August 8th, 2019 performance at the Hamburg Elbphilharmonieon in Hamburg, Germany. Though the album does not contain any new material, it marks Father John Misty’s first release since 2018’s God’s Favorite Customer.

The album contains tracks from the 2018 release, as well as older tracks as well. “Nancy From Now On”, for example, appears on the first Father John Misty release, 2012’s “Fear Fun”. Listen to the entire album below and click here to purchase directly from the Father John Misty Bandcamp page.

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released March 23, 2020

Recorded Live at the Hamburg Elbphilharmonie on August 8, 2019 with the Neue Philharmonie Frankfurt.

The Band:
Daniel Bailey – Drums
Chris Dixie Darley – Guitars, Keytar, Vocals
Kyle Flynn – Keyboards
Corey Lareau – Tenor Saxophone, Flute, Clarinet
Kelly Pratt – Trumpet, Flugelhorn, Flute, Alto Saxophone
Eli Thomson – Bass, Synth Bass
Jon Titterington – Piano
David Vandervelde – Guitars, Keys, Vocals

HAYLEY WILLIAMS – ” Roses/Lotus/Violet/Iris ” (feat. boygenius)

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Soon, Paramore leader Hayley Williams will let her first-ever solo album Petals For Armor. She has already shared a whopping five tracks from the LP. Today, she shares a sixth, and it’s easily the most anticipated song on the album.Baker, Bridgers, and Dacus all sing on “Roses/Lotus/Violet/Iris,” the new single that Williams has shared today. It’s the first time we’ve heard all three members of boygenius together since they finished touring behind their truly great 2018 EP. But this isn’t a boygenius song with Williams on it; it’s the opposite. “Roses/Lotus/Violet/Iris” is a skittering, personal pop song, and it sounds a whole lot like the other solo songs that Williams has released. Like most of those songs, it’s really good, too. It carries serious 1996 modern-rock-radio vibes. And those harmonies really are something.

Williams co-wrote “Roses/Lotus/Violet/Iris” with her Paramore bandmate Taylor York, who produced Petals For Armor, and with pop songwriter and producer Daniel James. It has some seriously busy strings, and the bridge goes hard.

Hayley Williams has shared a new solo single with boygenius, “Roses/Lotus/Violet/Iris,” taken from her forthcoming album Petals for Armor, out on May 8th via Atlantic Records. “Roses/Lotus/Violet/Iris” is a floral-themed, sultry tune with background vocals from boygenius—the beloved indie supergroup of Phoebe Bridgers, Lucy Dacus and Julien Baker. The string arrangements and subtle guitar lines give it a distinctly yearning quality and an underlying sadness.

RUSTIN MAN – ” Clockdust “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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“Clockdust”, will be the third album from Rustin Man, the moniker of former Talk Talk bassist Paul Webb, comes along as a bit of a surprise. It took six years following the last full-length by his previous band .O.rang in 1996 for him to settle into a solo career, with the release of 2002’s Out of Season, a haunted folk album recorded with Portishead vocalist Beth Gibbons. And it wasn’t until 17 years later when its follow-up, Webb’s first proper solo release Drift Code, finally hit the streets. Buoyed by the same swell of inspiration that helped create Drift Code, this new collection arrives less than a year later. But it also appears coloured by the death of Mark Hollis, Webb’s bandmate in legendary post-rock group Talk Talk, last February.

There doesn’t seem to be a direct correlation between that momentous passing and the music and lyrics found on Clockdust—at least none that Webb has owned up to in the press material for this album. But what hovers over this lovely, late-night listen is the unavoidable passing of time: a nostalgic filter through which each groggy gem should be viewed. I’m also happy to be sharing a new single ‘Jackie’s Room’, with an accompanying video directed by Edwin Burdis. This can be viewed on YouTube, or in the ‘short film’ page on my website.

And this announcement does not end there, because I can also confirm there will be live Rustin Man shows in November, including a night at London’s Union Chapel. You can go to the ‘news’ and ‘live shows’ section at http://www.rustinman.com to find out more information about the new record and live dates.

Rustin Man – “Jackie’s Room”, taken from ‘Clockdust‘, out now on Domino Record Co.

RORY GALLAGHER – ” Cleveland Calling ” Record Store Day 2020

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Rory gallagher cleveland calling

This is a Record Store Day 2020 item. It will be available to purchase 20th June. Recovered from the depths of the Rory Gallagher archive comes “Cleveland Calling” a previously unreleased acoustic radio session by Rory Gallagher, recorded at WNCR in Cleveland on August 7th 1972. This intimate 45 minute, 8 song acoustic session and interview with DJ Carolyn Thomas and was found on a small 7” reel and is released for the first time specially for Record Store Day 2020.

Johnny Marr “The man who changed my musical life was Rory Gallagher, I picked up a guitar because of him.“Slash “Rory didn’t sound like anybody else…He had a very individual, independent kind of tone and approach and everything.He’s always been a big hero to me.” Brian May “He was just a magician, he’s one of the very few people of that time who could make his guitar do anything it seemed.It just seemed to be magic.I remember looking at that battered Stratocaster and thinking “how does that come out of there?” Ritchie Blackmore “Rory was probably the most natural player I’ve ever seen.In all the gigs we did together I don’t think I ever heard him play the same thing twice…He was the ultimate performer.” Ed Sheeran “‘A Million Miles Away’ was the first song I learned on guitar. The story goes that when Jimi Hendrix was asked how it felt to be the greatest guitarist in the world, he answered, “I don’t know.Go ask Rory Gallagher.” Eric Clapton “The man who got me back into the blues.” Jimmy Page “I really liked Rory, he was fine guitarist and singer and lovely man” Peter Frampton “When I was with Humble Pie and we were all just beginning to feel like we were getting it together, Rory was the one to measure yourself against. To be able to play like that with such intensity was awesome and really the only other guitarist that had that ability was Hendrix. I could never get a sound like that from my Strat no matter how hard I tried.He was a real credit to music and pushed it to another level altogether.”  Alex Lifeson “It is truly remarkable how many guitarists over the years have cited Rory Gallagher as an influence. I was introduced to his playing during the Taste years but it was during one of Rush’s early tours opening for Rory in the fall of 1974 that left the greatest impression. He oozed passion in his playing and I envied his ability to transcend the moment. I learned a lot from him as a guitarist but it was his character that touched me most.” Ace Frehley (Kiss) “Rory Gallagher he was a great player. I’ve seen him perform several times he just used to use a little Fender amp and that beat-up old Strat, but boy, he could make that guitar talk.

He was another guitar player who never got the credit he deserved, it’s incredible.” Joe Bonamassa “As soon as I heard Cradle Rock, I was hooked. I thought, ‘This is what I want to be when I grow up.'” Bill Wyman “There’s very few true blues people. Rory stood out because he did it all the way through his life, that’s what he did. Who else is there? I can’t think of anyone that stands out as a real true honest follower of the blues and singer of the blues as Rory was.” Larry Coryell “I see a strong similarity between the approach to improvising over the blues between Rory and Jimi Hendrix. They were both virtuosos who were able to manipulate even the minutest aspect of the blues and do things that had never been played before.” Bob Geldof “It’s not too much to say that what like Hendrix did for the electric blues, Rory did in an Irish context. You know Hendrix was the great originator, he sought of did field hollers for the pace age you know. But Rory absolutely injected some Irish thing into it.”

SIDE A
1. Pistol Slapper Blues
2. Don’t Know Where I’m Going
3. Gypsy Woman
4. Out Of My Mind

SIDE B
5. The Cuckoo
6. Bankers Blues
7. Should’ve Learned My Lesson
8. Blow Wind Blow

recordstore day

ALLISON MOORER – ” Blood “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Autotelic records

First solo album in four years from the Academy, Grammy, Americana and Academy of Country Music award nominated artist. “Blood” is not only Moorer’s most personal and revealing work to date, but also her finest and most important. Blood stands on its own as a complete work, but the album serves as a companion piece to her anticipated autobiography, Blood: A Memoir, being released on October 29th through Da Capo Press, an imprint of Hachette Books.

Blood: A Memoir is a detailed account of Moorer and her sister’s (Grammy Award winner Shelby Lynne) childhood growing up in a troubled home in Southern Alabama, which ended with the well-documented murder-suicide of her parents in 1986. Much of what the public has known about the tragic event begins and ends there. For years Moorer had avoided going into the traumatic details of the abuse, alcoholism, intimidation, poverty and neglect, that existed prior to the deaths, and for good reasons which she addresses in the memoir. Moorer also addresses the fact that there was so much more to her family than tragedy, darkness and what people thought they knew. There was love, there was a protective mother, there was the bond of sisterhood and there was music. There was always music.

Moorer first gained recognition in the pop music world with her 1998 debut single “A Soft Place To Fall,” a song she wrote with Gwil Owen and which actor-director Robert Redford heard, instantly loved and incorporated into his film “The Horse Whisperer,” earning her an early-career Oscar nomination for best original song.

DREAM SYNDICATE – ” The Universe Inside “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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When one thinks of the Dream Syndicate, it’s not just the wild abandon with which singer/guitarist Steve Wynn, drummer Dennis Duck, bassist Mark Walton, and lead guitarist Jason Victor perform – it’s the carefully constructed songwriting of Wynn that comes to mind.

By now every rock critic in the country has predetermined who he or she feels Wynn reminds them of and what they think of that style of songs. This time, don’t! Which brings us to The Universe Inside. Every article or review ever written will claim “this is new and different”- well, it is! Just look at the song lengths: 20:27, 7:36, 8:56, 9:55 and 10:53. Ok, sure – the Syndicate have occasionally committed a long song to vinyl, “John Coltrane Stereo Blues” was 9 minutes with live versions over the ten-minute mark.

For the first time, every song is a group songwriting effort. What seeps in are Dennis Duck’s knowledge of European avant-garde music, Jason Victor’s passion for 70s prog, Mark Walton’s experience in Southern-fried music collectives and Wynn’s love of vintage electric jazz.

Special guests: Stephen McCarthy (electric sitar, guitar, six-string bass, pedal steel, backing vocals)

FREDDIE KING – ” Blues Journey “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Fredd

Over 3 hours of prime Freddie King in concert from the ’70s. “I was interested in the white rock ‘n’ rollers until I heard Freddie King – and then I was over the moon. I knew that was where I belonged – finally. That was serious, proper guitar playing and I haven’t changed my mind ever since. I still listen to him and I get the same boost now that I did then.” Eric Clapton.

In a 1985 interview, Eric Clapton cited Freddy King’s 1961 B side “I Love the Woman” as “the first time I heard that electric lead-guitar style, with the bent notes… [it] started me on my path.” Clapton shared his love of King with fellow British guitar heroes Peter Green, Jeff Beck and Mick Taylor, all of whom were profoundly influenced by King’s sharpened-treble tone and curt melodic hooks on iconic singles such as “The Stumble,” “I’m Tore Down” and “Someday, After Awhile.”

Nicknamed “The Texas Cannonball” for his imposing build and incendiary live shows, King had a unique guitar attack. “Steel on steel is an unforgettable sound,” says Derek Trucks, referring to King’s use of metal banjo picks. “But it’s gotta be in the right hands. The way he used it – man, you were going to hear that guitar.” Trucks can still hear King’s huge impact on Clapton. “When I played with Eric,” Trucks said recently, “there were times when he would take solos and I would get that Freddy vibe.” King’s blues style was fluid, but with biting power that was arguably more forceful than that of many other bluesmen of his day. King used thumb and finger picks and would just dig into his Gibson 355 — hung precariously over just his right shoulder — creating what are now classic, deeply influential and riveting solos.

Blues Journey Vol. 1 (Live) Released on: 2020-03-20

RAMONES – ” Brain Drain ” Released March 23rd 1989

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Brain Drain is the eleventh studio album by the Ramones, released on March 23rd, 1989.
It is the last release to feature bassist/lyricist/vocalist Dee Dee Ramone, the first release to feature Marky Ramone since his firing after Subterranean Jungle, and the last studio album on Sire Records.

Though their glory days appeared to have concluded along with the ’70s, punk rock’s founding heroes the Ramones continued to churn out album after album with almost religious dependability throughout the ’80s. It culminated in their 11th LP, Brain Drain.

Brain Drain’s recording was not a happy time for the group, which by this time had become almost irreparably damaged by the wear and grindof touring, assorted personal demons and substance abuse, not to mention the sheer frustration of a life lived in the rock and roll trenches with little hope of improvement.

And yet, hope still sprung eternal in the Ramones’ almost child-like state of suspended animation — as evidenced by Brain Drain’s impossibly optimistic opener, “I Believe in Miracles,” its conciliatory closer “Merry Christmas (I Don’t Want to Fight Tonight)” and the notable return of beloved drummer Marky Ramone, after a five-year absence.

Sandwiched in between were a dozen stabs of typically unpretentious punk rock in the lauded Ramones tradition like “Zero Zero UFO,” “All Screwed Up” and the almost hardcore-intense “Ignorance is Bliss” — but to say they were any more distinctive than recent efforts would be a stretch (plus, there was a new, suspiciously metallic tone to Johnny’s guitar to match a foreign hardcore bite about some of Joey’s vocals).

To be fair, some tunes were indeed a cut above the rest, including the prickly “Don’t Bust My Chops,” the anthemic “Punishment Fits the Crime” and Joey’s innocently obsessed “Can’t Get You Out of My Mind.” But Brain Drain’s singular standout was the unusually melodic “Pet Sematary.”

A song inspired by, and composed-to-order, at the bequest of bestselling horror author Stephen King (a self-professed Ramones mega-fan) for the soundtrack to his movie by the same title, “Pet Sematary” greatly benefited from this mainstream association and went on to become one of the band’s most successful radio and video hits, but it still couldn’t push Brain Drain’s sales to unusual heights.

And of course the punk rock gods giveth and taketh away: Now that Marky was back in the “happy” family, it was bassist (and chief songwriter) Dee Dee’s turn to take his leave, in order to embark on an ill-fated, much-derided (and thankfully short-lived) rap career under the name of Dee Dee King.

Luckily, Dee Dee would carry on contributing songs (usually the best ones!) to “da brudders'” next few studio albums (while letting his mini-me replacement, C.J., tour in his place), but things would never really be the same for the Ramones and, by 1996, they were history – albeit rock and roll history.

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