Archive for the ‘CLASSIC ALBUMS’ Category

Another one of Perth’s heroes. £Giant Tortoise” is mega, there’s nothing like it really. Pond changed the game for me with Hobo Magic. Going back to Sabbath roots, heavy prog, ’70s metal origins to add their unique flavour of psych to the modern era.

A Perthadelic mind-splurge, that’s what. To simplify matters, let’s start with just two: Kevin Parker and Nick Allbrook, Tame Impala’s singer and ex-bassist respectively, and the two biggest heads in the burgeoning Perth psych scene. Whenever Parker was locked away to single-handedly pull Tame’s albums out of God’s nostril, Allbrook was busy with his own astral pop projections.

Jamming randomly with other at-loose-ends Tame members (and occasionally Kevin too, on drums), he built a sprawling collective around Pond, the improvisational art-rock collaboration that was formed on the day of their first house-party gig in 2008, and knocked up their 2009 debut album ‘Psychedelic Mango’ on an eight-track in Nick’s parents’ granny flat. After three more albums (see box, right), and with all the sounds in his head colliding with the fucked-Floyd freak-outs of ‘Lonerism’ on tour, Nick left Tame Impala in May to concentrate on Pond, among other projects. Bizarrely, he was replaced in Tame by Pond drummer Cam Avery, who clearly never got the ‘Leaving Tame Impala To Concentrate On Pond’ memo.

To quit the coolest band in the world to go make a seven-track album of surreal psychedelic blues about spiritualism, giant tortoises, conspiracy theorists and Pegasus. But that’s what Allbrook has done, and with considerable success. Pond’s fifth album, ‘Hobo Rocket’, bristles with unrestrained creativity and sonic exploration, while verging away from pastoral prog towards a harder garage blues slant. Spiritualist acid mania infects ‘Hobo Rocket’ from its first mystical inklings: opener ‘Whatever Happened To The Million Head Collide?’ wafts in on a cloud of MGMT and a distorted Buddy Holly bass riff, Nick emitting psychedelic yowls between references to “the holiest of holies’’ and how “I am, you are Buddha, Krishna, God’’. Then he screams, and the track becomes a White Stripes/Band Of Skulls voodoo rocker, Nick shifting from meditative peacenik to paranoid conspiracy freak: “I’m gonna sleep for a week and not speak at all/Cover myself in oil and tin foil’’. It’s a schizophrenic mash-up, but one hell of a sucker-punch opening.

Heavy as a narwhal’s balls and concerning the crippling emotional effects of psychoactive medication, the brittle blues bluster of ‘Xanman’ provides pop relief in the style of a wormhole ‘Seven Nation Army’, Nick playing the lusty funk squealer with commitment during the blow-out coda. ‘O Dharma’ – by turns The Beatles’ ‘Sun King’, Pink Floyd’s ‘Any Colour You Like’ and Hot Chip getting groovy round the Maharaja’s gaff – is perhaps the sweetest acoustic gospel-hippy swirl ever to centre around the phrase “And if you muthafuckers don’t like it you can all get out’’. It’s a key phrase to Pond’s ethos; reflecting their experimental roots – and perhaps Nick’s wild musical mood swings – this is an album of dichotomies, both thematic and sonic. Lulled into a pleasant dopamine haze by ‘O Dharma’? Now take the ponderous, misanthropic Zep-metal chunder of ‘Aloneaflamaflower’, segueing into ‘Giant Tortoise’ – a tune that imagines Jack White going back in time to guest on ‘Across The Universe’.

Pond’s open-mindedness lifts off towards event status on the title track, in which a guy called Cowboy John – a local legend described in the sleevenotes as “artist, mystic, wanderer, eccentric’’ – rants and mumbles about flying through the universe at “twice the speed of light’’ on a “horse with wings’’ like a dope-fried Lou Reed, then starts asking the band mid-song what drugs they’ve got. It all wraps up with the demonic blues metal of ‘Midnight Mass (At The Market St Payphone)’, complete with a pastoral, Floyd-y, four-minute ‘Dear Prudence’ outro to a record that leaves you mentally a-quiver. When a million heads collide, it seems, it’s a colourstorm.

Giant track, tortoise friendly.

Release date: 05th Aug, 2013

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Similar to Pink Floyd, The Bee Gees really didn’t become megastars until the next decade, though they did have a good deal of success as a psychedelic pop band in the late sixties. It’s not a stretch to say that Bee Gees 1st is the best album effort that the Bee Gees released during their entire career Bee Gees’ 1st was the group’s debut album for the UK Polydor label a psychedelic pop album. The album cover was designed by Klaus Voormann who had previously done the cover for Revolver .

The Gibb Brothers’ perfect harmonies match perfectly with the various psychedelic styles they use without any hiccups; in one album, the Bee Gees play off the Beatles, the Moody Blues, and the British pastoral style of the Kinks to keep your attention, but the Bee Gees were mainly focused on creating short, radio ready pop songs that were easily digestible and without any extended jamming or crazy instrumentation (no song on this album is over 3:45). For an album that’s based so strictly in pop, the Bee Gees have a surprising range of songs – from the Revolver-esque “In My Own Time” or the hazy “Please Read Me,” to the straight pop ballad “To Love Somebody,” to the gloomy “New York Mining Disaster 1941” or “Every Christian Lion Hearted Man Will Show You,” the Bee Gees do a great job in altering their sound over the course of just fourteen tracks.

Drummer Colin Petersen and lead guitarist Vince Melouney, both Australians, were hired to make the Bee Gees into a full band. Both played on the first English album and became official members of the group between its completion and release. Petersen had played with the Bee Gees at St. Clair studio in 1966 on the Spicks and Specks sessions and was officially added first,

Released 14th July 1967 (UK).

Reprise Records (sister label to Atco under Warner Music Group) reissued the album with both stereo and mono mixes on one disc and a bonus disc of unreleased songs and alternate takes. (This 2-CD set on Reprise corrected the fluttering on the lead-off stereo track “Turn of the Century”. The mono version never had this problem.)

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Bee Gees
  • Barry Gibb – lead, harmony and backing vocals, rhythm guitar
  • Robin Gibb – lead, harmony and backing vocals, organ
  • Maurice Gibb – harmony and backing vocals, bass guitar, piano, organ, harpsichord, mellotron, guitar
  • Vince Melouney – lead guitar
  • Colin Petersen – drums

Neil Young has confirmed details and release information for his next album: “Paradox”, the soundtrack to a new film in which he stars, will arrive digitally and as a two-record set on March 23rd. It will be available on compact disc beginning April 20th.

According to a news release, Young recorded the music on the MGM soundstage with three different groups: Promise of the Real, an orchestra and another backing band comprised of Jim Keltner, Paul Bushnell and Joe Yankee. In addition, Paradox contains several solo passages played by Young on electric guitar. There are three sides of music on the LP, with the fourth consisting of etched artwork.

Young composed the bulk of the material for the film, which was written and directed by Daryl Hannah, his girlfriend. He collaborated on “Running to the Silver Eagle” with Promise of the Real, the band fronted by Lukas Nelson; Nelson and his brother Micah has worked with Young on “Diggin’ in the Dirt.” There are also covers of Jimmy Reed’s “Baby What You Want Me To Do?,” the Turtles’ “Happy Together,” Lead Belly’s “How Long?” and “Angel Flying Too Close to the Ground.” The latter was written by the Nelson brothers’ father, Willie Nelson, who also provides narration in the opener “Many Moons Ago in the Future.”

Paradox will be screened at SXSW on Friday and will hit Netflix on March 23rd, with a limited theatrical release to be announced at a later date. A news release describes the film as a “fantasy, a loud poem and a whimsical tale of music and love,” adding that Paradox is a “sweetly idiosyncratic personal expression. Sometime in the future-past, a band of outlaws hides out high in the mountains. The ‘Man in the Black Hat’ (Young), the ‘Particle Kid’ (Micah) and ‘Jail Time’ (Lukas) and a band of cowboys and outlaws pass the days digging for treasure while they wait for the full moon to bring its magic, the music and let the spirits fly.”

Check out the trailer below.

The second album from Gengahr after 2015’s ‘A Dream Outside’, is a 12 track, 48-minute work produced by Neil Comber (Glass Animals, M.I.A, Songhoy Blues) and which sees the North Londoners move onwards and upwards from their inaugural outing.

For their second round, Gengahr introduce a bigger, bolder sound, working shimmering synths in with intricate guitars, and Felix Bushe’s melodic falsetto vocal. Sprightly opener ‘Before Sunrise’ zips along with uplifting twinkling percussion, leading on to ‘Mallory’s effectively winding, jangly guitar tones that are punctuated by abundant synths. It is here where we see depth emerging, yet still retaining the infectious rhythms.

Yet when hearing the more psychedelically tinged ‘Is This How You Love’, where Bushe’s falsetto reaches its powered heights over trademark melodies, and the more choppy, swaggering ‘I’ll Be Waiting’, that Gengahr start to really kick in; a catchy, swaying vibe carrying it along  on a buoyant wave.

Trademark distortion comes in again on ‘Carrion’, rolling from a quasi-experimental start, upping the ante in an unrestrained four and a half minute rush in its midway position. The album title track employs delicately constructed guitars in a more low-key song to those that have preceded it, although it does break away at one point into rampant moment of forceful distortion. But both this, ‘Blind Truth’, and the fuzzy ‘Burning Air’ rather pale against the rest of the album.

The big finale comes in the shape of the rather majestic ‘Whole Again’. A swooning roll of layered vocals and indelible lyrics (“A lost cause, but I’ll do better I’m sure / And we could be whole again”), the guitars in its last half especially are really quite delicious.

‘Where Wildness Grows’ grew out of the two years spent writing and recording ‘A Dream Outside’, a process which saw them reject multiple recordings and eventually return to the drawing board, re-group and head back to the studio with a renewed clarity and artistic determination. From little seeds, big albums grow.

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Arcade Fire have made the announcement that they will soon be sharing a brand new short-film ‘Money + Love’ to work as a double-header video for two of their more recent tracks ‘Put Your Money on Me’ and ‘We Don’t Deserve Love’. The full film will drop on March 15th.

It comes ahead of the scheduled UK tour, which you can see the dates for below, and will see the band work with not only David Wilson, whom they collaborated with in 2014 on ‘Reflektor’ and ‘We Exist’ but also Australian actress Toni Colette.

Win Butler has said: “The concept of a double video really appealed to us, we’d always loved songs being put together as A and B sides… and these songs seemed perfect together. David has been a great collaborator for us since Reflektor and we were finally able to work with Toni whom we’d been wanting to work with for some time.”

UK Dates:

06/04 Dublin 3Arena
08/04 Manchester Arena
11/04 London SSE Arena Wembley
12/04 London SSE Arena Wembley
13/04 London SSE Arena Wembley
15/04 Birmingham Genting Arena
16/04 Glasgow SSE Hydro

“Something was definitely happening,” said Tony Visconti. “We knew we were getting closer to what we wanted.” The American-born producer was talking about A Beard Of Stars, the album that paved the way for the “Bolanmania” of the early 1970s. The final LP released by Marc Bolan and his band as Tyrannosaurus Rex before they transmuted into T. Rex, it came out on 13th March 1970.

The album was the follow-up to 1969’s Unicorn, after which Bolan took the bold and decisive step of firing musical partner Steve Peregrin Took. His voice was already on some of the new material Visconti had recorded, so the producer had to replace it with new vocals by Bolan. Meanwhile, Took’s successor, Mickey Finn, started to be integrated into the band. Even if Visconti would find him to be less versatile than his predecessor, his good looks were a help, and he played percussion.

In his autobiography, Bowie, Bolan and the Brooklyn Boy, Visconti wrote: “The album was made in a really good atmosphere, helped no end by Finn’s positive spirit, which all led to the sessions being very creative and experimental.” A Beard Of Stars was also the album on which Marc Bolan went electric, playing Visconti’s guitar just before buying his own Fender White Stratocaster.

“A combination of Marc’s growing proficiency on rock guitar and my engineering chops getting better helped the duo sound more aggressive,” remembered Visconti. One single was released from the album, ‘By The Light Of A Magical Moon’; it missed the UK charts, but the album debuted and peaked at No. 21 and totalled six weeks on the bestsellers. It was clear that Marc Bolan was ready to become the pop star figurehead and idol he soon turned into.

“A Beard of Stars” was the fourth studio album by English psychedelic folk band Tyrannosaurus Rex, and their last before changing their name to T. Rex. It was released on 13th March 1970 by record label Regal Zonophone.

Tracklist 1. “Prelude” 1:04 2. “A Day Laye” 1:56 3. “Woodland Bop” 1:39 4. “Fist Heart Mighty Dawn Dart” 2:45 5. “Pavilions of Sun” 2:49 6. “Organ Blues” 2:47 7. “By the Light of a Magical Moon” 2:51 8. “Wind Cheetah” 2:38 9. “A Beard of Stars” 1:37 10. “Great Horse” 1:42 11. “Dragon’s Ear” 2:37 12. “Lofty Skies” 2:54 13. “Dove” 2:06 14. “Elemental Child” 5:33

Chicago musician Jude Shuma,  talks about his creative process, his influences, and news about his upcoming release, this charismatic singer-songwriter, multi-instrumentalist, producer, and part-time exterminator that is Jude Shuma. He says:

“I found my grandma’s guitar under my mom’s bed… started playing it, had a few lessons and then I bought a little 8-track recorder. From there, I just kinda… I wanted to write songs, so I started writing songs and kinda laid down one track, and then laid down the next,” Jude explains when I asked what got him into music. Now, more than 15 years later, Jude says he’s collected more than enough instruments and gear to start his own home studio, saying, “It’s kind of been like a ball and chain, cause you have all this gear and you need the space and the studio to record. Living in an urban area like Chicago, it’s really hard to find a space…you can get a rehearsal space with other bands, but then you’ve got fucking metal bands next door to you and you can’t record an acoustic guitar. So it’s been kinda like, the past four years I’ve been bouncing around and finding new spots.”

he loves producing, at the moment he acknowledges that he can’t really take on production work for other artists, although he wouldn’t rule it out in the future. “I think once I finish this record, I’ll be more in control. People open studios, and then they can’t chose who they get to record there because they need to accept business to keep the money flowing. I wanna be able to be a little picky.  I want to work on music I like. Although he plays live shows with three musicians called Blaze, Blade, and Church, Jude currently plays everything from drums to bass by himself in the studio, saying that he often finds himself running back and forth between instruments.

EP Biggest Hits out now

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Biggest Hits was my first attempt at engineering a record with a tape machine. I wanted to make a record that wasn’t so much driven by computers and plugins, but rather the instruments and the tones that I chose. Try to get it right the first time so when it came to mixing, the majority of the work was already done. I wanted that 60’s record simplicity in a 21st century fashion.

Wilco - Star Wars

On July 16th, Wilco shocked their fans in the best way possible: by releasing Star Wars, the band’s first album in four years, for free on their website, with no advance warning. The album is Wilco’s best in at least a decade, full of loose, poppy rockers like “Random Name Generator” and “The Joke Explained.”  After recording the basic tracks himself in the Wilco loft in Chicago, frontman Jeff Tweedy brought in the other members of the band separately to play on them. The process has proved so productive that Tweedy says he’s already halfway finished with the next Wilco album. “I have a whole lot of material,” he says.

It’s kind of an extension of the thought process behind, I don’t know, staying in touch with some sort of wild energy as much as possible and some sort of an irreverence. But that painting of that cat hangs in the kitchen at the [Wilco] loft, and every day I’d look at it and go, “You know, that should just be the album cover.” Then I started thinking about the phrase “Star Wars” recontextualized against that painting — it was beautiful and jarring. The album has nothing to do with Star Wars. It just makes me feel good. It makes me feel limitless and like there’s still possibilities and still surprise in the world, you know?

“What’s more fun than a surprise?” Jeff Tweedy asked cheekily on instagram as he introduced us to Wilco‘s ninth studio album. In a year when fans of another Star Wars were being incessantly teased, this album dropped out of nowhere, no endless teaser trailers required. Instead it was free to download,

The album’s got a great sound—jagged guitar (courtesy Nels Cline), distorted vocals—but a critical shortage of great songs. “You Satellite” rules and “Random Name Generator” is formidable enough to make Jeff Tweedy feel like a shapeshifter rock star, but much of the album feels unfinished, like sketches for something that might’ve been great, a perception that’s fairly amplified by the album’s brief length and lazy title. The best thing you can say about Star Wars is that it injected some spontaneity, some aggression back into Wilco’s music. The album thrilled fans when it was surprise-released for free in 2015, following the longest gap between Wilco albums to date. But it’s already been eclipsed by the superior Schmilco. Wilco’s weakest effort isn’t bad at all, just—well, underwhelming

Kitsch kitty cover art and silly title aside, the fuzzed up, lean rock on Wilco’s most concise album in years took plenty of unexpected turns. Tweedy worked largely alone, the band adding the gloss and grit to finished arrangements and basic tracks. The result is at times wild and weird but always Wilco.

We did our best mechanic impression and starred in a vid for “Desire” made by the great Heather Rappard. Check it out below! .

Ought the great Montreal post-punk outfit returned with their third album, “Room Inside The World”. It’s a dense, exciting new collection of songs, one that rewards spending some time with it and parsing all the different avenues the band ventures down across its nine songs. Of course, there were also tracks that didn’t require too much patience, compositions that immediately revealed themselves to be something special. One of those was “Desire,” a song that also acts as a highlight and centerpiece once heard in the context of Room Inside The World as a whole.

The video for “Desire.” The clip begins simply, a nicely filmed performance from the band interspersed with a narrative that follows a guy who affably but somewhat shyly goes about his daily routine. We see him go to work, meet a friend at a bar, and hit it off with a waitress at a coffee shop. But he really comes into his own when he dresses up in drag and winds up fronting Ought during the climactic build of “Desire.”

It’s a video that plays with the song’s central themes as well as gender. Here’s what director Heather Rappard had to say about the concept:

“Desire” as a song has a real triumphant quality and masculine energy; I wanted to take this and subvert it and create a video that focused more on internal desire. Something that was important to me was that the video feel cathartic and positive; I’ve seen a lot of videos that take on ideas around gender that have characters being assaulted, or just exoticized. I wanted this character to have a full life but be most empowered, happiest, and at peace with himself when he’s on stage at the end.

Room Inside the World is Ought’s third album and their first for Merge Records growing up doesn’t mean mellowing out so much as it means learning to pay attention, listening carefully and openly, staying somewhere long enough to really understand where you are. Recorded at Rare Book Room in Brooklyn with producer Nicolas Vernhes (Deerhunter, Animal Collective, Silver Jews), Room Inside the World explores themes that have always concerned the band—identity, connection, survival in a precarious world—but with a bolder, more nuanced sound palette. Vibraphone, justly intonated synthesizers, drum machines, and a 70-piece choir suffuse the precise post-punk breakdowns that spangled Ought’s first two albums, giving rise to an emotional complexity that pushes their characteristically taut sound to greater depths.

The band are in Austin this week for SXSW, performing on some great showcases before heading back out on our headline tour.

I hope you are having a fab spring! I have manifested in your inbox to let you know that today is the 28th birthday of my 1990 record “EYE”. The picture at the bottom is the promo shot we used at the time and marks the inception of my last mullet haircut phase, which sadly didn’t end until 1993.  “EYE” may not be the easiest listen, but it is my favourite collection of my own songs. The album was recorded in San Francisco during a period of great personal turbulence. I was breaking up with two people at once and the misery shines through all these years later. Rock on universe! To celebrate the album’s Saturn Return, we created a new t shirt that riffs on the original album artwork.

Promotional clip for Robyn Hitchcock’s ‘EYE’ record. Made in early 1990 in London by Tony Moon & Robyn Hitchcock. 
Fast forwarding into the bewildering present, I have a new 7 inch vinyl coming out on Record Store Day this year. The release is a live recording of three tracks from my 2017 show at The Troubadour in Los Angeles with His LA Squires. The A Side is “Insanely Jealous” and the B Side is “I Pray When I’m Drunk” and “If You Were A Priest”. Get to your local record store on April 21st