Archive for the ‘CLASSIC ALBUMS’ Category

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Next month Bob Seger releases a new album  “I Knew You When” is scheduled to arrive November 17th in stores, the veteran rocker has revealed some of the details surrounding the set.

It marks Seger’s 18th studio release — and arrives on the 49th year of his long-standing association with Capitol Records, making him the longest-tenured solo artist in the label’s history. According to the press release announcing the milestone, Seger’s discography now includes 13 platinum and seven multi-platinum sales awards, as well as a diamond certification for selling 10 million copies of his Greatest Hits LP. I Knew You When which follows the 2014 release of Seger’s most recent collection of new material,

“I Knew You When” collects a blend of covers and originals, as well as material that was earlier part of the trove of recordings Seger assembled for Ride Out. The sessions clearly found him in a reflective state of mind with respect to the spate of classic rockers we’ve lost over the last several years; the record’s first single, “Busload of Faith,” is a Lou Reed cover, and a tribute to Seger’s longtime friend Glenn Frey closes out the deluxe edition of the LP — which is dedicated to the Eagles co-founder’s memory.

The new album ‘I Knew You When’ due out November 17th featuring “Busload of Faith”:

Some bands make music, some make magic, and some others do both, and there was Fleetwood Mac….
I would love to dedicated this project to the wonderful people of Fleetwood Mac and also, of couse, my thanks to all the bands present on this project.
With love and respect
Renato Malizia

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All songs originally recorded by Fleetwood Mac

Discography 
Fleetwood Mac (1968)
Mr. Wonderful (1968)
Then Play On (1969)
Kiln House (1970)
Future Games (1971)
Bare Trees (1972)
Penguin (1973)
Mystery to Me (1973)
Heroes Are Hard to Find (1974)
Fleetwood Mac (1975)
Rumours (1977)
Tusk (1979)
Mirage (1982)
Tango in the Night (1987)
Behind the Mask (1990)
Time (1995)
Say You Will (2003)

Neil Young should have been on top of the world in 1973. The incredible success of Harvest finally took him out of CSNY’s shadow, “Heart of Gold” had become a Number One hit in 1972, and a 62-date arena tour sold out all over America. But the death of Crazy Horse guitarist Danny Whitten, a painful back disorder and the endless infighting of his backing band turned the tour into an endless slog. He had a ton of hits by this point, but he opted to devote a big chunk of the set to gloomy, brand new tunes like “L.A.,” “Don’t Be Denied” and “Yonder Stands The Sinner.” The new songs were captured on the live LP “Time Fades Away”. But it was greeted by a collective shrug when it came out in 1973 and its also been out of print for decades, but Neil diehards recognize it as an absolute classic and original vinyl copies are highly prized. Unsurprisingly, Young has a wildly different take. “My least favorite record is “Time Fades Away,” he said in 1987.

Neil Young had a rough childhood. His parents went through a nasty divorce and he was raised primarily by his mother, moving from town to town and constantly being the new kid in school. He poured these painful memories into “Don’t Be Denied,” a standout track from 1973’s long out-of-print live LP Time Fades Away. “I wore white bucks on my feet,” he sings. “When I learned the golden rule/The punches came fast and hard/Lying on my back in the school yard.” It ends with the rise of Buffalo Springfield, and the realization that even success wouldn’t make him happy. It’s one of the most personal songs he ever wrote, and he’s only played it three times since 1983.

There are so many albums in Neil Young‘s catalog that most fans wouldn’t miss a stray out-of-print entry or two. But that isn’t the case with his infamous “lost” 1973 live release, Time Fades Away.
Mostly recorded on a disastrous tour that found Young and his band slowly falling apart over 62 shows in early 1973, Time Fades Away should have come at a moment of triumph, since it arrived in the wake of his hugely successful Harvest LP. Platinum sales often bring their own set of problems, however, and for Neil Young, mainstream stardom proved a burden that started chafing almost immediately. “I felt like a product, and I had this band of all-star musicians that couldn’t even look at each other,” Young reflected in a 1987 interview. “It was a total joke.”
Of course, Young being Young, he didn’t exactly make the tour easy on himself, chiefly by opting to perform previously unreleased material for crowds expecting to hear the hits. Going on to call Time Fades Away “my least favorite record” and “the worst record I ever made” in the same 1987 interview, Young explained, “As a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nobody had heard before, recording them, and I didn’t have the right band. It was just an uncomfortable tour. It was supposed to be this big deal — I just had Harvest out, and they booked me into 90 cities.”
At this point, it’s hard to say who the “right band” would have been for Young, whose mental state grew progressively darker during the tour. All the same, the bloom was probably off the rose from the moment that former Crazy Horse guitarist Danny Whitten, who’d been slated to join Young’s band the Stray Gators for this series of dates, ended up being sent home to sober up  and soon died of a heroin overdose. The bad vibes grew to the point that drummer Kenny Buttrey quit partway through, replaced by the Jefferson Airplane‘s Johnny Barbata, and eventually, Young developed a throat infection that made things even worse.

Once Young and his crew actually started turning the tapes into an album, the problems continued, due to his decision to record using a new and fairly wonky digital mixing board whose idiosyncrasies left the whole thing sounding less than pristine. As a document of the state Young was in at the time, it was probably appropriate, but once it came time to try and remaster it for the CD format, they realized they’d have to go back to the original tapes and remix the shows all over again.
Still, there have been plans to reissue Time Fades Away on CD, most notably in 1995, when Young went so far as to schedule a November street date for the remastered disc. It was pulled before it ever got to stores, although test pressing copies have circulated for years (and ended up on YouTube, as you’ll hear in the video at the top). And in the vaults is apparently where Young intends for it to stay, despite the wishes of a growing number of fans — some of whom have signed a petition clamoring for its release.
In typically idiosyncratic fashion, in fact, it sounds like Young will release a Time Fades Away sequel before he ever sends the original to CD. Discussing his plans for the second volume of his Archives box with Guitar World in 2009, he mused, “One thing I’ll tell you about the next volume of Archives is that Time Fades Away II is in there. And it’s interesting because the whole thing has a different drummer than what was on that album. I switched drummers halfway through the tour — Kenny Buttrey was in there for the first half, and Johnny Barbata came in for the second. It’s a completely different thing, with completely different songs. So that’s interesting. There’s lots of stuff like that that I’m working on right now for the second volume.”

Carrie & Lowell was a huge addition to Sufjan Stevens’s catalog in 2015, so it’s no surprise that he’s revisiting the record to compile the outtakes, remixes and demos. Aptly named The Greatest Gift, Stevens’s new compilation will be out November. 24th, and lead single “Wallowa Lake Monster” ripples into a medley of breathy vocalizations and echoes of whomping horns and tinkling synths and keys, making up seven minutes of ethereal contemplation.

Gabrielle Papillon

Having released five wonderful studio albums over the last 15 years, Gabrielle Papillon stands alongside artists like Greg Laswell, Tori Amos, Ben Folds and Joanna Newsom as one of today’s best singer/songwriters. Indeed, her mixture of sweetly cautious singing, graceful lyricism, and sophisticated folk/rock tapestries makes her a highly distinctive, moving, and consistent creator. In other words, hers is a sound of bittersweet, luscious empowerment, and her latest offering, Keep the Fire, is her greatest observation yet. Filled with both charming introspections and catchy outcries—all of which are delivered via engrossing, ambitious and dynamic arrangements.

“This album is more a reflection of a moment in my life than any other record I’ve ever written,” Papillon says. “I had to rid myself of a good deal of baggage in order to really nurture the fire that would keep me going. I had to be critical about what I needed and what I had to let go of, in my personal life.”

Gabrielle Papillon’s new album ‘Keep the Fire’ will be available on October 13th, 2017 through The state51 Conspiracy.

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A few years after the break-up of much-loved Australian indie stalwarts The Lucksmiths, three quarters of the band quietly got together again as Last Leaves. With songwriter and guitarist Marty Donald assuming vocal duties alongside longtime collaborators Louis Richter (guitar) and Mark Monnone (bass), and joined by drummer extraordinaire Noah Symons (Great Earthquake), they began work on a body of songs that – a few years later again – finally finds release in their remarkable debut album ‘Other Towns Than Ours’ .

It’s been worth the wait. The ten songs here showcase a band already at the top of its game, from the perfect fuzz pop of first single ‘The World We Had’ and the irrepressible jangle of ‘Something Falls’ to darker moments like mesmeric closer ‘Where I Lived and What I Lived For’ and the downbeat Silver Jews swagger of ‘The Nights You Drove Me Home’ (“the past is just a single-star motel/It’s nowhere you should dwell/A room to rest awhile”).

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Sounding like a lost classic from the Summershine imprint, second single ‘The Hinterland’ recounts a country convalescence: “From an upstairs window at your parents’ place/You saw the sun set where the highway cuts across the hinterland/Tail-lights fading in the twilight/It was more than you could stand.” Meanwhile, the off kilter, psychedelic-tinged country-soul(!) of ‘Third Thoughts’ finds cause for a lover’s lament in the glimpse of a road afforded by a newly fallen tree, and ‘Other Rivers’ showcases some impressive guitar work that will surely please the most zealous Lucksmiths fan.

Musically, Last Leaves is an altogether different beast from their previous band, Symons’ ever-inventive drumming and Monnone’s sinuous basslines underpinning melancholic melodies, and Richter’s guitar veering from fragile to ferocious, often in the course of one song.

The album was recorded by UK producer Gareth Parton (Foals, The Go! Team) over the course of almost three years, between Melbourne’s inner-northern suburbs and the band’s base in the hills to the east of the city. Donald’s move there some years ago is reflected in the satellite towns, country roads and mountainside motels of ‘Other Towns Than Ours’; as ever, a profound sense of place remains central to his songwriting.

The album is available on LP, CD, and digital download and is co-released with the Lost and Lonesome Recording Company of Australia so please support your local label. The official release is October 20th,

War Child deluxe

Released 42 years ago on October 14th, 1974 Jethro Tull “War Child

“War Child” is the seventh studio album by Jethro Tull , released in October 1974. It was released almost one-and-a-half years after the release of “A Passion Play”. The turmoil over the critics of the last album and the supposed break up of the band surrounds the production of War Child, which obliged the band to do press conferences and explain the next plans for Jethro Tull

Much of the music derived from past recording sessions of the band. “Only Solitaire” and “Skating Away on the Thin Ice of a New Day” were left over from the summer of 1972, writing sessions for what was to have been the follow-up to “Thick As A Brick”. The basic tracks and lead vocals for those two songs were recorded during September 1972 sessions in France. “Bungle in the Jungle” also shares some elements with material recorded in September 1972. Ian Anderson “It was actually late ’72 or early ’73 when I was in Paris recording an album that never got released, although one or two of the tracks made it out in 1974, but that was at a time when I was writing an album that was exploring people, the human condition, through analogies with the animal kingdom.“Two Fingers” is a rearrangement of “Lick Your Fingers Clean”, a track from the “Aqualung” (1971) recording sessions that was not included on that album’s original release.

The album prominently features string orchestration from David Palmer across an eclectic musical set, with the band members, as the two predecessor albums, playing a multitude of instruments. The music is lighter and more whimsical than the dark A Passion Play, with hints of comedy in the lyrics and the music’ structure. Although, the lyrics still unleash lashing critiques of established society (as in “Queen and Country” and “Bungle in the Jungle”, religion (“Two Fingers”) and critics (“Only Solitaire”)

Jethro Tull

In just five short years, Weaves have become one of Canada’s most renowned indie rock bands, their debut full-length album earning prestigious nominations for both the Polaris Music Prize and the Juno Awards. Little more than a year later, the Toronto quartet returns with Wide Open, a contemplative, expertly-crafted follow-up that greatly expands the band’s sonic spectrum without abandoning their core pop punk ethos.

The band has referred to their latest offering as its “Americana” record, a comparison that starts to make sense when it’s not taken literally. Indeed, Wide Open is a record that gathers disparate influences and styles, including a variety of roots-indebted sounds, and merges them into a surprisingly cohesive whole: the infectious power pop of “Walkaway,” the album’s centerpiece; the experimental jazz stylings of “Scream,” which features Tanya Tagaq; the Tom Petty-esque heartland rock of “Grass;” and the gentle bedroom folk that begins “Puddle.”

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Lead singer Jasmyn Burke has also sharpened her focus as a songwriter, which is most apparent on socially-conscious anthems like “Wide Open” and “Scream.” “We are living in a time when misery is just common circumstance,” she sings on the latter. “I am frozen, I’m sublime, I am searching for some fresh watermelons.” Whether they’re incorporating fresh sounds or crafting newly-inspired punk didactics, Weaves has never sounded as self-assured, or as resolutely urgent, as they do on Wide Open.

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Robert Plant  –  Carry Fire

Robert Plant releases Carry Fire, his 11th solo album on Nonesuch Records. The self-produced album is Plant’s first since since 2014’s Lullaby and…The Ceaseless Roar. As with that record, Robert is accompanied here by The Sensational Space Shifters, along with some guests, such as Chrissie Hyde and Seth Lakeman.

CD – The CD packaging is deluxe thick card with a beautiful satin finish and is accompanied with a 12-page booklet featuring lyrics.

2LP – Double 140 Gram Vinyl with side four etched. The vinyl packaging is thick card Gatefold with a beautiful satin finish and is accompanied with a 4-page booklet featuring lyrics.

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King Gizzard and the Lizard Wizzard – Sketches Of Brunswick East

Sketches Of Brunswick East is King Gizzard and the Lizard Wizard 3rd album of five in 2017 and a collaboration with LA’s Mild High Club. Just when you think you have King Gizzard and The Lizard Wizard sussed they throw a curveball – in the wake of two albums released in 2017 already, including most recently the dystopian end-times concept album Murder Of The Universe, which tackled in no uncertain terms the rise of robots and the downfall of mankind, comes Sketches Of Brunswick East, an entirely altered beast. Australia’s finest and most productive rock band have done this before, of course: while the world was still reeling from their 2014 breakthrough psych-punk masterpiece I’m In Your Mind Fuzz (2014) they casually released 2015’s expectation-confounding Paper Mache Dream Balloon (2015), a pastoral, sun-drenched acid-folk album. Sketches Of Brunswick East is a collaboration between King Gizzard and Mild High Club, the Los Angeles based tripster troupe signed to Stones Throw Records and led by Alex Brettin – the two bands formed a strong friendship touring together throughout the USA, Europe, and Australia. Recorded at the band’s own Flightless HQ in East Brunswick, Melbourne Australia earlier this year and mixed at Stones Throw studios in L.A. it’s the third of five projected albums to be released in 2017.

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The Barr Brothers  –  Queens of The Breakers

All versions come with a bonus 5 Track CD of demos. Queens of the Breakers is The Barr Brothers’ finest work yet, a collection of 11 hypnotically fluid songs that speak to the raw, elemental power of reflection, forgiveness, loss, and growing up. The record finds the band, featuring brothers Brad (guitar) and Andrew Barr (drums), and Sarah Pagé (harp), further on their thrilling path of exploring the outer limits of folk, blues, rock and Americana made north of the American border.

LP – Black Vinyl with Download.

LP+ – Gatefold Jacket with embossed titles with 2 pockets open. Translucent Light Blue Single Vinyl hosted in dust sleeves. Limited Edition including 12’’x24’’ Exclusive Folded Poster. MP3 download included.

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Lomelda  –  Thx

Hannah Read has written and performed as Lomelda for most of her musical life. The project has been her outlet from the slow, shaggy days in her east Texas hometown of Silsbee, through moves to Waco and Austin, and into her wandering present. Her music is textural and spacious. Her words are suggestive snapshots of loosely knitted observations, depicting quiet moments between friends and lovers and half-remembered celestial occurrences. In her songs, the memory of the past and glimpses of future stretch out on either side of you, and the present is unsteady and always shifting.

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Courtney Barnett and Kurt Vile  –  Lotta Sea Lice

A conversation between friends, documented in raw, unvarnished song form, brimming with personal history, crackling with energy and shot through with humour – this is the collaborative album of Courtney Barnett and Kurt Vile.Two of the most acclaimed and gifted song writers of our generation Lotta Sea Lice also sees them roping in friends such as Dirty Three, Stella from Warpaint and Mick Harvey to create a body of work that sounds organic and candid. Their shared chemistry is immediately apparent in the breathtaking jam of opener and first single Over Everything, while Continental Breakfast showcases a more melodic side as the two harmonise over finger-picked acoustic guitars. The two pay homage to 90’s cult heroes Belly with a gorgeous cover of their classic Untogether and even celebrate their mutual respect by covering each other’s music later in the album. This is an intimate glimpse into the shared musical world of Courtney Barnett and Kurt Vile.

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HMLTD  –  Satan, Luella and I / Kinkaku-ji

HMLTD have emerged over the last twelve months and established themselves as the most thrilling and vital new band in years. Music, fashion and art collide to create an assault on the senses, their highly-individual pop a whirlwind of creativity and ideas. Satan, Luella and I is the latest instalment, following the singles To The Door and Stained. It’s a six minute kaleidoscopic, rapturous musical joyride. Flamboyant and freewheeling, the band’s imaginations have created a musical world that envelops the listener. The track is backed by live favourite Kinkaku-ji. Natural born performers, their live shows are already a vital experience as they turn each room they play into their own, blurring the lines between concert and exhibition, and between performers and audience.

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Josienne Clarke and Ben Walker The Birds EP

Rough Trade Records release The Birds EP as a very limited edition 12” – 650 copies worldwide. The Birds is a suite of six songs that explore the themes of migration and departure. These are songs of autumn and shorter days, of flying south and the first feelings of early winter. It is deliberately dark and melancholic and ever so slightly sinister in places. In contrast to the full band-sound so exquisitely captured on their 2016 album Overnight, Josienne and Ben chose to record in a minimalist way using only instruments that they could play in Ben’s basement home studio. It also allowed Ben the opportunity to experiment with Moog and drum machine rendering the songs with a subtle electronic text.

The Who, Tommy  – Live at the Royal Albert Hall

In spring 2017, in support of the Teenage Cancer Trust, The Who played the classic Tommy in full, plus an encore set of seven greatest hits at London’s historic Royal Albert Hall.  This release includes every song from the 24-track studio album performed live, including Side Four’s “Welcome”.  Available in a variety of physical formats plus digital video and audio.

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King Crimson – Official Bootleg: Live in Chicago, June 28th, 2017

Two CD set, taken from the band’s most recent US tour. Media-book presentation with 24 pages booklet featuring photography by Tony Levin & David Singleton. Sleeve Notes by Robert Fripp & David Singleton. Featuring many iconic King Crimson pieces performed live by this line-up for the first time – some being played live for the first time ever, including: Islands, The Lizard Suite, The Errors, Fallen Angel, Cirkus & more.. “If we are looking for a KC live (show); Chicago was exceptional” – Robert Fripp “One of our best” – Tony Levi.

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The Replacements –  For Sale – Live at Maxwell’s 1986

Super limited copies with promo stuff – Postcards, Matches, Cut out figures and posters. In February 1986, The Replacements performed a classic live show at Maxwell’s in Hoboken, NJ. Until now, that pristine recording of the legendary performance has only been available in low-quality bootleg form. Even so, Pitchfork has called the show “a fiery, focused set that would make a true believer out of any skeptic.” For Sale: Live At Maxwell’s 1986 finally make its commercial debut as a double-LP. This marks the first live album by the band to see an official release on this format. The show at Maxwell’s would prove to be one of the last great performances by the four original members of the Replacements, a much beloved line-up including Bob Stinson on guitar, before his departure from the band in 1986. The songs they played spanned the band’s entire history while giving prominence to new material from Tim, including Bastards Of Young, Left Of The Dial and Kiss Me On The Bus. Mixed in were favourites like I Will Dare from Let It Be (1984) and Color Me Impressed from Hootenanny (1983). The original 24-track master tapes of the show sat in the Warner Music vaults until being given a proper mix in 2007, but it would still be another decade before the concert would get its official release. Mehr writes in the album’s liner notes: “Now, a decade later, and more than 30 years after the original concert, Replacements For Sale finally offers high-fidelity proof of the peculiar alchemy and unadulterated majesty of one of rock and roll’s greatest bands.”

2CD – Gatefold Softpack with Booklet.

2LP – Double 140 Gram Vinyl housed in Gatefold Sleeve.

Various Artists  – Woody Guthrie, The Tribute Concerts

There’s no shortage of celebrations for the legendary folk troubadour, but few as star-studded as the landmark concerts held in 1968 at New York’s Carnegie Hall and then in 1970 at the Hollywood Bowl.  These remarkable affairs saw Guthrie collectively saluted by such luminaries as The Band, Bob Dylan, Odetta, Joan Baez, Jack Elliott, Arlo Guthrie, Country Joe McDonald, Richie Havens, Tom Paxton, and Pete Seeger.  Bear Family has boxed up these amazing pieces of history as a lavish 3-CD box set that’s not to be missed!

 

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It’s not hard to understand why the latest album from Montreal rockers Suuns didn’t seem to catch quickly upon release; it’s not an easy album. This is a four listen album at least in a one listen world. It takes a tremendous amount of trust in a band, from the fans, from the label, from the producer (John Congleton) to allow them to push so far ahead musically into a place almost completely untethered from the present, but ultimately it was the right move. A band consumed by the future, they experiment tremendously with space on this album, as in periods of silence between notes that serve as their own instrument. Gradually as one listens, the realization sinks in that your mind and ears weren’t ready for this type of album yet.

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Montreal’s Suuns create some of the most sinister music of the moment. The quartet, whose name is pronounced “soons,” make their synths and guitars needle and throb, while the beats behind them land with a deadly depth. There’s a bit of vintage Suicide in the sound, only slower, as well as some Velvet Underground, but with even more drone. Suuns formed in 2007 with singer/guitarist Ben Shemie (who sounds like Radiohead’s Thom Yorke on thorazine) and guitarist/bassist Joe Yarmus. Their debut, , “Zeroes QC” had songs you could dance to. Only Frankenstein’s monster could shake it to the new one. Luckily, its shrouded mood draws you in, clicking, flickering and twisting in a world of dark wonder.