Archive for the ‘CLASSIC ALBUMS’ Category

Robert Plant And The Sensational Space Shifters: Live At... [DVD] [2018] [New DV

Robert Plant has released a video showcasing a live performance of “Season’s Song” with his band the Sensational Space Shifters. The track appears on his latest album “Carry Fire”, which was released in October. “On this collection, there’s 11 songs – there’s thousands more under the pillow,” Plant tells the audience in the video, which was filmed in Manchester on November 30th. “And this is a topical song, really. It changes every day, but the sentiment remains the same.”

In a recent radio interview, the former Led Zeppelin singer hailed the Sensational Space Shifters for their worth ethic and attitude. “The guys I play with are superlative,” he said. “They’re the greatest guys on the planet and they’re very, very good fun. Very silly. It’s kind of like a school trip when we go on tour. It couldn’t be more charming and humorous.”
Robert Plant also mentioned  his songwriting process with the group. “To be able to write with these guys and to come out with the songs, we feel very accomplished,” he noted. “I don’t see it breaking doors down, but … at this particular time in my existence, for me it is breaking doors down – because it’s telling me that I can actually be moved through time and still not repeat myself and not end up like some kind of a one-trick pony.”

Plant also recently confirmed the release of a new concert DVD, Robert Plant and the Sensational Space Shifters “Live at David Lynch’s Festival of Disruption”, which was recorded in Los Angeles in 2016.

Robert Plant’s “Live at David Lynch’s Festival of Disruption” track listing:
“Poor Howard”
“Turn It Up”
“Black Dog”
“Medley: The Enchanter / Rainbow”
“Babe, I’m Gonna Leave You”
“Little Maggie”
“Medley: Hoochie Coochie Man / Whole Lotta Love / Mona”
“Going To California”

Proceeds from the video’s sale will go toward the David Lynch Foundation, and will be released on February. 9th.

nadine oh my

Collaborative projects maintained from a distance are rather commonplace in today’s musical climate, but few retain the intimacy and ingenuity of nadine.  the three-piece is the creative byproduct of Nadia Hulett, part of the collective phantom posse, and Julian Fader and Carlos Hernandez, both of  Ava Luna.  though spread out across the country in different cities at different times, the trio linked up outside of Austin to cut oh my, an effortless, adventurous pop exercise in the form of a debut album.

Here to remind us that music is not just an audible experience, Minneapolis / New York’s Nadine make melodies that transcend acoustics. Their debut album Oh My is collection of sophisticated modern pop songs that resonate in the gaps, the space between deadlines and timelines. More akin to poetry set to music, Nadine is all about exploring feeling. Whilst most poets revel in the personal, Nadine’s process is collaborative whose core is singer Nadia Hulett (part of the loose collective Phantom Posse) and Julian Fader and Carlos Hernandez .

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The trio’s practice is marked by their commitment to playfulness, curiosity, and fluidity. Nadine’s songs have one foot standing firm in pop, but ebb and flow with exploration and experiment. Recorded over two years in Gravesend Studios in Brooklyn, NY and Dripping Springs in Austin, TX. Polyphonic melodies swing and gambol, instrumental layers take generous flourishes and unexpected turns with an ear to the wondrous and occasionally weird, crafting jazz-tinged lounge-pop all held together by Hulett’s characteristic vocals, strong with a sincerity and gentleness that holds the listener.

nadine’s debut is out today via father/daughter in the united states and memphis industries everywhere else.

The Free Way Or The ‘Highway’

The summer of 1970 was a magic time for Free. They announced themselves to a wider audience as one of the most soulful rock bands of the new decade with an all-pervading tune called ‘All Right Now.’

Not only did the song reach No. 2 and help the parent album Fire and Water to the same runner-up spot in the UK, but ‘All Right Now’ became a top 15 hit twice more in just eight years, and charted four times in total in 12 years. Then came time for the follow-up album Highway, which made its UK chart debut on 23rd January, 1971.

This album was recorded very quickly after the band’s triumphant performance at the Isle Of Wight Festival. However, the band were now in a very relaxed frame of mind. They’d gained the big breakthrough in their career and could now capitalise on it.

Again Rodgers and Fraser wrote the bulk of the material, seven of the tracks. And there was an ease here that comes across in the way that all four members perform. However, it was Kossoff, despite his infamous problems at the time, who sounds best of all. It’s as if he’d found a new level. The disappointment is that the band broke up after this, and later regrouped under stressful circumstances.

There are those who decry ‘Highway’, regarding it as being a lesser work than ‘Fire And Water’, but when you look at the track listing, how many of those songs instantly bring to mind the melody involved. These were songs of a high calibre and stature.

But, given the enormous success of what had gone before, nobody should be surprised that ‘Highway’ wasn’t a big a success, only getting to number 41 in the UK and 190 in the US. But don’t undervalue what’s here musically.

Free had confirmed their place in the top division at the Isle of Wight Festival at the end of August. Appearing on the closing Sunday bill, they performed that big hit among other originals, ending with a version of Robert Johnson’s ‘Crossroads. That Isle of Wight set also saw Free confidently introducing several songs that not only weren’t out, but hadn’t even been recorded yet.

‘The Stealer,’ ‘Be My Friend’ and ‘Ride On A Pony’ were all about to be laid down in the September sessions at Island Studios that produced the Highway album. Seven of the nine songs were collaborations between lead singer Paul Rodgers and bassist Andy Fraser, with guitar hero Paul Kossoff joining them on the credit for ‘The Stealer.’ Drummer Simon Kirke co-wrote ‘Love You So’ with Rodgers.

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Highway is an album of gentle pleasures, more low-key and less rocky than much of Free’s trademark material. ‘Sunny Day,’ ‘Love You So’ and ‘Bodie’ all exemplify the more thoughtful approach. But for whatever reason — the lack of a hit single doubtless a key factor — the stars weren’t aligned this time. Highway enjoyed much less of an endorsement than its predecessor, both from the media and the public. In the UK, it reached a mere No. 41 and was off the chart in two weeks, as it was in America, with a No. 190 peak.

The band fell into disharmony, their continuation together prolonged almost by chance, when they recorded ‘My Brother Jake’ early in 1971 before going their separate ways…and promptly saw it reach the UK top five, with which they resolved to work together again, happily for fans who snapped up both Free At Last and Heartbreaker.

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Ryan (the Marked Men, High Tension Wires, Radioactivity), alongside Peter Salisbury (Baptist Generals) on synth and Mike Throneberry (Marked Men) on drums, lead this modernistic, machine-like and cinematic version of the story of the Furies and have churned out something furious in return; “Furies” is their most electronic album, yet. Gone are any notions of Ryan’s former project the Marked Men and its style of winningly bombastic garage-pop. Since 2012’s Meltdown, Mind Spiders have been perfecting an aggressive, relentless, frenetic and melodic style of punk that is a long, dark shadow of DEVO but carries something much more sinister in its jaws as it slinks its way through the ears, illustrated by their lone, intensified cover of Grauzone’s 1980 hit, “EISBAER”. It’s a sound for the new dark ages, emboldened by urgency and sped along by some good old fashioned panic.

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Listening to Furies scrapes the inside of your skull and fills it with cold television fuzz. Ryan got that sound by design. “I bashed out the demos quickly to find the right feel,” he shares, “but then it took a long time to find the best way to record. Finally I figured out how to record the drums using drum pads and an old Yamaha drum machine. It worked really well. They sound artificial and harsh and electronic, but still have the feel of Mike’s playing. It set the right tone. After that, it all came together easily.” As most great stories often do.

Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each new release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces.

Wooden Shjips, are long-time leaders of the contemporary psychedelic movement, here the band expand their sound with V. The quartet of Omar Ahsanuddin, Dusty Jermier, Nash Whalen and Ripley Johnson augment their already rich sound with laid back, classic summer songs. The songs were written during the summer of 2017 by singer and guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. As Ripley tells it, “We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.

The first single “Staring At The Sun” is a nearly 8 minute laid back, slowly building narrative, whose lyrics tell of a gentle push and pull between the desire for sun and escape and the tug of anxiety, with peaceful resistance winning the day and guiding the tone. The restless traveler Johnson gives us a few of his signature traveling songs such as “Eclipse,” and “Red Line,” both showcases for the stellar rhythm section of Omar Ahsanuddin and Dusty Jermier. Their unparalleled sense of groove and restraint leaves ample room for Nash Whalen’s keyboard flourishes. There is movement and urgency in these tracks without aggression, a rolling foundation of rhythm over which Johnson’s voice floats and elongated melodic guitar lines soar.

Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that influenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The basics were recorded by Jason Powers at Types Foundry Studio in Portland. The guitars and vocals were largely recorded in Ripley Johnson’s comfortable home studio. The album was mixed by Cooper Crain (Cave, Circuit Des Yeux) who the band has formed close bonds with on tour. The instructions were simple “We told Cooper to keep it really fat but to feel free to play around with the other elements, make a nice headphone mix with a lot of movement,” said Ripley, “I wanted it to be floaty because that’s kind of where my headspace was at the time.”

The band’s members collectively share a love of classic rock from the Velvet Underground to Neil Young, as well as more overt love of the San Francisco scene of the 60’s.

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Releases May 25th, 2018

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The Secret Buttons describe themselves as a “dirty rock ‘n’ roll band from Perth, Australia,” and  listening to their album “Some Buttons Should Not Be Pushed,” proves right away what an apt and fantastic description that is. The Secret Buttons‘ debut EP is here. Raw & straight-up, this North Perth trio draw influences from the old & new school of RocknRoll,
delivering a new look at an old dog. Here they deliver 8 songs recorded in the unique & dirty rock style
that The Secret Buttons do best, lazy but fast, high-octane lethargy. It’s honest Rock’ n Roll made
from the basic utensils, bass, drums and guitar..

The band rocks in that timeless way, pairing a driving beat with growling rock vocals, it’s that good old power trio that’s worked for ages and continues to do so, from the Jimi Hendrix Experience to Nirvana to these fellas right here. It’s the perfect thing to listen to when you need a pick me up, a little energy, a little bounce in your step.

The guys from the band maintain a fantastic twitter account, which I high recommend following just because they are nice guys who post fun pictures and great music, and everyone needs more of that in their feed. And if it doesn’t convince you to check out their album,

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Palm has been in the list of 2018’s most anticipated albums for a reason; the band’s new tunes have consistently delivered on the fun and frenetic pop front. The Philly art-rockers will release Rock Island on February. 9th, but their latest is the lush, eccentric single “Composite.”

“Composite” is fidgety and sprawling, opening with an anxious guitar scratch before plunging into a ever-shifting landscape of opulent psych-pop. “You only like me in my most peculiar state on Saturdays,” singer Kasra Kurt discerns, “But I can’t harvest all the soft delusions central to your game.” The jittery melodies of “Composite” add colorful perplexity to his worry.

Rock Island is out February. 9th on Carpark Records.

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In 1973, Lou Reed hired the grandest band of his career, led by guitarists Steve Hunter and Dick Wagner. Their joint power gave the Velvet Underground classics emphasized in the set a heavy-metal girth, as well as a glam-rock grandeur. It’s captured in a 1974 live recording from a show the band gave at New York’s Academy of Music the year before. The performance is distinguished as much by the Hunter/Wagner dynamic as any vocal or composition from the star. The zenith actually arrives at the start: a three minute and twenty second intro to “Sweet Jane”  written by Hunter. It’s one of the boldest rock instrumentals of all time, anointed with an unfolding variety of righteous riffs, broken by solo spots for Hunter and Wagner. Throughout their set, Lou Reed gave the pair a wide berth, capped by a ten-minute take on “Rock ‘N Roll” that idealizes the song’s anthemic aspirations.

Hunter and Wagner dominate the set right from the start, with their mazy, melodic licks in the Intro seaming into the monster chords of Sweet Jane. Heroin is a slow burning epic, building up momentum into some blazing dual guitar interplay. Whilst White Light/White Heat is somewhat underpowered after such a start, the pace picks up again with Lady Day and the soaring closer Rock ‘n’ Roll, featuring more dazzling interplay between the leads.

The guitarists went on to enjoy a central spot in Alice Cooper’s solo group, idealizing the double guitar approach forged by Alice’s original band in the ’60s.

A remastered version was released on CD in 2000. It featured two tracks not included on the original LP release.

Further excerpts from the same concert were released in 1975 as Lou Reed Live (between the remastered Rock ‘n’ Roll Animal and Lou Reed Live the entire show has been released, albeit in a different order than the original concert). This live album’s stereo mix puts guitarist Dick Wagner on the right channel, and Steve Hunter on the left; this arrangement is reversed on Lou Reed Live.

Rock n Roll Animal is a live album by musician Lou Reed, released in February 1974 by RCA Records. In its original form, it only features five songs, four of which are songs by the Velvet Underground. The band were Pentti Glan (drums) and Prakash John(bass), Ray Colcord (keyboards), along with the twin guitars of  Dick Wagner and Steve Hunter  (The two guitarists would later form the basis of the second Alice Cooper band, beginning on Welcome to My Nightmare, which also features Glan and John.

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You can find plenty of other live recordings on the band’s streaming catalogue, but among the most potent was one cut, Live At Winterland 1973, which captures a special night. Cipollina left the band back in 1970 but he reunited with them for this show (as well as some later incarnations). It’s a very different sound for Quicksilver by this point, a fatter, harder style, which the two star guitarists made the most of. Some of their toughest, and tightest, work can be found on this live recording.

Quicksilver’s distinctive guitar player, John Cipollina, had left three years earlier to form Copperhead. But since that band was to open for Quicksilver on this bill, Cipollina agreed to play with the mother group as well. Quicksilver’s original bassist and singer, David Freiberg, also came back for the ride.

The lineup re-created the band’s best, and initial, configuration, with the addition of Dino Valenti. He was supposed to be the band’s singer from the start, but a drug bust put that off for four years. The Winterland show went so well, it led to a formal studio reunion for the band on the 1975 album “Solid Silver.”

The opening track Losing Hand  gives both axe men plenty of room to blow. With an added Latin percussionist and a surging organ, Quicksilver inches closer to the style of another great psych-San Francisco band, Santana. Their near nine-minute run at the classic Bo Diddley “Who Do You Love”  featured more dense and frantic solos from the two guitarists than the ’69 take, reproving, along the way, the equal power of the players.

The show highlights a band that never got its due, performing in a configuration that allowed it to sound better than it did on any other recording. It’s an air-guitar player’s dream come true, as well as a reminder of what a live band can sound like when everyone’s in ideal sync.

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Indie-pop powerhouse Melina Duterte, aka Jay Som, shared more new music this week via Pirouette, a 7-inch featuring outtakes from the “Everybody Works” sessions. She also released the b-side, a lovely jam titled “O.K., Meet Me Underwater.” It opens with a cascading Duterte guitar line that soon drops away, supplanted by her hushed vocals, steady bass and show-stealing percussion. The song transforms in unpredictable and exciting ways, rippling and changing like liquid. “If you’re feeling okay, meet me underwater,” Duterte urges, an invitation to immersion.

The A-side, “Pirouette,” an upbeat rock number with a great breakdown that rides on dreamy guitar arpeggios, has already been available . With the single’s official release Friday, the B-side, “O.K., Meet Me Underwater,” is now out too. The track features a similarly beautiful, but more characteristically laid-back groove, and works as a great compliment to “Pirouette.”

Listen to “O.K., Meet Me Underwater”