The Winterlings’ pensive musings and sedate soundscapes take on an extra edge on American Son, an album that finds the duo — Amanda Birdsall and Wolff Bowden — making a concerted comment about the darker side of the American landscape in an era dominated by Trump, ugliness and uncertainty. While there are still tranquil tones present amidst the forlorn ambiance that shrouds the album overall, it takes some effort to find any light peering in between the low hanging clouds. Like others of their ilk — Shovels & Rope, the Innocence Mission and Over the Rhine in particular — The Winterlings make few concessions to commercial credence, but their beautiful folk-tinged songs are so uniformly affecting, no extra additives are necessary, even in the midst of more somber sentiments. The bare-boned arrangements evoke a kind of sepia tinged, gothic/gospel divide, a sound that imagines an evening lit by the fading embers in a fireplace as snow covers the surrounding terrain and a gray stillness fills the winter air. Remarkably evocative and emotionally inspired, title song “American Son” is an anthem for the ages.
A 3CD clamshell box set of TODD RUNDGREN’S LEGENDARY PERFORMANCES at the ROXY THEATER IN WEST HOLLYWOOD IN MAY 1978 Includes the entire concert from 23rd MAY 1978 with guests STEVIE NICKS, DARYL HALL & JOHN OATES, RICK DERRINGER, SPENCER DAVIS & KASIM SULTON
Esoteric Recordings is pleased to announce the latest release in the Todd Rundgren Archive series, “ALL SIDES OF THE ROXY 1978”. In May 1978 Todd Rundgren performed a series of concerts at The Roxy Theater in West Hollywood, California with a band comprising members of The Hello People (Bobby Sedita, Larry Tasse, Greg Geddes & Norman Smart) along with keyboard player Moogy Klingman, bassist John Seigler and drummer John “Willie” Wilcox.
The highlight of this residency was a concert on the 23rd May 1978 which was the largest concert simulcast on American FM radio at that time with an estimated audience of over ten million listeners. Hosted by the legendary DJ Wolfman Jack (himself the inspiration for a song on Rundgren’s “Something Anything” album), Todd tore through a wonderful set that included material from both his solo albums (including the recently released “Hermit of Mink Hollow”) and his work with Utopia. He was joined on stage by such illustrious company as Daryl Hall & John Oates, Stevie Nicks, Spencer Davis, Rick Derringer and Kasim Sulton (of Utopia).
This three disc clamshell boxed set includes the entire set from the 23rd May concert over two discs, along with a third disc comprising other soundboard recordings made by Todd during his residence of shows at The Roxy. This release also features an illustrated booklet and is a welcome addition to Esoteric Recordings’ Todd Rundgren Archive series.
Newly re-mastered, this anthology features all of Spirit’s recordings for the Ode and Epic labels between 1968 and 1972 and notably includes the entire mono mix of the band’s self-titled debut album (appearing on CD for the first time), the complete soundtrack to the film The Model Shop, along with original 1968 stereo mix of The Family That Plays Together, associated out-takes, singles and alternate mixes undertaken in 1991 for the Time Circle compilation. It Shall Be also includes an illustrated booklet with essay by Malcolm Dome featuring archive interviews with Randy California and Ed Cassidy.
Esoteric Recordings are pleased to announce the release of a new 5CD remastered clamshell box set by the legendary American band SPIRIT. Formed in Los Angeles in 1967 from the remnants of The Red Roosters, SPIRIT was one of the great bands to emerge on the US West Coast in the Psychedelic era. Featuring the talents of 16 year old guitarist Randy California (who had played guitar with Jimi Hendrix in New York the previous year), his step-father drummer Ed Cassidy along with Jay Ferguson (vocals, percussion), John Locke (keyboards) and Mark Andes (bass), Spirit signed to producer Lou Adler’s newly established Ode Records label in late 1967. Their self-titled debut album appeared some months later and demonstrated the breadth and diversity of the band covering psychedelic, rock and jazz influences and featuring such legendary cuts as Fresh Garbage, Uncle Jack,Topanga Windows, Mechanical World , Elijah and Taurus (the subject of a court case decades later when it was alleged Led Zeppelin had taken the musical structure of the piece as a basis for Stairway to Heaven). The band’s follow-up album, The Family That Plays Together, spawned the hit single I’ve Got a Line on You and was one of their finest works thanks to material such as It Shall Be, Aren’t You Glad, Silky Sam and Darlin’ If. Leading up to the recording of 1969’s Clear album Spirit recorded the soundtrack to Jaques Demy’s film The Model Shop. In 1970 Spirit recorded the classic The Twelve Dreams of Doctor Sardonicus for Epic Records, from which the single Animal Zoo was taken and included excellent material such as Nature’s Way, Mr Skin, SpaceChild, Morning Will Come and Soldier. Sadly the original line- up of Spirit fell apart some months later leaving just Ed Cassidy and John Locke to assemble a new incarnation of Spirit for 1972’s Feedback, which saw brothers Al and John Staehely join the band on bass and drums respectively. Spirit went on hiatus soon after, although California and Cassidy would continue to tour and record as Spirit on and off until California’s untimely death in 1997.
The Canadian combo known as The Deep Dark Woods have been putting out superb albums for several years, all of consistent quality and well worth the notice. Their latest, Yarrow, is no exception. Cloaked in an even deeper and darker ambiance, this multi-talented sextet creates a furtive folk noir that evokes the sound of wind blown prairies, far-flung environs and a craggy wilderness milieu. It’s all atmosphere to an extent, and indeed preoccupied with circumspect, but the occasional moments of upbeat energy suggest the Band in all their archival glory. Mostly, the music moves at a deliberate pace, a stoic sound that keeps a deliberate focus and cohesive embrace. These reverential tones can be both hypnotic and harrowing, all the better to seize on the senses and make an indelible impression. Take time to listen… Yarrow demands full attention.
“Fallen Leaves,” from The Deep Dark Woods’ forthcoming album Yarrow, gushes acetone and saline, burning and cleansing the memory of lovely Annie, dead and gone. The song is a sideways pass at recreating the sound of country keyboard legend Augie Meyers.
“Drifting On A Summer’s Night”, performed by The Deep Dark Woods. Video footage from “Not So Easy: A Motorcycle Safety Film (1973)”
It’s Been two years since Athens, GA basedRoadkill Ghost Choir has taken listeners on a ride. With the arrival of ‘False Youth Etcetera’, brothers Andrew & Zach Shepard have outgrown their roots in a supersonic fashion. This desire to explore new musical terrain was only bolstered by Shepard’s adoration for similar sonic explorations and artists transcending their genre to create a unique sound – rooted in influences such as The War on Drugs, Neu! and Bruce Springsteen.
The result is an album that beautifully delivers the group to a whole new infectious, cosmic terrain.False YouthEtceterais now available for the first time on 12″ double disc black vinyl from Freakout Records.
Legendary performance, live at the Grande Ballroom, Detroit. Recordedlive includesthe complete WRIF-FM broadcast, Digitally remastered for greatly enhanced sound quality, This is an explosive show by Cream very early in their career. It seems to be the entire performance which is also a big plus. I tip my hat to the fellow who took the time to remaster a wealth of great Cream shows on tape. It’s not an excellent soundboard recording as is suggested. It sounds like a couple of generations back from the original as the crispness and clarity of most master board recordings is missing. Because of the slightly muddy sound quality this one loses a couple of points but overall is still a must-have for any Cream fan, fanatic or casual, simply because of the blistering performance and completeness of the recording. Clapton’s licks here are exciting. Ignore the above review because this is one of Cream’s best-ever concerts. It seems that so many people jump on the bandwagon when it comes to live Cream–“Oh, this is soooo self-indulgent,””Oh, these jams are too long and Clapton is too excessive,-you know what? Many people like to say that because for decades, ignorant, hack rock critics have come up with the stereotype of Cream as a self-indulgent live band who made studio albums that were far better. Critics don’t play on the level of Clapton.
Cream is truly underrated when it comes to jamming. They didn’t do pot or acid to get them jamming (although they did do other drugs, but not to intentionally effect the music), like the Dead or Quicksilver. They were musicians who listened to each other and created some of the best improvisational jamming in rock.
Cream, live at the Grande Ballroom, Detroit, MA on October 15th 1967
White-hot from two months of touring the US, Cream played this remarkable show shortly before the release of the album “Disraeli Gears”. Regarded by some as the finest live document of the trio in existence, it typifies their explosive chemistry, with some outrageous wah-wah from Clapton, thunderous bass from Jack Bruce, and virtuoso drumming from Ginger Baker. This show from Detroit’s Grande Ballroom on October 15th 1967, originally broadcast on WRIF-FM, is presented in full here
Disc One
1. Tales Of Ulysees2. N.S.U3. Sitting On Top Of The World4. Sweet Wine5. Rollin’ & Tumblin’, Disc Two
1. Spoonful2. Steppin’ Out3. Traintime4. Toad5. I’m So Glad,
Steve Winwood formed Traffic with Jim Capaldi, Dave Mason, and Chris Wood in 1967. In the spirit of the times, the group was intended to be a cooperative, with the members living together in a country cottage in Berkshire and collaborating on their songs. Signed to Island Records their single “Paper Sun,” peaked in the U.K. Top Five in July 1967 and also spent several weeks in the lower reaches of the charts in America. Traffic recorded two sessions for Saturday Club and Top Gear shows in 1967. Session 1 first aired October 1967 while Session 2 first aired December 1967 recorded for the BBC Top Gear programme. Both are released here for the first time. Traffic also toured Europe and the live recording that comprises part two of this album was also made for radio broadcast, this time in Sweden at Radiohuset, Stockholm on September. 12th, 1967
Limited numbered 12″ x 12″ box set containing seven original albums on hi-def CDs in cardboard mini LP sleeves: Quicksilver Messenger Service, Happy Trails, Shady Grove, Just For Love, What About Me, Quicksilver, and Comin’ Thru. The boxset also includes an LP size luxury 28 pages booklet with liner notes by Richie Unterberger, rare photos and memorabilia, reproduction of the original eight LP’s album art in a 12” format and original Art 1′ x 2′ tour poster designed exclusively for this boxset by legendary graphic and poster designer Dennis Loren.
12’’ x 12’’ LP SIZE BOXSET FOR COLLECTORS ONLY !
NUMBERED super deluxe & Limited Edition of 1 000 units WORLDWIDE
INCLUDES 7 ORIGINAL ALBUMS IN PAPERSLEEVE DELUXE CD VINYL REPLICA
– Quicksilver Messenger Service, Happy Trails, Shady Grove, Just For Love, What About Me, Quicksilver, Comin’ Thru
LP SIZE LUXURY 28 pages booklet with:
· liner notes by by Jeff Tamarkin
· Rare photos And memorabilia
· Reproduction of the original LP artwork in a 12’’ format.
Nandi Rose Plunket teased the name of her second long-player as Half Waif back in June. “[The title] is the talisman we hold to heal ourselves and ward the night away,” she explained. Lavender – which follows the EP form/a on Cascine – was recorded over five months after moving to upstate New York: “I am exactly where I’m meant to be… it feels like an album I couldn’t have written before I was this age, and I wouldn’t have made the move up here before I was this age, so it’s a natural harmony of timing and need.”
She describes it as “elegy to time, the pilgrimages we take, and the ultimate slow plod towards aging. It takes place at dusk; its spirit animal is the heron, which I occasionally spied at the pond behind our summer house as the album gained shape. It’s an examination of the way we fracture over time, inside ourselves and inside our relationships – the fissures that creep along the structures we build, the tendency towards disintegration.”
His irreverent subject matter and genre-fluidity has garnered him a cult following online but now Gabriel Black is ready to take his message to the people. Born in New Jersey and raised in Bethlehem, Pennsylvania, Gabriel Black’s interest in performance stemmed from his love of legendary hip hop artist Immortal Technique. “His message really drew me in as he was a very political rapper and I was a very political kid at the time” he says. After dropping out of college in Boston Gabriel found himself working at Immortal Technique’s label Viper Records in New York who set him up with an apartment on the Upper West Side.
A bout of self-doubt settled in leading our young songwriter to Monterey, California where isolation and boredom led him to creating some of his greatest work.
“Monterey is this little coastal town, it’s actually pretty beautiful. I had one friend there and I’d go out to bars with him like once a week. Other than that, I would just stay in the house all the time” he explains “I don’t know what it was but when I was in Monterey I started to make all this music. It was the most efficient and crazy musical and creative time of my life.”
Whilst there Gabriel wrote “sad boy”, a song as diverse sonically as the cities it’s writer has resided, all bound together by Gabriel’s distinctive vocal tone and sparse production. This theme entrenched in simplicity runs through all his offerings from the eerie falsetto of “Pine Trees” to the face melting guitar solo in “Freedom”.
