Weyes Blood and Ariel Pink join forces on Myths 002 for the second installment of Mexican Summer’s collaboration series. Composed and captured in Marfa, Texas during the annual Marfa Myths music and arts festival, the four songs of Myths 002 capture musicians at play—two distinct voices in pop music inexplicably, effortlessly folding into harmony.
In February of 1965, Melody Maker asked John Lennon about his enthusiasm for Bob Dylan material and Dylan interpretations. “I just felt like going that way,” he said about the new acoustic guitar-based material The Beatles were then recording at Abbey Road. “If I’d not heard Dylan, it might have been that I’d written stuff and sung it like Dominic Behan, or somebody like that.” Despite the non-committal answer, Dylan’s impact on Lennon was clear .
Out of the public eye, Lennon after being hipped to the album by George Harrison had spent summer 1964 absorbing Dylan’s Freewheelin’ album. All four Beatles smoked cannabis with Dylan. Lennon went further and confessed he’d written “a folky song which I try to sing in a Dylan style. I didn’t want to overdo it, but I like it.
Indeed, The Beatles weren’t the only British pop stars in thrall to Dylan. In openly acknowledging this, they and Donovan had been beaten to the record shops in 1964 by The Animals, whose first two singles – “Baby Let Me Take You Home” and “House of the Rising Sun” – reinterpreted material from Dylan’s first album, issued in 1962. Those were pre-existing songs covered by Dylan but when he began issuing his own compositions they were, in turn, also ripe for covering.
Any of Dylan’s songs were up for grabs and the enlightening, entertaining new 22-track compilation “Take What You Need: UK Covers of Bob Dylan Songs 1964-69” charts the early days of these endeavours on this side of the Atlantic. The oldest track is The Fairies’ version of “Don’t Think Twice It’s Alright”, issued on 31st July 1964. The latest are five tracks from 1969 which range from Joe Cocker to Sandie Shaw, and Fairport Convention to the Tim Rice/Andrew Lloyd Webber-sponsored The Mixed Bag.
Britain, though, was initially resistant to Dylan’s charms. He had been in London at the end of 1962 and appeared on television, as well as live at The Troubadour and other folk clubs. As the fine liner notes say, “few on the British scene were taken with Dylan; most were at best indifferent or, in the case of arch traditionalists Peggy Seeger and Ewan MacColl, completely dismissive.” There was one exception: the open-minded Martin Carthy. He alone was not going to help Dylan’s recognition.
So how did Bob Dylan become embedded in the fabric of British pop? The generalised opening of minds and ears integral to Beatlemania is one answer. Playing London in May 1964 helped push Dylan towards the pop, rather than niche folk, market. More specifically, bands like The Animals were blues fans who also liked folk and were on the lookout for material. Cover versions laid the table for the real thing – Dylan himself. Another factor was the high-profile support Dylan enjoyed in America which attracted attention in Britain. Joan Baez’s espousal did no harm and Peter, Paul and Mary’s version of “Blowin’ in the Wind” in June 1963 was a massive US hit. Handily for Dylan, the manager he shared with the latter was keen on cross-collateralisation. It all ensured 1964 became Dylan’s breakthrough year in the UK.
Take What You Need kicks off with The Fairies’ bouncy “Don’t Think Twice It’s Alright”, which features session-era Jimmy Page on guitar. It’s followed by Marianne Faithfull’s Baez-style “Blowin’ in the Wind” (on which Page probably also appears). She sings preciously, as if afraid of the song. The Fairies blast away with nary a care for the nature of the source material. This twin-track approach courses through the compilation: wholesale reinterpretation versus on-eggshells respect for what’s being recorded.
Artistically and commercially, the most successful of the Britain’s Sixties Dylan fanciers were serial Dylan interpreters Manfred Mann, whose still daisy-fresh “If You Gotta Go, Go Now” is sandwiched between the Ian Campbell Folk Group’s gloopy, portentous “The Times They Are A-Changin’” and The Cops ‘N Robbers‘ tense “It’s All Over Now Baby Blue”. Next up is Chad & Jeremy’s limp “Mr Tambourine Man”.
As the decade winds on, the mostly chronologically sequenced Take What You Need scoops up some extraordinary obscurities. Alex Campbell’s superb “Tom Thumb’s Blues” balances reverence for the material with spontaneity. Best of all is The Factotums’ romp through “Absolutely Sweet Marie”. Conversely, Cocker’s clod-hopping assassination of “Just Like a Woman” – with yet more Jimmy Page – is almost impossible to listen to.
Take What You Need is a wild ride. And it should be. During the years covered, it was open season on Dylan’s songs. The smooth comes with the rough and, in acknowledging this, the true nature of British musician’s response to Dylan is revealed.
Sony have announced the November release of a boxed set devoted to archival material from “the gospel years.” The nine-disc set, titled “Trouble No More – The Bootleg Series Vol. 13 / 1979-1981,” features more than 100 previously unreleased live and studio tracks from the three-year period that found Dylan recording and performing almost exclusively Christian material.
While it stands as the most controversial era of Dylan’s career (yes, even more controversial than the deliberately fan-alienating “Self Portrait”), that three-year period has long fascinated the most hardcore faithful, because of the fiery performances Dylan was turning in with one of the best bands he ever assembled in his five-and-a-half-decade career. The patience of the Dylan die-hards has been rewarded with a collection that includes 15 songs he never officially released in any form.
The main attraction of the set, though — available only as part of the CD package, not the download version — is a DVD of a newly assembled film, also called “Trouble No More.” The hour-long movie, which will have its public premiere October. 3rd at the New York Film Festival, screened for a small invited audience Tuesday night at the Sony lot in Culver City. About three-fourths of the film consists of pro-shot videotape of the gospel material being performed at 1980 tour dates. Between the songs, meanwhile, actor Michael Shannon appears in newly shot scenes playing an evangelical preacher and reading freshly scripted sermons, a curious artistic choice that pays off in thematically contextualizing the vintage concert material.
A few excerpts from the audio discs were played for invitees at the Sony gathering, including a walloping live version of “The Groom’s Still Waiting at the Altar” that features Carlos Santana as the guest guitar soloist. There were also A/B excerpts of live tracks to show how radically some of the “Slow Train Coming” songs evolved between the 1979 and ’80 tours, along with cassette recordings from tour rehearsals demonstrating very different arrangements Dylan tried out before ever taking the songs on the road.
The studio track that may generate the most immediate buzz is “Making a Liar Out of Me,” which a member of the Dylan camp described as so rare, it was “never even whispered about” before the September 1980 recording session was discovered recently. (The existence of the song was mentioned in a Clinton Heylin book, and the lyrics are said to be present in the Dylan archive at the University of Tulsa, but it otherwise has escaped any public notice.) There are 11 other studio versions of previously unreleased tunes that have only been heard on live bootlegs, if at all, including “Ain’t Gonna Go to Hell for Anybody,” “Cover Down, Pray Through,” “Thief on the Cross,” “City of Gold,” “Ain’t No Man Righteous, Not One,” “Stand by Faith,” and “Yonder Comes Sin.”
Guitarist Fred Tackett, a mainstay of Dylan’s band through the “Slow Train” and “Saved” tours, was in attendance at Wednesday’s screening, marveling at the 37-year-old footage. “We shot up in Toronto, and we were up two or three days doing it, and it just disappeared,” Tackett said. “Nobody ever heard about it again. Then Monalisa (Young), one of the singers, sent me a link saying there was a new mastered version of it, and I saw that, just the concert footage, but this is the first time I’ve seen the movie. Actually seeing Bob sing the songs, it’s just the best. I could sit here all night and watch it about three times. The mix is beautiful. I just wish Tim Drummond (the bass player, who died in 2015) could have lived to see it,” Tackett added.
You can now preorder ‘Trouble No More – The Bootleg Series Vol. 13 / 1979-1981’ as a Deluxe 9 Disc Box Set, featuring a DVD of never-before-seen footage from Dylan’s 1980 tours.
EXCLUSIVE BONUS 2-CD SET OF THE FULL LIVE SHOW FROM SAN DIEGO, 1979 WHEN YOU PRE-ORDER THE DELUXE 9 DISC BOX SET FROM BOBDYLAN.COM
LIMITED QUANTITIES WHILE STOCKS LAST…
Release date: 3rd November 2017
Disc 1: Live
1. Slow Train (Nov. 16, 1979)
2. Gotta Serve Somebody (Nov. 15, 1979)
3. I Believe in You (May 16, 1980)
4. When You Gonna Wake Up? (July 9, 1981)
5. When He Returns (Dec. 5, 1979)
6. Man Gave Names to All the Animals (Jan. 16, 1980)
7. Precious Angel (Nov. 16, 1979)
8. Covenant Woman (Nov. 20, 1979)
9. Gonna Change My Way of Thinking (Jan. 31, 1980)
10. Do Right to Me Baby (Do Unto Others) (Jan. 28, 1980)
11. Solid Rock (Nov. 27, 1979)
12. What Can I Do for You? (Nov. 27, 1979)
13. Saved (Jan. 12, 1980)
14. In the Garden (Jan. 27, 1980)
Disc 2: Live
1. Slow Train (June 29, 1981)
2. Ain’t Gonna Go to Hell for Anybody (Unreleased song – Apr. 24, 1980)
3. Gotta Serve Somebody (July 15, 1981)
4. Ain’t No Man Righteous, No Not One (Unreleased song – Nov. 16, 1979)
5. Saving Grace (Nov. 6, 1979)
6. Blessed Is the Name (Unreleased song – Nov. 20, 1979)
7. Solid Rock (Oct. 23, 1981)
8. Are You Ready? (Apr. 30, 1980)
9. Pressing On (Nov. 6, 1979)
10. Shot of Love (July 25, 1981)
11. Dead Man, Dead Man (June 21, 1981)
12. Watered-Down Love (June 12, 1981)
13. In the Summertime (Oct. 21, 1981)
14. The Groom’s Still Waiting at the Altar (Nov. 13, 1980)
15. Caribbean Wind (Nov. 12, 1980)
16. Every Grain of Sand (Nov. 21, 1981)
Disc 3: Rare and Unreleased
1. Slow Train (Soundcheck – Oct. 5, 1978)
2. Do Right to Me Baby (Do Unto Others) (Soundcheck – Dec. 7, 1978)
3. Help Me Understand (Unreleased song – Oct. 5, 1978)
4. Gonna Change My Way of Thinking (Rehearsal – Oct. 2, 1979)
5. Gotta Serve Somebody (Outtake – May 4, 1979)
6. When He Returns (Outtake – May 4, 1979)
7. Ain’t No Man Righteous, No Not One (Unreleased song – May 1, 1979)
8. Trouble in Mind (Outtake – April 30, 1979)
9. Ye Shall Be Changed (Outtake – May 2, 1979)
10. Covenant Woman (Outtake – February 11, 1980)
11. Stand by Faith (Unreleased song – Sept. 26, 1979)
12. I Will Love Him (Unreleased song -Apr. 19, 1980)
13. Jesus Is the One (Unreleased song – Jul. 17, 1981)
14. City of Gold (Unreleased song – Nov. 22, 1980)
15. Thief on the Cross (Unreleased song – Nov. 10, 1981)
16. Pressing On (Outtake – Feb. 13, 1980)
Disc 4: Rare and Unreleased
1. Slow Train (Rehearsal – Oct. 2, 1979)
2. Gotta Serve Somebody (Rehearsal – Oct. 9, 1979)
3. Making a Liar Out of Me (Unreleased song – Sept. 26, 1980)
4. Yonder Comes Sin (Unreleased song – Oct. 1, 1980)
5. Radio Spot January 1980, Portland, OR show
6. Cover Down, Pray Through (Unreleased song – May 1, 1980)
7. Rise Again (Unreleased song – Oct. 16, 1980)
8. Ain’t Gonna Go to Hell for Anybody (Unreleased song – Dec. 2, 1980)
9. The Groom’s Still Waiting at the Altar (Outtake – May 1, 1981)
10. Caribbean Wind (Rehearsal – Sept. 23, 1980)
11. You Changed My Life (Outtake – April 23, 1981)
12. Shot of Love (Outtake – March 25, 1981)
13. Watered-Down Love (Outtake – May 15, 1981)
14. Dead Man, Dead Man (Outtake – April 24, 1981)
15. Every Grain of Sand (Rehearsal – Sept. 26, 1980)
Disc 5: Live in Toronto 1980
1. Gotta Serve Somebody (April 18, 1980)
2. I Believe In You (April 18, 1980)
3. Covenant Woman (April 19, 1980)
4. When You Gonna Wake Up? (April 18, 1980)
5. When He Returns (April 20, 1980)
6. Ain’t Gonna Go To Hell For Anybody (Unreleased song – April 18, 1980)
7. Cover Down, Pray Through (Unreleased song – April 19, 1980)
8. Man Gave Names To All The Animals (April 19, 1980)
9. Precious Angel (April 19, 1980)
Disc 6: Live in Toronto 1980
1. Slow Train (April 18, 1980)
2. Do Right To Me Baby (Do Unto Others) (April 20, 1980)
3. Solid Rock (April 20, 1980)
4. Saving Grace (April 18, 1980)
5. What Can I Do For You? (April 19, 1980)
6. In The Garden (April 20, 1980)
7. Band Introductions (April 19, 1980)
8. Are You Ready? (April 19, 1980)
9. Pressing On (April 18, 1980)
Disc 7: Live in Earl’s Court, London – June 27, 1981
1. Gotta Serve Somebody
2. I Believe In You
3. Like A Rolling Stone
4. Man Gave Names To All The Animals
5. Maggie’s Farm
6. I Don’t Believe You
7. Dead Man, Dead Man
8. Girl From The North Country
9. Ballad Of A Thin Man
Disc 8: Live in Earl’s Court – London – June 27, 1981
1. Slow Train
2. Let’s Begin
3. Lenny Bruce
4. Mr. Tambourine Man 5. Solid Rock
6. Just Like A Woman
7. Watered-Down Love
8. Forever Young
9. When You Gonna Wake Up
10. In The Garden
11. Band Introductions
12. Blowin’ In The Wind
13. It’s All Over Now, Baby Blue
14. Knockin’ On Heaven’s Door
Disc 9: Bonus DVD
Trouble No More – A Musical Film
DVD EXTRAS:
– Shot of Love
– Cover Down, Pray Through
– Jesus Met the Woman at the Well (Alternate version)
– Ain’t Gonna Go to Hell for Anybody (Complete version)
– Precious Angel (Complete version)
– Slow Train (Complete version)
Weaves “Wide Open,” the follow up to the Polaris Shortlisted, self-titled debut, will be out October 6th!
You can pre-order vinyl and cd above. First 100 US vinyl pre-orders are blue haze colored vinyl. Limited edition . Buzz Records is releasing the album in Canada and Memphis Industries rest of world. Weaves have said
“We debuted a new song at last night’s Polaris Music Prize gala alongside Tanya Tagaq – it’s called Scream”.
We don’t want to say featuring Tanya Tagaq because she is a force! A friend! And a mentor! This song was written out of necessity in a way. Feeling lost in the world and just releasing negative energy and Tanya just made the experience of creating Scream so special. She is such a beautiful, raw artist. So happy to have collaborated with her on this one.
The lineup: Jasmyn Burke (vocals), Morgan Waters (guitar), Zach Bines (bass), Spencer Cole (drums).
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The Rolling Stones ‘Sticky Fingers’ – The Alternate Album (1970/1971 Outtakes & Unreleased) Studio Recordings
00:00 – brown sugar (early vocal/no lead guitar, mono) 3.42 03:42 – sway (no overdubs, mono) 3.24 07:06 – wild horses (unplugged stereo mix, no overdubs) 5.28 12:34 – good time women (early version of “tumbling dice”) 3.14 15:48 – silver train (early version) 3.23 19:11 – you gotta move (mono-mix) 2.30 21:41 – bitch (original 7” mono-mix) 3.33 25:14 – i got the blues (mono-mix, recorded off monitor) 3.36 28:50 – sister morphine (basic stereo-mix) 5.24 34:14 – dead flowers (Alternate Mix) 4.02 38:16 – all down the line (early rehearsal) 4.18 42:34 – travellin’ man (unreleased song) 5.56 48:30 – potted shrimp (unreleased instrumental) 4.08 52:38 – aladdin story (unreleased instrumental) 3.55 56:33 – leather jacket (unreleased instrumental) 3.27 1:00:00 – wild horses (1969 rehearsal/keith and mick taylor) 1.30 1:01:30 – wild horses (gram parsons on pedal steel guitar) 5.21 1:06:51 – brown sugar (different guitar part) 3.46 1:10:37 – brown sugar (another different mix) 3.46 1:14:23 – brown sugar (original 7” mono-mix) 3.50 1:18:13 – let it rock 2.35 (recorded at leed university, 13 march 1971. was included on spanish “sticky fingers” lp in place of sister morphine, and as a third song on uk-brown sugar 7” original mono-mix)
From early beginnings, singer/songwriter, Hayden Calnin has carved out a path refusing to adhere to convention and genre. By the time the multi-instrumentalist had graduated from film school, a major in sound design had set the scene for Calnin to take an interest in music production.
On his first two self-produced EPs, he explored the realms of everything from folk through to downbeat, melting together powerful melodies with understated electronic production. The 2016 release of his highly anticipated two-part album ‘Cut Love Pt. 1 & 2’ saw him gain support from the industry through international blogs such as Pigeons and Planes, Stereogum and Earmilk and spins on renowned radio stations Triple J (AU), BBC6 (UK) and KCRW (USA).
No stranger to having his music synced on international TV, Hayden has landing himself various syncs over the past few years on shows such as Suits, Teen Wolf, The Vampire Diaries, The 100 and So You Think You Can Dance USA. Add a sold out London date on his first ever EU/UK tour and it’s bitingly obvious that Hayden Calnin is an artist to keep an eye on…
‘Cut Love’ is taken from the album ‘Cut Love Pt. 1’
King Gizzard’s very own resident art mastermind Jason Galea has outdone himself with this one. Having already been responsible for a bunch of the best music videos in the country over the past years, he and the band have made the best pencil-on-paper animated clip since ‘Take On Me’ was blaring out of stereos.
Seriously, the constantly-morphing visuals and soothing strains of ‘Countdown’ could be on a loop for an hour and we’d still be watching, entranced, as abstract images assemble and disassemble themselves before our eyes, and it might just be the best clip they’ve ever made – although that’s a big call, considering everything else they’ve put out.
The track is of course taken from their latest LP Sketches of Brunswick East, King Gizzard’s collab with Mild High Club and their third album of four they’re releasing this year, which hit #4 on the ARIA charts after Flying Microtonal Banana and Murder of the Universe peaked at #2 and #3 respectively.
Of course, with the record out, the King Gizzard boys are gearing up for their upcoming Gizzfest tour, having announced a massive lineup for their hometown city of Melbourne,
Ultimate Painting’s Jack Cooper released his debut solo album recently on Trouble In Mind Records. The album “Sandgrown”, released last month via Trouble In Mind Records, is a sparse yet hypnotic listening, Its a record inspired by Cooper’s coastal hometown of Blackpool, England. Jack comments on the record , I think part of the reason I’ve made this record is a way of processing the past and where I am now. Like, what the hell is this? Going back to your original point, I think it references every stage of my life and the “Blackpool” of the album is just a frame in which I can tell stories, be self-indulgent and self-analytical, process memories or try and recreate places and feelings. It’s the first time I’ve sort of set myself a framework and it was weirdly liberating.
Taken from “Sandgrown”, the debut solo album from Ultimate Painting’s Jack Cooper. Released August 25th, 2017 via Trouble In Mind Records
I’ve always admired Cheap Trick. First of all, they didn’t look like any other band. They had two bonafide looking rock stars in lead singer Robin Zander and bassist Tom Peterson. Their great guitar player Rick Nielsen looked like a Leo Gorcey from the old Bowery Boys films and the drummer Bun E Carlos looked like an old uncle you would have somewhere.
They were a hard-working band from Rockford Illinois in the mid-70s. None of their first three albums made it in the top 40 but they did have a single to chart…a single off their third album “Heaven Tonight” was the first to chart in America…“Surrender” (Studio Version) peaked at #61 in 1978. They were not getting any traction in America but in Japan, they were getting huge.
They toured Japan in 1978 with a Beatlemania atmosphere and played at Budakon and recorded a live album there. “Cheap Trick at Budakon” is what finally broke them in America in 1979.
They never had that milestone studio album that really marked their career like some bands but they made enough good music to be remembered. They were inducted into the Rock and Roll Hall of Fame in 2016.
Cheap Trick have never stopped. Since 1974, those familiar faces — drummer Bun E. Carlos, guitarist Rick Nielsen, bassist Tom Petersson and singer Robin Zander — have become part of rock ‘n’ roll’s fabric and a pop-culture staple.
Cheap Trick is an American rock ‘n’ roll institution.
Formed in Rockford, Illinois in 1973, they were grouped with the era’s reigning arena-rock kingpins by the time they went multi-platinum with the landmark live album, Cheap Trick At Budokan, in 1979. But the band always had an acerbic, sneakily subversive edge lurking beneath their larger-than-life, cartoonish persona. They might have shared a producer with Aerosmith in the ’70s, but Cheap Trick felt closer to punk. Dig deep into their catalogue and you’ll find songs about serial killers, suicide, middle-aged pedophiles, pot-smoking parents, and other darkly comic snapshots from the underbelly of Middle America.
The band’s main songwriter is guitarist Rick Nielsen, whose dweeby stage clothes and knowingly ridiculous performance gimmicks — the multi-neck guitars, the dozens upon dozens of tossed-off picks are complemented by a deeply sarcastic sense of humour and an unmatched ability to chronicle suburban kinkiness. His songs are a big reason why Cheap Trick remains a common touchstone for a wide range of artists who would never otherwise commingle. Unlike so many other bands that have broken up, reunited, cashed in, traded up, fell apart and reunited again, Cheap Trick have just always been there — whether they sell millions of albums or struggle to dent the charts, and delivering great live shows all the while. Few, if any, other bands have that kind of track record, and its most dedicated fans have stuck by the group though its massive arena gigs and even the small club shows.
Cheap Trick’s recorded legacy is full of genius-level highs and somewhat embarrassing lows. Thankfully, the ups outweigh the downs for Rockford, Ill.’s most famous export. From that first album in 1977, right up through 2009’s The Latest, the band has continued to deliver high-energy rock ‘n’ roll songs stocked full of melody, anger, sweetness, absurdity, cleverness and, most of all, great hooks.
As we look through the highlights of their recorded works, Cheap Trick’s the albums uncover a long and fruitful legacy. sticking to just their studio albums for the moment discounting their best selling album, 1979’s “Live At Budokhan”. So many gems from their vast catalogue.
Rick Neilsen says The more I hear it, the more I like it. When you’re doing it, I don’t compare it to this or that unless it’s a direct steal from somebody or a direct steal from ourselves. We started it on Big Machine, and then as we were doing it, BMG Records wanted it. What’s this, record companies clamouring over us? We’ve been around so long, we’re never going to be the next new thing. We don’t know how to dance. We’d lose on American Idol or any of those shows. We’d never make it. But, they get what we do. There was no interference.
I like the rock stuff. “Summer Looks Good On You,” that’s a fun one. I like “Boys & Girls & Rock ‘n’ Roll.” They’re all kind of different.
I think we’re respected because we never gave up. We made every mistake there is — we’ve had success, we’ve had failure, but we keep going. To me, that’s success, the fact that we’ve done 6,000 shows and played seven nights a week, for no money, in awful places. But we always believe in ourselves. In Another World is out via BMG Records on April 9th.
Rick Nielsen: We were starting to get some popularity because of playing with Queen and Kiss, the tours in ’77. When we played with Queen, we opened up two of the shows in Milwaukee and Madison. I think Thin Lizzy was supposed to open for them, but I’m glad they didn’t because we got the chance to open for them. The Japanese press were there for Queen, because they were huge there. But the Japanese press liked us, too. After the show, they asked me to write an article, what’s it like to tour with Queen. I’m so full of crap, I’ll write anything. What do I know? We used to make fun of every band, and Queen was one of them. But we didn’t on those two nights.
After I wrote the article, it came out in Japan and we started getting fan mail. And there were caricatures of ourselves in the Japanese magazines. We were kind of easy to draw funny. And then we had a number one hit with “Clock Strikes Ten.” And it’s like, only in Japan! Holy cow, what a great place. And then we started getting more and more fan mail. We hadn’t even been there. But I thought they were the smartest country on Earth.
So, in ’78, around the “Heaven Tonight” record, we went there, and it was like Beatlemania for us. They loved Cheap Trick! We flew coach from Chicago, and here were 5,000 kids when we landed. I thought, “Who in the heck’s on this plane?” We were in the back of the plane, a little late getting off. They were standing on top of the terminal screaming, and it’s like, “Wow, gee, careful there.” After we go through customs, the security people put us in these taxi cabs, and all these taxi cabs chased us from the airport all the way to where our hotel was. People were screaming, hanging out the windows. It was like, “Wow, this is cool.”
At that time, it was Tom and myself in one room, and Bun E. and Rob in the other room. We were sharing rooms then, but it was better than the U.S. because we’d probably be sharing a room for four people instead of two and two.
Every show we had was sold out. We didn’t know what the Budokan was. The Budokan made us famous, but we made the Budokan famous. I think Robin said, “Here’s a song from our new album,” and it was.
‘The Doctor’ is the sound of a rock ‘n’ roll band completely lost in the maze of mid-’80s production (courtesy of Tony Platt). Synth-driven rhythms, castrated guitars and dated gimmickry make this the band’s nadir. It’s not even so much that the songs are terrible, but it still sounds more like a bad Cars record than Cheap Trick. After a few poor-selling albums, the band was under pressure to deliver a hit, but despite efforts, it backfired.
After the thousand days and nights since their last album, Chills on Glass, Dead Rider had to overcome the creeping suggestion that they multitask themselves to sleep – or to premature brain death – whichever came first! And thank gawd, too, because that means we’ve got a new rippin’ album to dig: Crew Licks is hot on our tails! Right on top of it’s September 22nd release, Dead Rider will bring the chopped-n-screwed skronk, acid-drenched guitar licks and lode-bearing beats on the road, direct to you and your crew, traveling all over the goddamn US of A to teach the kids a thing or two about rock n roll.
Track from Dead Rider LP/CS/CD “Crew Licks”, available September 22, 2017 on Drag City Records.
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