Archive for the ‘CLASSIC ALBUMS’ Category

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Juanita Stein, the Howling Bells front woman turned solo artist, releases her second taster and brand new single, Easy Street, It’s taken from her upcoming second album, Until The Lights Fade, which will be released by Nude Records on 31st August.

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Juanita Stein, from the band Howling Bells turned solo artist, and her first single release, Forgiver came out on 13th April. . The single was co-written and produced by Brandon Flowers while Juanita was on tour with The Killers in Northern Europe this February.
Forgiver was the first taster of Stein’s upcoming second album, Until The Lights Fade, which will be released by Nude Records on 31st August. I’m excited to share the music with you, recorded over a couple weeks at Big Orange Studios in Austin, Texas, each song tells a different story.

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This South X Lullaby Session with Soccer Mommy took us away from the frenetic world of the South by Southwest music festival and into the past. Venturing my favorite store in all of Austin, Texas: Uncommon Objects, is a self-described “one-of-a-kind emporium of transcendent junk” or “your eccentric uncle’s attic on steroids.”

There are 24 different antique sellers under the single, Uncommon Objects roof, and for Sophie Allison, aka Soccer Mommy, it was the perfect setting for her song “Wildflowers.” It was, in fact, filled with objects related to blooming flowers.

The song from the Switzerland-born, Nashville-raised artist is, as I hear it, about finding your place in the world — to discover who you are and to blossom.

“Wildflowers don’t grow in the city
I dreamt the sidewalk broke in two
The earth was calling to me”

The song is from Soccer Mommy’s album Clean which was released earlier this month on Fat Possum Records.

There’s a lot of heart in every project Maryn Jones touches. Her lyrics – which project struggles with self-doubt and depression, and a penchant for self-reliance, graceful and introspective. And her voice is powerfully expressive, whether combined with the muscular, fuzzy guitars of All Dogs – the indie punk band she fronts — or providing delicate harmonies for Saintseneca, the folk-rock group of which she’s a member. But often with those projects, the uniquely tender, vulnerable aspects of Jones‘ singing and songwriting run the risk of being buried, or, at the very least, not getting their chance to be heard.

Jones released an album called The Offer under the name Yowler in 2015, those facets were finally given space to be a centerpiece. The songs on The Offer are sparse, relying mainly on just Jones‘ voice and guitar. They’re deeply intimate and enveloping, both emotional and physical.

Maryn’s unique voice suits these songs perfectly. Here, I can’t get enough

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Any time fans or critics are asked to pick the most influential and innovative guitarists in rock history, iconic names such as Eric Clapton and Queen’s Brian May invariably crop up. But if you asked those legends which guitar god they themselves respect the most, chances are they’ll cite Rory Gallagher.

Clapton once told the BBC that Gallagher should be credited with “getting me back into the blues”, while in the film What’s Going On: Taste At The Isle Of Wight, Brian May says, “I bought this little AC30 amp and Rangemaster Treble Booster, just like Rory’s set up, and plugged in my own home-made guitar with it. It gave me what I wanted, it made the guitar speak, so it was Rory that gave me my sound.”

May and Clapton are just two of numerous luminaries who have keenly expressed their admiration for the trailblazing Irish guitarist, bandleader and singer-songwriter. He died aged just 47, in 1995, but Rory Gallagher’s music continues to cast a long shadow over rock’n’roll, with fretboard wizards from successive generations.

With his entire solo catalogue about to be reissued on CD and vinyl, fans old and new have an ideal opportunity to re-evaluate Rory Gallagher’s illustrious body of work, yet the much-missed Cork man deserves respect on so many levels, for what he achieved was simply unprecedented.

The young, idealistic, blues-loving Gallagher broke that mould, with his work ethic, self-penned material and incendiary live shows building his band’s reputation from the Shandon Boat Club, in Cork, to London’s famous Marquee, and eventually brokering a deal with Polydor. This dedication led to hit albums such as On The Boards and prestigious shows with Cream at London’s Royal Albert Hall, and at the 1970 Isle Of Wight Festival alongside The Who, Jimi Hendrix, The Doors and Free.

That Rory Gallagher was the first credible Irish rock musician to make such things possible was acknowledged by Hot Press journalist Dermot Stokes in Marcus Connaughton’s biography, Rory Gallagher: His Life And Times.

“I think that the hugely important thing that Rory did early on in his career was to establish that an Irish band could form, play original material – could do it in Ireland first of all, then could take it to London, then Europe and around the world,” he said. “Taste first of all, then Rory, were the first bands to do that from this country. That’s the fundamental example that they set.”

Other elements of Gallagher’s DNA that set him apart from his contemporaries were his inherent professionalism, discipline and commitment to his craft: essential qualities he exuded throughout his entire career. Rarely happier than when he was on the road, Gallagher toured incessantly during the 70s and 80s, and his best work was often captured on timeless in-concert recordings such as Live In Europe and the live double-album and concert film Irish Tour ’74.

“The great instrumental soloists such as Rory, they were people whose skill I was just in awe of, and that was coupled with considerable musicianship every night,” Irish Tour ’74 director Tony Palmer told Marcus Connaughton. “I think I was the first person ever to film Jimi Hendrix and I’m often asked why. It was because I’d never heard anybody play the guitar like that before! That was why I wanted to make Irish Tour ’74, because Rory’s talent was for a long time underestimated, I felt. He was a wonderful musician and I also liked the fact there was absolutely no bulls__t about him and absolute tunnel vision – very professional, minded very much that we reflected that in the film.”

“He never got above himself,” Rory’s brother and manager Donal Gallagher said in a recent Irish Examiner article marking what would have been the guitarist’s 70th birthday, on 2nd March 2018. “He was very much the man in the street. He lived to be on stage. When he was off-stage, everything was about getting from A to B, getting to the stage or to write. That’s what he was about.”

Of course, with album sales numbering upward of 30 million copies, we should also remember Rory Gallagher’s recordings also yielded considerable commercial success. Yet, chart positions and the trappings of fame were never the driving force for this unassuming figure, whose high-octane live shows contrasted with his shy off-stage demeanour. One of rock’s master craftsmen, Gallagher really cared about his art. He was – and remains – a role model for aspiring young guitarists, and his body of work will inspire generations still to come.

The irreplaceable Irish blues-rock guitar virtuoso Rory Gallagher was a cruelly young 47 when he died after complications from a liver transplant on 14th June 1995.

Order the Rory Gallagher reissues . A limited edition box set of 300 copies, housing all 15 of the albums.

With soft gorgeous pop sensibilities that know how to turn up the overdrive. these tracks are meticulous–the textures, the way the songs build, just gorgeous. fourth track had me impulse buying, second to last track had my jaw physically dropping

You might expect something akin to goofy surf rock from an LA-based project called Illuminati Hotties. And while Sarah Tudzin can certainly play to that note, it’s far from the only one she’s well-versed in. On her debut LP Kiss Yr Frenemies, Tudzin draws from a wide ranging palette — encompassing acoustic balladry, bouncy surf rock, and simmering noise pop — from which she doodles detailed scenes and stories of young adulthood. Also in her toolbox: keen self-awareness, vulnerability, poignant wit, nuanced social observations, and a sense of optimism that recognizes the beauty that can grow out of growing pains. Tudzin is both personal and personable; her anecdotes are relatable without sufficing the intimate specificity of her experience. Lighthearted odes to past flings with lame dudes carry the same weight as heart-wrenching letters that begin with sleeping in her car on her 24th birthday. Kiss Yr Frenemies is the fruitful aftermath of emotional labor and hindsight.

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Released May 11th, 2018

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Muncie Girls have announced their triumphant second album, Fixed Ideals, set for release on August 31st (Buzz/North America, Specialist Subject /UK+EU, and Lost Boy/AUS). To celebrate, they’ve shared the video for lead single, “Picture of Health” .

The title, like the band’s first LP, From Caplan To Belsize, was inspired by the writings of poet Sylvia Plath, in this instance drawing from a line of Plath’s Sonnet: To Eva regarding “perfume, politics and fixed ideals.” It was produced by Muncie Girls’ longterm collaborator Lewis Johns (Funeral For A Friend, Rolo Tomassi, Gnarwolves) at The Ranch

From Caplan To Belsize, the debut album from Exeter’s Muncie Girls, was one of the better pop-punk albums of 2016, a heady fusion of razor-sharp lyrics and wonderfully subtle flourishes (not to mention endlessly sing-along-able refrains) that elevated the band’s four-chords-and-an-attitude into something special—and making our list of 2016’s best music along the way. Now they’ve followed it up with Fixed Ideals, an album that doubles down on the anthemic spirit of their earlier work while becoming more musically adventurous in both sound and style. With a lengthy recording process that found singer Lande Hekt often playing both guitar and bass during the songwriting, the group created a record that if excellent leadoff single “Picture Of Health” is any indication—will be even catchier and more inspired than the last.

“Picture of Health” is the lead single from Muncie Girls’ “Fixed Ideals” LP out August 31 via Buzz Records (US/CAN) and Specialist Subject Records

I think everyone knows what to expect from a Slaves album – some banging track, with a lot of silliness involved. “Acts of Fear and Love” is exactly what we’ve come to know and love about the punk-rock duo.

The album promo was hilarious with drummer Isaac Holman “quitting” the band to pursue a career in dancing after “Cut and Run” was released and before guitarist Laurie Vincent advertised for a new drummer. The music video for “Chokehold” has cameos from drummers such as Sam Doyle of The Maccabees, Ben Thatcher from Royal Blood, and Dave Rowntree of Blur. Even the Cadbury’s gorilla drops in for an audition.

The band take a rare opportunity to take their foot off the pedal towards the end of the album starting with “Daddy”, a song about having a midlife crisis. Slaves third album is great fun to listen to throughout, and it’s one that will have a long shelf life with their fan base. Well worth getting a copy of!

Acts of Fear and Love is out on Virgin EMI Records .

Music video by Slaves performing Chokehold. © 2018 Universal Music

Music video by Slaves performing Cut And Run. © 2018 Universal Music

Todd Rundgren was among one of the first artists I discovered through my best friend Johnny Hawker who adored the Nazz. Todd was weird, smart and very talented, In his press he came off like a wunderkind he wrote the songs and played all of the instruments himself and he was always pictured with hot models. Todd Rundgren’s albums were among the first records I bought. Both “Something/Anything” and “Todd” were long double albums that sold for the same price as a single LP, 

“Something/Anything” the fourth album by the American musician was released on March 2nd, 1973. Its music was a significant departure from his previous album “Something/Anything?” (1972), which consisted largely of straightforward ballads. 

He attributed the idiosyncratic sound of “A Wizard, a True Star” to his experimentation with psychedelic drugs, and said that he “became more aware … [o]f what music and sound were like in my internal environment, and how different that was from the music I had been making up to that point in time.

The album that I bought on the day of release was “A Wizard, A True Star“. I can remember reading a scathingly negative review of that album when it came out. Recently I noticed that Analog Spark had released audiophile SACDs of “Wizard” and the earlier “Something/Anything”.

Todd Rundgren had followed up the success of “Something/Anything?” with a sprawling, genre-hopping odyssey that crammed rock, prog, Broadway pastiche, soul covers, and proto-electronica into one dizzying record.

For some listeners it’s pure self-indulgence – a chaotic, kitchen-sink overload with no restraint. For others it’s dazzling proof of Rundgren’s restless genius, a psychedelic pop kaleidoscope that anticipates everything from Prince to bedroom electronica.

Few albums inspire such devotion and derision in equal measure.

Several of Todd Rundgren’s classic 70s albums were known to sound a bit tinny due to the narrower vinyl grooves resulting from trying to cram so much music on each side. It was something you were even warned about via a “Technical Note” included on the inner sleeve of 1975’s “Initiation:“

“Due to the amount of music on this disc (over one hour), two points must be emphasized. Firstly, if your needle is worn or damaged, it will ruin the disc immediately. Secondly, if the sound does seem not loud enough on your system, try re-recording the music onto tape. By the way, thanks for buying the album.”

The new Analog Spark SACD of “Something/Anything” (mastered like Wizard by Kevin Gray from the original master tapes) It does in fact sound much better than I recall the original LP sounding “A Wizard, A True Star?”  floated effortlessly into my list of favourite albums as I listened to it again.  I blasted at an ear-splitting volume on my stereo. Seriously, it’s one of the best things I’ve ever heard not just recently, but ever—and started me off on a whole new experience of Todd Rundgren listening. If you are “looking for something new to listen to,” like I was, look no further.

But just don’t take my word for it, here’s what none other than the great Patti Smith wrote of “A Wizard, A True Star” :

“Side one is double dose. It takes the bull by the brain. Another point to be examined. He’s always been eclectic. Why didn’t he care? The evidence is here. Something very magical is happening. The man is magi chef. His influences are homogenizing. Like a coat of many colors. May be someone else’s paintbox but the coat is all his.”

“Each album he vomits like a diary. Each page closer to the stars. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile on. Rock and roll for the skull. A very noble concept. Past present and tomorrow in one glance. Understanding through musical sensation. Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation. “

I read that despite having absolutely no idea of what she intended to convey with all of those words, even if I do wholeheartedly agree with her. Had I read Patti’s review back then, I’d have no doubt rushed out and grabbed this album.

Just listen to “A Wizard, A True Star” for yourself and turn it up LOUD please:

thanks to dangerousminds

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The latest name on the never-ending conveyor belt from the Brooklyn music scene, Rachel Angel recently released her latest EP, “Not Enough”, on Human Noise Records; a record described as, “the story of what it’s like to be young and tough in 2018.”This week Rachel has shared the new video to the title track, Not Enough, a solo exhibition through New York, spent contemplating complicated relationships and eating bagels (of course).

Not Enough is a stirring example of Rachel’s songwriting, fusing the influences of classic Americana with the laid back nature of slacker-rock and the lo-fi spirit of punk. Lyrically, it’s classic country heartache, from the crushing opening line, “sprawled out on the floor, it’s just another day”, through to the resolution, or lack thereof, that comes later as Rachel sings, “you’re a nice guy, sometimes, but that’s not enough”. Her music might be raw and unpolished, yet with Rachel Angel’s lyrical flair, and classic songwriting, we can’t help but feel this is the start of something very exciting.

Not Enough EP is out now via Human Noise Records.