Archive for the ‘CLASSIC ALBUMS’ Category

In February 1980: UK band Squeeze released their third studio album, ‘ArgyBargy’, on A&M Records; it contained two of the much-loved group’s all-time classics in “Pulling Mussels (From the Shell)” and “Another Nail in my Heart”; it would be their last album featuring founding keyboardist Jools Holland until Squeeze’s first reunion album, 1985’s ‘Cosi Fan Tutti Frutti’...

Written and recorded after the band’s successful sophomore release, Cool for Cats, the album’s lyrics were written by Chris Difford while living with his wife in New York City. The band reunited with Cool for Cats producer John Wood and, after Glenn Tilbrook composed music for Difford’s new lyrics, Following the Cool for Cats tour, Chris Difford married spent the summer of 1979 in the US with his wife. There he wrote over forty new lyrics, inspired by his new marriage and his time spent in Greenwich Village. He recalled, “I would sit in the flat all day while [wife] Cindy went to work and this fluidity of lyricism came gushing forth. The whole of the “Argybargy” album came in one fell swoop and lots more besides that never saw the light of day.

“Argybargy” has seen critical acclaim from music writers. Chris Jones of BBC Music called the album “their crowning achievement” and “a masterpiece of kitchen sink pop,” concluding, “If you’re going to own at least one Squeeze album, this has to be the one.  Argybargy doesn’t stay in one place; it’s restless and crackling with colours… with “Argybargy” it was clear that Squeeze were at the top of the pack among new wave popsters, and that their sardonic yet lively voice was unique among any pop group before or since.

The album has since been recognized as a classic of new wave and features multiple of the band’s most famous songs, including “Another Nail in My Heart,” “Pulling Mussels (from the Shell),” and “If I Didn’t Love You.” 

In February 1980: UK band Squeeze released their third studio album, ‘ArgyBargy’, on A&M Records; it contained two of the much-loved group’s all-time classics in “Pulling Mussels (From the Shell)” & “Another Nail in my Heart”; it would be their last album featuring founding keyboardist Jools Holland until Squeeze’s first reunion album, 1985’s ‘Cosi Fan Tutti Frutti’...

Written and recorded after the band’s successful sophomore release, Cool for Cats, the album’s lyrics were written by Chris Difford while living with his wife in New York City. The band reunited with Cool for Cats producer John Wood and, after Glenn Tilbrook composed music for Difford’s new lyrics,Following the Cool for Cats tour, Chris Difford married spent the summer of 1979 in the US with his wife. There he wrote over forty new lyrics, inspired by his new marriage and his time spent in Greenwich Village. He recalled, “I would sit in the flat all day while [wife] Cindy went to work and this fluidity of lyricism came gushing forth. The whole of the Argybargy album came in one fell swoop and lots more besides that never saw the light of day.

 Argybargy was released in February 1980. It spent 15 weeks on the UK Albums Chart,  Argybargy was the first Squeeze album to also chart in the US, Taken from their third studio album, ‘Arbybargy’ (A&M Records), UK band Squeeze released the single “Another Nail In My Heart” (backed with the non-album track “Pretty Thing”); early copies came in a picture sleeve & clear vinyl; it climbed to #17 in the UK but the group would once again strike out in the US (where the B-side title was changed to “Pretty One”)… 

Squeeze:

  • Chris Difford – rhythm guitar, vocals, lead vocal on “Here Comes That Feeling”, co-lead vocals on “If I Didn’t Love You” & “I Think I’m Go Go”
  • Glenn Tilbrook – lead guitar, keyboards, lead vocals
  • Jools Holland – keyboards, vocals, lead vocal on “Wrong Side of the Moon”
  • John Bentley – “Bass guitar”
  • Gilson Lav – drums
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The Paranoyds have made a name for themselves as one of the most exciting Los Angeles bands since forming in 2015, playing festivals like Coachella and touring with the likes of DIIVAlbert Hammond Jr., Sunflower Bean, and BRONCHO. Today the band finally announce their long-awaited debut album, “Carnage Bargain”—a raucous blend of garage rock grit, new wave swagger, classic horror film soundtrack campiness, and a myriad of other left-of-centre influences. The exhilarating ten-track LP released via Suicide Squeeze Records. 

It’s ironic that the band’s moniker winds up being an apt summary of the band’s general outlook on technology and modern culture given that The Paranoyds’ humble beginnings can be traced back to a friendship forged between Staz Lindes (bass/vocals) and Laila Hashemi (keys/vocals) over Myspace in their early teens. Bonded by a shared interest in local underground music, the pair eventually moved their online friendship into the real world. Laila’s childhood friend Lexi Funston was brought into the fold and the first vestiges of The Paranoyds began to take shape. “We would all go to our friends’ shows and it hit us that we could start a band and play shows too,” Funston says. With the addition of drummer David Ruiz in 2015, the band found the perfect personnel for their sonic balance of jubilant energy and foreboding undercurrents.

To celebrate the album announce, The Paranoyds share the record’s lead single “Girlfriend Degree.” A mid-tempo stomper of clap-along beats, fuzz guitar leads, and call-to-arms vocals described by the band as an ode to “being a badass woman who’s taking time to make sure she’s doing things for herself,” “Girlfriend Degree” makes the band’s mission to reject the status quo clear on this initial track. Read a bit more about the track below, and watch the Ambar Navarro-directed (Cuco, Soccer Mommy, Stef Chura) music video. 

“‘Girlfriend Degree’ is a call to arms, a reminder to be a supremely self-loving woman, to just do you. There’s all this pressure about being ‘the ideal woman,’ and it’s easy to get caught up in that—to spend your time trying to be all these things that others think you should be. Getting a ‘girlfriend degree’ is about settling, selling oneself short and not believing in yourself—valuing your partner’s beliefs or opinions over your own. It’s cool to be a girlfriend or wife or whatever, but there’s so much more to being a woman than that. This desire to be above that is also somewhat a telling of how our band came to be. We were all going to a bunch of shows and obviously having a great time and it took us a bit for us to realize that we could also make and perform our own music….and that nothing was preventing us from doing that besides ourselves. We all have power and we should use that power to exercise our own agency.

“We’re living in the dystopian future. Our lives are completely tracked and programmed, our extension of ourselves is a handheld computer with a microphone and camera that stays on while were unaware, and, on top of everything, the extreme right is gaining continuous world power,” The Paranoyds explains of its name. “What isn’t there to be paranoyd about?”

“Carnage Bargain” captures this chemistry perfectly—channelling the genre-mashing weirdness of guitar-and-keyboard provocateurs like The Intelligence on tracks like “Laundry,” the fever-dream kitsch of early B-52s on “Ratboy,” krautrock’s motorik groove on “Hungry Sam,” and the beguiling pop of Blondie on the sweet-and-salty highlight “Courtney.” The band may indeed be paranoid, but they offer a solution to our modern ills through the simple act of being an inspiring, independent, and unflappable musical force.

Pet Cemetery EP came out back in November 27th, 2020, on Suicide Squeeze Records.

Natalie Ribbons and Jason Chronis had been kicking around in various musical projects in Austin, Texas, but knew they could fashion something pretty special when they met in outta Austin, Texas, Tele Novella is currently the duo of vintage shop owners. Merlyn Belle is a homespun creative bricolage that pulls from influences as diverse as cowboy troubadours and folk baroque to tell stories that are at once cinematic and deeply personal. Painstakingly assembled using a blend of hi-fi and lo-fi recording gear, Tele Novella have crafted a cohesive pop record that feels equal parts mysterious, evocative, and sincere.

Tele Novella is a project out of Lockhart, Texas living in a small town lost in time–where their classic and sincere pop song writing is slowly processed through a loner medieval-tonk machine and then captured on cassette 8-track. Their forthcoming record, “Merlynn Belle”, was the music they wanted to be making all along but didn’t know until it happened accidentally. It comes out February 2021.  A heartfelt band from Small Town, Texas, with a penchant for pop melodies and medieval harmonies, Tele Novella write songs the old-fashioned way and perform them in a minimal style filled with delicate arrangements. Influences include Connie Converse, Lee Hazlewood, Pentangle, Marty Robbins, The Magnetic Fields, and PRAM.

Tele Novella’s humble country-psych-folk sincerity is magic. They have, quite simply, a belief in the power of song. Timeless, quirky and utterly charming. The two have fashioned up a pretty unique sound – one that touches with a post-modern knowingness and still an absolute sincerity on real deep old country, its sadness and yearning; also knowingly loving the slight absurdity of the form and glorying in it too, much like Jon Spencer Blues Explosion did with the beast of rawk ‘n’ roll.

The two recently relocated to Lockhart, with a pop:12,698 where they eschewed the endless, iterative possibilities of modern recording. Nope, eight-track tape and one song written and recorded at a time. Whole takes, no splicing. “Working with one song at a time allowed us to view each as its own world,” says Jason.

For her part Natalie had a whole set of stories to tell, stepped in influences as diverse as Marty Robbins – and Pentangle. “This is the first time I just let the songs be about real life … real people,” she says.

Release date: February 5th, 2021

Canadian singer-songwriter. Jerry Leger has been releasing records since 2005, so far he has released 13 albums (7 solo, 3 credited to Jerry Leger & The Situation and 3 with his side projects, The Del Fi’s and The Bop Fi’s).
Leger’s last three major albums Early Riser (2014), the double LP Nonsense and Heartache (2017) and Time Out For Tomorrow (2019) were all produced by songwriter/musician, Michael Timmins of Cowboy Junkies. 

From Toronto, Canada. Jerry Leger has been called “one of Canada’s best” by Exclaim, a “gifted storyteller” by The Toronto Star and “One of the best Canadian songwriters” by Rolling Stone.

Time Out For Tomorrow” is his masterpiece.” – ROLLING STONE’ 

“Songs From The Apartment” is a lo-fi collection of songs recorded solo at home, most of which had been written, quickly demoed and forgotten about. The performances are relaxed, intimate and raw. Time Out For Tomorrow: Deluxe Edition’ & ‘Songs From The Apartment: reissued as a Limited Edition Red Vinyl’ out March 26th

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I appreciate it when a band’s name is diagnostic of its sound. Here is a prime example. The Boys With The Perpetual Nervousness are Andrew Taylor and Gonzalo Marcos. With one member living in Scotland and the other Spain, they took the Postal Service route in producing their latest record. Although I liked their previous one (Dead Calm), I admit to not having purchased it. With the new record however, I immediately have that urge to click on add to cart. The indie pop on “Songs From Another Life” sounds confident yet delicate, and the strummy and jangly guitars makes me long for spring. Some songs sound like straight up Teenage Fanclub worship, but in a good way. Fans of The Byrds and Big Star will probably dig this as well. And yes, I am totally copying these names from the press release, but they make too much sense not to.

The record’s contingent of bright, hook laden, jangly pop songs are the perfect antidote to the drudgery of an ongoing pandemic. There’s something reassuringly familiar about the band’s sound too; especially on tracks like “Play (On My Mind)” and “Rose Tinted Glasses”.

It’s a sound which has its roots in a whole selection of American music, from the likes of  The Beach Boys and The Byrds right through to, dare I say it, The Rembrandts. But, perhaps inadvertently, it also taps into a certain section of Australian music too. Jangle Pop and “Dolewave” acts have proven popular with Australian audiences for years. 

For this second album, confirmation album, The Boys With The Perpetual Nervousness open the range of influences, more American, more exuberant and present a powerful sound with arrangements that make us dream of better days. In addition to Teenage Fanclub, Big Star and The Byrds, there are sonic references to Fountains Of Wayne, Matthew Sweet, Weezer, R.E.M., The Lemonheads, The Beach Boys and there are even distorted breaks à la Dinosaur Jr. or Sugar.

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Recorded separately, in two parts, without the two musicians sharing a studio, not even a city: Andrew his part in Edinburgh, at his rehearsal room, Gonzalo his, in San Sebastián, at Yon Vidaur’s studios. Applying social distance before it was an obligation.

These songs so beautiful, so bright, so stimulating, this pop music of heavenly guitars, can only come from another life, from a life that might never return. Welcome to “Songs From Another Life”, welcome back to the world of The Boys With The Perpetual Nervousness . The colourful album art is pretty good too, and will brighten up (m)any home(s) as well. With this release, and the ones by The Laughing Chimes and Farewell Horizontal, this has been an excellent release week for fans of top-notch indie pop

released February 5th, 2021

Dave Grohl’s iconic American rockers Foo Fighters return with the long-awaited release of their tenth (!!) studio full length, “Medicine at Midnight”. The release – their first since 2017’s well received Concrete and Gold – coincides with the band’s 25th anniversary, and was set to be released in a year when they were supposed to be on the road (on “The Van Tour”, which I was eagerly anticipating) celebrating that very occasion. Of course, that tour was cancelled, and the album delayed until today.

Coming in at 36 minutes and 35 seconds across 9 tracks, this is the Foo’s shortest LP to date (in total duration), but on this you can’t blame the pandemic: the record was tracked between November 2019 and February 2020 in a (potentially haunted) house in Encino, California. So anyone hoping for a rockin’ bop about the pandemic might be disappointed. And on its length, fans will certainly find themselves left wanting more.

Greg Kurstin, who worked with the band on Concrete and Gold, is back on production duties – and though the effort ultimately doesn’t feel as cohesive nor as striking as its predecessor, the album sits as another solid effort from a band who have consistently delivered albums that have satiated fans’ appetites; this release being no exception.

The record kicks off with “Making a Fire”, which features Grohl’s daughter Violet on backing vocals and sees the band proudly and unapologetically say – yeah, we’re Dads, and I guess that means we’re Dad rock now, but you’re all 25 years older now too so get over it.

That’s not to say there’s no nostalgia to be found here – the weight of the band’s anniversary was undeniably playing on their mind as they recorded this album. Notably, Grohl said in interviews that there’s a riff on this album that does indeed date back some 25 years – but it’s hard to place that riff, as there are many moments that feel like it could easily have been taken from one of their albums from the 90s.

“Shame Shame”, the first single of the album comes second – which is a solid effort from the band, but doesn’t hold the weight of the follow ups “No Son of Mine” and “Waiting on a War” – both of which sit as highlights on the record. The former is the band at their best, with a rollicking beat courtesy of drummer Taylor Hawkins, while the latter starts off slow, but grows into one of the biggest and loudest jams on the record.

And it’s not the only track that does this – “Cloudspotter” too has a less than auspicious start, but ends on a loud note sure to please fans. Also, as it turns out, “Cloudspotter” is the song that holds that 25 year old riff (listen out for it in the chorus). “Chasing Birds” is another highlight – a number that calls back to low tempo favourites like “Walking After You” and may be my favourite track on the record. The album’s namesake, as well as closer “Love Dies Young” are both rather forgettable (something that could of course change over time) – and while it’s a pity to see the record close out on a less than memorable note, being left wanting more isn’t necessarily a bad thing. And thankfully it’s not a difficult task to hit replay.

The problem the album faces, ultimately, is also one of its strengths – and that’s that it feels like the band have played it safe here. There was a feeling across their last few records that they were trying to break new ground, and while that didn’t always work wonders musically (as in Sonic Highways), their ambition was admirable. Here, they may not be releasing their best album, but they’re not going to disappoint either. This is going to keep fans happy.

They’re just trying to make some good ol’ rock n’ roll – and for the most part, they have succeeded here, which 25 years in, is not something to belittle. The Foo Fighters have survived the test of time, consistently delivering solid music along the way and shaping themselves into one of the finest stadium rock bands on the planet, while getting to do it on their terms. If Concrete and Gold was the culmination of that, Medicine at Midnight is the reminder that they have nothing left to prove. And if they still manage to gain younger fans along the way, and those new fans pick up some drum sticks and find inspiration from their music like we did years ago.

NME writes: “It’s slinky. It’s shimmery. It gets a bit Bowie and boasts one of the best. songs they’ve ever recorded. Album 10 is the soundtrack to the summer we all crave.”
Turn Up The Volume says: From roaring rockers to poppy singalongs and a couple of power ballads in between. 

Singles released :Shame Shame / No Son Of Mine / Waiting On A War…

In 2017, Steven Van Zandt wanted to play the Cavern Club, the legendary Liverpool venue where the Beatles performed so many pre-fame shows. But he had a condition. When the Cavern Club reopened in the ’80s, the venue expanded to two main rooms. One tried to replicate, using original bricks, the hallowed ground where the Fab Four jammed so many times; the other had a more modern stage and has become one of the city’s top spots for local bands and touring acts. 

“When Paul McCartney played there [in 1999], he played the second, bigger room, and they assumed I wanted to do that also,” Van Zandt says. “I said, ‘No, no, I’ve got to play the room with the arches. I want to play that room that I grew up looking at.’ So we had to put the horns and girls in the hallway. Because we could barely fit the rhythm section on that stage. It’s only built for four or five people.”

Van Zandt made this Beatles fantasy come true during a stop on his European “Soulfire” tour. The singer, songwriter, guitarist and producer – and not to mention Bruce Springsteen’s right-hand man in the E Street Band – had plenty of free time when the Boss started his run on Broadway. So he hit the road with a reformed Disciples of Soul. When he booked a November date at Liverpool’s O2 Academy in 2017, he got the idea of doing a set at the Cavern earlier in the day.

“We were about to play Liverpool, and I remembered how the Beatles would play lunchtime sets,” he says. “That’s how Brian Epstein, their manager, actually saw them for the first time. From, like, 12am to 12:30am, local businesses would break for lunch and the secretaries or whomever would bring their lunches into the Cavern Club, and the Beatles would play for half an hour. I thought, just for fun, let’s do a Beatles tribute and do a lunchtime set. … I don’t think anybody has done that since the Beatles.”

Van Zandt remembers distinctly how his life was forever changed when he watched the Beatles play The Ed Sullivan Show in 1964. (He cites the Beatles and the Rolling Stones as the twin reasons he picked up a guitar and “made rock ‘n’ roll my religion.”) But just because he’s a long time devotee doesn’t mean putting together a baker’s dozen of tracks covering every era of his idols’ career was easy. The live performance, plus a duet with Paul McCartney on “I Saw Her Standing There” recorded at the Roundhouse in London, have been collected on Little Steven’s new “Macca to Mecca” CD/DVD package.

Macca To Mecca! Begins as a 12-song tribute to The Beatles that kicks off with a riveting performance of “I Saw Her Standing There” recorded at The Roundhouse in London . It is followed by an extraordinary surprise set at Liverpool’s legendary Cavern Club.  The intimate lunchtime gig is filled with rocking renditions of “Magical Mystery Tour,” “Good Morning, Good Morning,” “Got To Get You Into My Life,” and “All You Need Is Love,” alongside iconic songs famously performed by the nascent Fab Four, including “Boys” (originally by The Shirelles), “Slow Down” (by Larry Williams) and “Soldier Of Love” (first recorded by Arthur Alexander).

Little Steven Van Zandt has released Macca to Mecca, a live album honouring the music of The Beatles recorded in front of The Cavern Club, the Liverpool dive where the Fab Four famously got their start.

In the fall of 2017, when Little Steven landed in Liverpool on his sold-out European tour with his newly reformed band the Disciples of Soul in support of Soulfire, his first new album in nearly two decades, the Rock and Roll Hall of Fame musician, songwriter, and lifelong Beatles fan played a surprise, afternoon set outside of the legendary Cavern Club. “Playing in the same venue where The Beatles started their careers was a childhood dream of mine come true,” says Van Zandt in a statement. “This was a band that set me on course for a life of music. For my rock ‘n’ roll religion, The Cavern is the first sacred site (after the 4 clubs in Hamburg they played!). It was an honour – no, make that an epiphany – to perform there.”

The performance at the Cavern Club was professionally recorded and filmed, with the audio and video initially included exclusively as part of the Soulfire Live! box set. Macca To Mecca, available now via Wicked Cool Records/UMe.

“I wanted to do covers that they had done at the Cavern … songs from [rock ‘n’ roll pioneer] Larry Williams and [country soul legend] Arthur Alexander and some of those things,” he says. “Because I had the horns, I thought, ‘Let’s do Beatles songs with horns.’ … The horn parts in Magical Mystery Tour are quite sophisticated, and my horn section handled it quite well, but, man … some of the stuff was tricky. ‘All You Need Is Love’ has quite a bit going on. It was a bit of a challenge, but I think we met the challenge.”

For Van Zandt, the Cavern gig was the culmination of an obsession kicked into high gear when he started traveling across the Atlantic for Springsteen tours. “When I first got to England, I ran to Liverpool to see all the famous sites that I had wanted to see growing up,” Van Zandt explains. “But when I got to the Cavern, it was a parking lot. They had paved over it. Then they realized the error of their ways and rebuilt it with a lot of the same bricks … on pretty much the same site.”

Macca To Mecca includes the complete Cavern Club concert in both video and audio, exclusive interviews, behind-the-scenes footage and a special documentary that sees Van Zandt honoured with a brick in the club’s hallowed Wall of Fame before leading his band through swift rehearsals of Beatles songs mere minutes ahead of their performance.

Macca To Mecca, available now via Wicked Cool Records/UMe.

While mostly remembered for his time fronting The ClashJoe Strummer had a long solo career with a number of terrific records. A new retrospective album, “Assembly”, highlights that and will be out March 26th via Dark Horse Records. The Carefully curated singles, fan favourites and rarities will comprise the 16-track Assembly, a best-of collection from The Clash legend arrives via George Harrison’s Dark Horse Records (which is now led by his son Dhani Harrison and manager David Zonshine

The compilation includes “Love Kills” from the docu-movie Sid & Nancy, Mescaleros songs “Coma Girl,” “Forbidden City” and “Johnny Appleseed,” a few live performances of “Rudie Can’t Fail” and “I Fought The Law”, the latter two recorded by Joe Strummer and the Mescaleros at London’s Brixton Academy on November. 24th, 2001 a never-before-heard acoustic version of “Junco Partner” and Other iconic cuts include “Coma Girl,” “Johnny Appleseed,” and “Yalla Yalla” (with The Mescaleros), Bob Marley’s “Redemption Song”. It does not have, however, any of the Joe Strummer & The Latino Rockabilly War tracks, like “Trash City,” he recorded for the soundtrack of Permanent Record (the 1988 drama which starred Beastie Boys’ Adam Horowitz).

In addition, Assembly includes liner notes written especially for this collection by lifelong Strummer fan Jakob Dylan.

Strummer’s politically charged lyrics struck a chord with legions of fans and peers, and in 2020, his life and music were commemorated with “A Song For Joe: Celebrating the Birthday of Joe Strummer.” The star-studded global live stream featured performances and testimonials from Bruce Springsteen, Jeff Tweedy, Bob Weir, Lucinda Williams, Josh Homme, Tom Morello, Jim Jarmusch, members of The Strokes, Brian Fallon, Steve Buscemi, and many more.

“Assembly” is an all-new Joe Strummer retrospective covering The Clash frontman’s whole career, including Mescaleros numbers and unexpected, buried treasures. This 16-track compilation features three previously unreleased versions of classic Clash tracks, including the never-before-heard “Junco Partner (Acoustic)” and electrifying live performances of “Rudie Can’t Fail” and “I Fought The Law,” the latter two of which were recorded by Joe Strummer and the Mescaleros at London’s Brixton Academy on November 24th, 2001.

Acclaimed musician, singer, and songwriter Jay Gonzalez has announced the upcoming release of his new album. “Back To The Hive” arrives everywhere via Gonzalez’s own Middlebrow Records on Friday, March 5th; Perhaps best known for his role as guitarist/keyboard player with the mighty Drive-By Truckers, Gonzalez is heralding “Back To The Hive” with an official video for “(I Wanna) Hold You,”. 

A self-professed “sucker for short pop songs filled with hooks and devoid of filler,” Gonzalez’s second full-length solo album, “Back To The Hive” sees the multi-talented artist continuing to push power pop into new shapes, reimagining the sound of classic A.M. radio through his own kaleidoscopic approach.

Recorded in his hometown of Athens, GA by longtime collaborator Chris Grehan, the album sees Gonzalez joined by a number of old friends including drummer Joe Rowe (The Glands) and former Drive-by Truckers Matt Lane (drums) and John Neff (pedal steel guitar) on a collection of strikingly diverse songs. From the straight-ahead pop of “(I Wanna) Hold You” and the buoyant “Trampoline” to the emotional Robin Gibb tribute, “Crying Through The Wall,” “Back To The Hive” is both invigorating and inventive, imbued with adventurous arrangements, timeless song writing, and a lifetime of pop passion.

Jay Gonzalez first arrived in Athens, GA from his native Westchester County, NY more than two decades ago. Together with his good friend and bandmate Chris Grehan, he set to work experimenting with his own brand of power pop while also playing in such esteemed local outfits like The Possibilities. Gonzalez officially joined Drive-By Truckers in 2008, first as keyboard player and later taking up the mantle of guitarist in the ground breaking band. 2011 saw the release of Gonzalez’s first solo album, “Mess Of Happiness”,

Gonzalez’s approach unmistakably evokes similarly restless classics of early ‘70s shut-in singer-song writing, like Todd Rundgren’s and Emitt Rhodes’s but so very few musicians pull off this style of ornate song writing with such lightness and apparent effortlessness.

Taking inspiration from such unified conceptual works as The Who’s “A Quick One (While He’s Away)” and The Beatles Abbey Road” side two medley, Gonzalez followed up with 2015’s The Bitter Suite EP, a seamless five-song opus through and through with emotional ups and downs, constant tempo changes, and a kaleidoscope of instruments and sounds performed almost exclusively by Gonzalez.”

Gonzalez was introduced to Portland, OR indie rock supergroup Eyelids by fellow Drive-By Trucker Patterson Hood and in 2017, contributed instrumental work as special guest on the band’s acclaimed second album, Or. A series of tours – with Gonzalez backed by his crack live band, The Guilty Pleasures – followed, affirming the friendship and like-minded musical association. Indeed, 2019 saw the release of “Jay Gonzalez Sings Eyelids Sings Jay Gonzalez”, a limited edition 7” single for which each artist wrote an original song for the other to perform and record.

Jay Gonzalez’s new album, Back to the Hive, arriving March 5th

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The Philadelphia lads known as The Obsessives are back later this month with a new EP they made with Will Yip, titled “Monastery”. Ahead its release, they’ve offered sweet and rousing paean to getting tactile before “the big one drops.”

Nick Bairatchnyi and Jackson Mansfield built The Obsessives at fifteen, out of a childhood friendship and a misplaced love for blues-rock. “We wanted to start a band with a “The” because bands like that three years ago were cool, like The Black Keys and The White Stripes,” Bairatchnyi remembers while laughing at his ninth-grade naivety. Three years later, the band became fixated on a new form. The Obsessives released their debut record, Heck No, Nancy in 2015. The album chronicled a series of revelations which centre around a musical mentality that volleys between the expressive texture of bands like Braid and the bouncy indie of bands like The Pixies and Violent Femmes.

On March 17th, 2017, The Obsessives will release their follow up self-titled album on Lame-O Records, continuing even further along their indie rock inspirations, the band has found an acclivity for pop hooks and vibrant instrumentation that give a nod to their heroes (even naming a song referencing listening to a Pixies record), while also fitting alongside the top artists of the modern indie/emo scene (like Modern Baseball, who’s tour they’ll be opening in the spring of 2017).

Welcome The Obsessives to Memory Music. New single ‘Lala’ available now! Listen and preorder the 7″ here https://lnk.to/to-lala