Shame are releasing a new album, “Drunk Tank Pink”, next Friday (January 15) via Dead Oceans Records. This week they shared another song from it, “Nigel Hitter,” via a video for it. Maxim Kelly directed the video, reworking archival footage to make it seem like babies are singing along to the song.
Frontman Charlie Steen had this to say about the song in a press release: “The song is at the heart of what Drunk Tank Pink is about. After we finished touring I was left with a lot of silence as I stumbled around trying to figure out the daily routine. On top of that, I was confronting my subconscious at night through a series of intense dreams which left me in a daze during the day. ‘Nigel Hitter’ feels like a cathartic expression of that period.”
Frontman Charlie Steen had this to say about the song and upcoming album in a press release: “A lot of this album focuses on the subconscious and dreams, this song being the pivotal moment of these themes. A song about love that is lost and the comfort and displeasure that comes after you close your eyes, fall into sleep, and are forced to confront yourself.”
Drunk Tank Pink includes “Water in the Well,” and “Snow Day,”Shame’s previous album, Songs of Praise, was released in January 2018 on Dead Oceans.
It’s tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn’t quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically and culturally.
Posing as many questions as it answers, “Uppers” is a thunderous opening statement that continues the UK’s recent resurgence of grubby, furious post-punk music. It says something very different though – something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was born out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band’s years of pursuing “real life” and “real jobs,” something those teenagers never had.
In November 2019, the band – vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Bueth, and drummer Ed Kelland – played their first show, to a smattering of friends in what they describe as an “industrial freezer” in the warehouse district of Hackney Wick. “It was like the pub in Peep Show with a washing machine just in the middle…” Charlie laughs, Unsurprisingly, there isn’t a precedent for introducing an album during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest’s entrance in April with the release of debut single “House of York” – a searing examination of the Monarchy – served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation’s fried brains.
It’s the same continued global sense of anxiety that will greet the release of Uppers, and it’s an album that has a lot to say right now. Taking musical cues from The Fall and Protomartyr as well as the mechanical, pulsating grooves of Kosmische Musik, it’s a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman.
“Decoration,” Uppers’ center-piece, has a streamlined groove soundtracking Charlie’s lyrical vignettes that captures the absurdity and mundanity of life. Its opening and closing line (“I’ve never seen a dog do what that dog does”) is a misremembered quote by Simon Cowell about a performing dog on Britain’s Got Talent. Charlie says, “We often said it in the studio as a kind of in-joke when someone did something good or unexpected. Having already toyed around with the ‘Through to the next round’ line,’ this seemed too good to leave out.” And the chorus “It’s all just decoration” is credited to 2-year old niece of Alex’s fiancé, who reassured him after he pretended to be scared by Halloween decorations.
“Press Gang” is inspired by Charlie’s grandfather’s life’s work as a photojournalist and war correspondent on the UK’s Fleet Street from the 1950s to the early 1980s. The song is about the shifting role in the dissemination of information and ideas, and how the prevailing narrative that the “Death of Print Media” has contributed to a “post truth” world.
Album closer “Saintless” is the most personal and raw moment on Uppers. Charlie wrote a note to his son after his birth, following a difficult period his wife had faced during and after the pregnancy. The song is about how as parents we’re fallible and human, and while the world can be a difficult place at times the one thing that gets you through is giving your love to those that need and appreciate it. “Saintless” rides a motorik beat, with guitars, bass and synths building layers of intensity and emotion that replicate and swell with the message of the track.
Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It’s a band and a record that couldn’t arrive at a more perfect time.
“Press Gang” is Out now – our new one from our album ‘Uppers’, out on Sub Pop Records next month. “Uppers” It’s about Charlie’s grandad, news cycles, truth, chip paper, and information. It’s also pretty loud. Lots of love to Joe Wheatly for another wild ride making the video & big love to all the crew who helped us out over a very cold weekend.
“Press Gang” by TV Priest from their album “Uppers” (Release Date: 02/05/2021)
Latest video from the new album. Probably the most progressive (by their standards) and challenging track on the new album. I think it works in the context of the album but is a poor choice of single. I think enough has been released already.
The Black Crowes have announced a 30th-anniversary reissue of their breakthrough debut album, “Shake Your Money Maker”. The Super Deluxe version – available on either four LPs or three CDs – will include a newly remastered version of the original 1990 album, as well as three previously unheard studio recordings. One track, “Charming Mess,” is a song that was originally earmarked to be the Black Crowes’ first single but eventually was left off Shake Your Money Maker.
The Black Crowes’ debut album, “Shake Your Money Maker”, may borrow heavily from the bluesy hard rock grooves of the Rolling Stones and Faces (plus a bit of classic soul), but the band gets away with it due to sharp song writing and an ear for strong riffs and chorus melodies, not to mention the gritty, muscular rhythm guitar of Rich Robinson and brother Chris’ appropriate vocal swagger. Unlike their later records, the Crowes don’t really stretch out and jam that much on Money Maker, but that helps distill their virtues into a handful of memorable singles (“Jealous Again,” “She Talks to Angels,” a cover of Otis Redding’s “Hard to Handle”), and most of the album tracks maintain an equally high standard.
Shake Your Money Maker may not be stunningly original, but it doesn’t need to be; it’s the most concise demonstration of the fact that the Black Crowes are a great, classic rock & roll band. Other material on the Super Deluxe edition includes two demos from the band’s early years (when they were known as Mr. Crowe’s Garden), a collection of B-sides and a previously unreleased 14-song concert recording from a 1990 performance in their hometown of Atlanta. Reproductions of early band flyers, a tour laminate, a Black Crowes patch and a 20-page booklet highlight the collectibles included in the set.
Originally released in February 1990, the Black Crowes‘ debut album defied rock sensibilities at the time. While spandex and hair metal were dominating the airwaves, the Crowes offered a back-to-basics approach, full of Southern-rock influences and Rolling Stones-style swagger.
The album would go on to sell more than 5 million copies, spawning radio favourites like “Jealous Again,” “Twice as Hard,” “She Talks to Angels” and a hit cover of Otis Redding’s “Hard to Handle.”
The group had intended to celebrate Shake Your Money Maker’s 30th anniversary with a nationwide tour in 2020, but those plans were put on hold due to the coronavirus pandemic. A 2021 trek is tentatively scheduled to kick off next June. The Black Crowes ‘Shake Your Money Maker’ 30th Anniversary Edition Box Set!! Featuring the original studio album remastered by George Drakoulias, 3 never before heard studio recordings, 2 unreleased demos from Mr. Crowe’s Garden, a 14 song unreleased live album from Atlanta GA 1990, vintage The Black Crowes artwork, archived photos, liner notes from David Fricke, plus a 4” Patch.
Available February 26th,
The Black Crowes, ‘Shake Your Money Maker’ 30th Anniversary
Punk legend Alice Bag has announced a new album and shared the lead single, which features Allison Wolfe (of Bratmobile and much more). Alicia Armendariz (aka Alice Bag) is a Los Angeles punk legend, not just for her ground breaking first band the Bags (featured in Penelope Spheeris’s Decline of Western Civilization), but for her outspokenness, activism, writings, and embodying the D.I.Y. ethic instilled in her by her mother.
When L.A. punk legend Alice Bag and I recently talked on the phone, she began the conversation by telling me her dog, Cinnamon, had died three weeks earlier. She said thinking about the Rainbow Bridge—a poem that has been adopted by the pet-loss grief community—has really helped her. Her voice is light and calm, and sounds like many flowers opening, undulating. It is melodic and sweet, like an extract of something very powerful, and philosophical. But when she sings, that extract explodes.
Since the mid-1970s, her voice has exploded on stage and on record with the Bags, which she co-founded as part of the first wave of L.A.’s punk bands. She described her tough childhood in East Los Angeles and her coming of age into the punk music scene in her powerful 2011 memoir .
Alice told me that “Punk rock is my therapy,” and singing has always just come naturally to her. The first money she ever earned was from singing. Miss Yonkers, her fifth-grade teacher in Los Angeles, asked her to sing on an educational bilingual cartoon, and Bag earned $100—more than the monthly rent her parents paid. Said Bag, “I thought, ‘maybe I could be a singer when I grow up’”. She is still singing at 62, having released a solo album, Alice Bag in 2016, Blueprint in 2018, and Sister Dynamite in 2020.
But she didn’t tell her dad about her dream of becoming a singer because he would tell her she should strive to own the record company instead. “I think he treated me the way some men of his generation would’ve treated their firstborn son,” she said. “That’s why he filled my head with dreams.”
In The Red, Bob Baker Marionette Theater and Pancake Mountain present: Breadcrumbs! The first single from the forthcoming record SISTER DYNAMITE out April 24th 2020 on In The Red Records.
Musicians: Alice Bag, David Jones, Rikki Watson, Sharif Dumani Special guest vocalists: Allison Wolfe and Lysa Flores
The Telescopes have been described by the British music press as ‘more a revolution of the psyche than a revolution of the sidewalk’; a thread consistent throughout a body of work spanning over 30 years. The Telescopes have constantly pushed at their own boundaries to unravel new pathways of existence, colouring outside the lines of all expectation to reach beyond the realm of natural vision.
With a legacy full of eureka moments, intravenously fed through a crack in the cosmic egg, The Telescopes invoke the kind of altered perceptions that time has shown not only withstand repeated listening, but reveal something new whenever one ventures into the depths of their highly influential artistry.
At the core of their being, The Telescopes are an all embracing concern, in every sense, a constant revolution of the psyche exploding endless spores of sound, carriers of warm transmissions seeped in aural innovation that spiral around ones inner receptors to induce a series of auditory illusions that completely immerse the listener in the grip of their own imagination.
The most revolutionary act we can all perform is to stand by our calling, to keep doing what we do, for the reasons we are conceived to do so, no matter what. Some call it ‘The New Weird’ but call it what you will, it is born of love. The Telescopes are one of the very few artists that are living proof that this revolutionary act is possible to evolve and sustain free from artistic corruption.
“Songs Of Love And Revolution” is a solar burst of trance inducing rhythms gripped at the helm by a wall of throbbing bass held in place by a swarm of encircling guitars. Lashed to the mast of this whirling dervish, incantations abound to dispel what is bound. This is the 12th album by The Telescopes, music for a four-piece ensemble that will never sound the same twice in any given environment or to any set of ears.
The Telescopes Album: Songs Of Love And Revolution
For Another Michael, it all boils down to trust. In mid-2017, the critically acclaimed indie three-piece packed their bags and collectively relocated from Albany, NY to a shared house in West Philadelphia. This move signalled not only the start of a new chapter for the trio, but also a deepening of the bonds that would come to define their captivating debut LP, ‘New Music and Big Pop.’
“It’s hard for a group of people to get closer than living together,” says bassist and producer Nick Sebastiano. “The stronger our connection grew, the more it shaped the music we found ourselves making.”
It should come as little surprise, then, that ‘New Music and Big Pop’ is Another Michael’s most collaborative work yet. Recorded in a small A-frame house-turned-makeshift studio outside Ferndale, NY, the record finds the trio pushing their sound in a dreamier, more folk-influenced direction, building songs around vulnerable, intimate performances using an ethereal palette of breezy guitars, subtle keyboards, and layered harmonies. As on the band’s early EPs, singer and songwriter Michael Doherty’s mesmerizing voice is front and centre here, calling to mind Robin Pecknold or Ben Bridwell in its reedy, crystalline timbre, but it feels more at home than ever before amidst the album’s lush, Technicolor landscape, which the band partnered with producer and fellow housemate Scoops Dardaris to create. The result is a masterfully understated record that belies its status as a full-length debut, a thoughtful, poetic, collection all about growth and change, hope and faith, endings and beginnings, delivered by a band that’s only just begun to scratch the surface of their story.
Serving as a precursor to the bands forthcoming debut LP, the New Music 7″ offers the title track, backed with a truly great non album b-side “Boring for the Times”.
We are happy to announce New Music and Big Pop, the beautiful forthcoming debut LP from Another Michael. The first single “I Know You’re Wrong” is streaming now on Spotify, Apple Music, and on Youtube with an accompanying Runescape visual.
“New Music” by Another Michael from the 7″ / 2 song digital single ‘New Music’ out now via Run For Cover Records
Sometimes a band arrives out of nowhere, with a fully formed sound ready to fill a stadium. King Hannah are one of those bands. The Liverpool band led by the creative force of Hannah Merrick and Craig Whittle have arrived with ‘Tell Me Your Mind And I’ll Tell You Mine’, an EP that is both soothing in its moods and intoxicating in its rushing soundscapes, containing a sound that is both brand new and completely mature. Their neon guitar lines and intimate torchlight vocals put the everyday on a pedestal, lifted by melodic licks that swell into dense and swirling atmospheric textures.
‘Tell Me Your Mind And I’ll Tell You Mine’ sounds like late nights and early mornings, from the beauty and closeness of acoustic guitar in opener “And Then Out Of Nowhere, It Rained”, to the final immersive thicket of distorted guitars in “Reprise (Moving Day)”. In between, “Meal Deal” is smoky backroom Americana transposed onto the precarity of finding somewhere to live; “Bill Tench” feels like melancholic euphoria of travelling in fast cars at night – drums flash past like lines on the asphalt with angular guitars. “Crème Brûlée” is a moody fugged-out ballad for the everyday, and “The Sea Has Stretch Marks” conjures a whirling post-rock exploration of cinematic memories. King Hannah lean in to immersive moments in their music. “We want people to get lost in the music,” says Craig.
Craig formed King Hannah before Hannah knew anything about it. He had seen her performing years before, but they didn’t meet until she was assigned to show him the ropes at the bar job they’d both taken on to get by while still making music. He immediately pestered her to play some music with him, and they started a routine, spending the hours before work at Craig’s house, where for a long time Hannah could not pluck up the courage to play him her own music. “That went on for a year,” said Hannah, while Craig just waited patiently for her to play. When they finally got to writing their own songs together, everything clicked into place.
Both had played in bands before, but until they started King Hannah, neither had found what they were looking for. Hannah grew up in Tan Lan, the world’s smallest village in North Wales, and can’t remember a time when she didn’t want to be a singer. Craig started playing guitar age 13, and was taught Jackson Browne songs by his older brother. Within a year he was playing in bands. All this changed as soon as they formed King Hannah. “It’s just about finding the right people. When I go to Craig with some chords and lyrics, he just gets it,” says Hannah. “If we hadn’t found each other, I don’t know where we would be,” says Craig.
Led by Hannah and Craig, the density of their sound comes from the combination of their guitar and vocals with support from Ted White, Jake Lipiec and Olly Gorman. Inspired by the vocals of Mazzy Star and guitars of Kurt Vile, Hannah writes lyrics first thing in the morning and lets her mind spill onto the page, and they contain all the raw vulnerability and mundane reflections of that mental space. This vulnerability is something Hannah feels acutely on stage, but is also what makes their music so magnetic. “There’s nothing pretend about us,” she says – the grit in their sound and her voice speaks volumes. “We don’t want to sound clean or polished,” says Craig, “we want to sound real, and dynamic and authentic.”
Who are King Hannah? the Liverpool duo of Hannah Merrick and Craig Whittle whose shimmering, atmospheric alt-pop is the perfect soundtrack to midnight journeys through neon-lit skylines. The Breathtaking debut single “Creme Brûlée” is a captivating melange of The XX, Mazzy Star and Pink Floyd, as Merrick understated vocals remain dazzlingly powerful. The Follow-up single, the lo-fi acoustic Meal Deal, sees them channel their Kurt Vile influences for a vulnerable cut of modern Americana.
Merrick and Whittle met at a bar they were working at, with the latter urging her to make music together. This went on for a whole year before Merrick plucked up the courage to agree to write together. The rest is history. Thank god!
Their EP “Tell Me Your Mind And I’ll Tell You Mine” is out now via City Slang Records Releases November 20th, 2020
As possibly foretold in some lost gospel of Christianity, the children shall lead Death Valley Girls, as a choir of dirty-faced urchins chanting “Under The Spell of Joy” , under the spell of love” ushers in the galvanizing title track to their latest supernatural garage-rock revelation.
In what feels like an ecstatic and exuberant spiritual awakening, their mesmerizing march erupts into a wild, psychedelic fury of slashing guitars, violent skronk, crazed keyboards and incessant drums blowing in from parts unknown. For all of its breath taking might and crashing energy, it’s also incredibly uplifting and empowering, espousing everything that’s good and inspiring about communal, fire-and-brimstone punk rock experiences.
Volunteers should sign up in droves to follow the life-affirming Under the Spell of Joy, its jubilant cup of smoggy enlightenment and ghostly illumination overflowing in the aftermath of their last LP, the thrilling Darkness Rains, and its stormy seances. Opening with the rapturous “Hypnagogia,” Under The Spell of Joy is an album full of captivating siren songs, with the repetitive groove of “It All Washes Away,” an upbeat, hooky “Little Things” and the whirling, motoring “Dream Cleaver” all saved by the Velvet Underground’s more accessible rock and roll art. Tripping through the lysergic wonder of “The Universe,” Death Valley Girls return to earth with the ‘60s swing of “Bliss Out” and the primitive pounding and scratching of “10 Day Miracle Challenge.” Dirty organ clouds mushroom everywhere, with cool saxophone either lazily drifting through the air or erupting in frenzied chaos. This will give Iggy Pop goose bumps.
The Tubes captured the imagination of the British public in 1977 when they were forced to tone down their stage show by the local government authority in London. Word got out that the “Mondo Bondage” Tour was perverse and depraved. However, the publicity did them no harm and they established themselves as an essential “live” act during this period with characters like “Dr Strangekiss” and “Quay Lewd” adding spice to their theatrical show.
The group were formed by vocalist Fee Waybill with guitarist Bill Spooner and college friends Vince Welnick (Keyboards), Michael Cotten (synthesizer), Roger Steen (guitar), Rick Anderson (bass), Prairie Prince (drums) and Re-Styles (dancer).
Their music – as reflected on their Al-Kooper produced debut in 1975 – was loud and brash but the early albums never quite lived up to the stage act which was subsequently immortalized on the double-album “What Do You Want From Life”. When The Tubes lead singer Fee Waybill sang ‘What Do You Want From Life?’ on the San Francisco based band’s self-titled debut album, The Tubes (1975) he was asking a rhetorical question laced with a great deal of sardonic intent. Acting as a kind of fulcrum between Steely Dan at their most venomous and New Radicals at their name-calling peak, The Tubes offered a virtual rock cabaret with delicious asides, lashings of erotica, amazing musicianship and drop-dead funny lyrics. Another of their best-known tracks (they should all be) is the anthem ‘White Punks On Dope’ which turned a mirror on the West Coast’s most pampered, in much the same way that the Dan had done on ‘Showbiz Kids’.
The tongue-in-cheek and deliberately over-the-top ‘White Punks On Dope’ would go on to be one of the songs that united the British and American new wave movements. It became a top 30 UK hit single in 1977, the year that that the band recorded their celebrated What Do You Want From Live album at London’s Hammersmith Odeon. The stirring ‘White Punks’ later inspired a cover by Mötley Crüe.
“It’s about a bunch of rich kids we knew,” said co-writer and Tubes guitarist Bill Spooner. “You see all those ads on TV about drugs in the ghetto, and they say, it’s not their fault. They were born poor, and all they had to turn to was drugs. Well, in San Francisco, we know a whole bunch of these kids that are so rich, and they’re all strung out, and they’re total derelicts. So you don’t have to be poor to be a derelict.” “Some took ‘White Punks on Dope’ literally,” the Tubes’ drummer Prairie Prince said in October 2018. “We were also advocating anti-drugs as well. A lot of our friends died and overdosed and passed out, and lot of rock idols we knew were passing in front of our eyes. We had to make a statement.”
“White Punks On Dope” climbed to No.28 in the UK, which was the Tubes’ highest-ever singles placing, but they would enjoy a fleeting Top 40 appearance with the subsequent live album that contained the song.
Kooper later said that he produced The Tubes as if it was the score for an imaginary Broadway musical. From the outset of ‘Up From The Deep,’ it’s an endearingly oddball, episodic soundscape with myriad influences, tempo changes, big strings and much more.
‘Haloes’ for example, has a melodic and edgy urgency somewhat reminiscent of Todd Rundgren, with a great drum pattern from Prairie Prince. The gentler elements and vocals of ‘Space Baby’ meanwhile, recall Steely Dan. They typify a notable recording debut by a band who never took themselves too seriously, but had huge talent to reinforce their individuality.
But it takes more than out and out humour to make a great band. The Tubes paid the genre the utmost respect. They were sticklers for fine detail and understood that, after all, they were part of the consumer culture they threatened to behead. They had to wait years to receive their just desserts, ‘She’s A Beauty’ became their first number-one single and attendant album. “Outside Inside” awoke a whole raft of folks to their stylish sound. But they were great in 1975 and fantastic in 1983 when they opened for David Bowie on his Serious Moonlight tour. They played with Dolly Parton and Cher (on the latter’s TV Special) and got them to take part in an outrageously camp and dramatic episode called ‘The Musical Battle to Save Cher’s, Soul Medley’; they headlined at Knebworth with Frank Zappa and Peter Gabriel, toured with Todd Rundgren (one of their many fine producers) and played various shows under such pseudonyms as Metal Corpses.
If you’ve never made a visit to Tubes-land, we’d suggest that should be rectified.
Though based on the West Coast for logistical reasons (San Francisco’s underground culture was their oyster) most of The Tubes were actually high school and college friends from Phoenix and neighbouring Scottsdale, Arizona. They were an amalgamation of two groups – The Beans and The Red, White and Blues – spending five years working up an act with songs to match their grandiose visions. Lead singer Fee Waybill would be Kway Lewd, the obnoxious, drugged and drunken rock star wannabe, while his female accomplice Re Styles strutted like a leading actress in an adult movie. With Prairie Prince on drums, future Grateful Dead pianist Vince Welnick the MC, Roger Steen and Bill Spooner in charge of axe work and stellar riffs, and Michael Cotton lending an Eno-like synthesiser charisma (let’s not forget bassist Rick Anderson, the butt of many an on-stage prank), The Tubes built such a reputation that Al Kooper (Bob Dylan, Blood Sweat and Tears etc) was hired as a producer and made a damn fine job of it. The Tubes (1975) starts with a sublime bubbling melody for ‘Up From The Deep’ and the moods change constantly, all to the good. ‘Mondo Bondage’ and guitarist Bill Spooner’s ‘Boy Crazy’ are further highlights.
Follow-ups “Young and Rich” and “Now” coincided with The Tubes turning their attentions to the European market and the superb ‘What Do You Want from life?’ (recorded at London’s Hammersmith Odeon in 1977) collates all the goodies to date with a class and élan that is beyond the ken of lesser mortals and predicates the rise of New Wave as the coming dawn. Definitely one of the great overlooked live doubles is this. It even includes a version of John and Paul’s ‘I Saw Her Standing There’. Way cool.
The Todd Rundgren produced “Remote Control” was hailed as a masterpiece in some quarters and slagged in others, but if you were on message and on-trend there was nothing to dislike here. Same goes for “The Completion Backward Principle” where they work with Toto’s David Foster and Steve Lukather on a smart pastiche of management jargon and motivational syndrome, then sweeping the world via Japan. The re-mastered version is the way to go here. This album spawned the monster hit ‘Talk to Ya Later’, showing everyone that The Tubes were also masters of the multi-media video in long or short form.
“Outside Inside” (1983) is widely considered to be another classic. Boasting a cast of dozens, including specialists like Lukather, Bill Champlin, Jay Graydon, Curtis Mayfield and Chuck Finley, The Tubes recouped with ‘She’s A Beauty’ (number one) and ‘The Monkey Time’ and embarked on a successful world tour. Their final album from this original era is another Todd Rundgren gem, “Love Bomb”, a quasi-satirical concept about relationships. Ironically, soon as it was done, Todd nicked Welnick and Prairie Prince for his own band.
We also have a slew of top compilations. These include The Best of The Tubes, a handy primer of all later the creamy stuff, and companion disc, equally slick. The Best of the EMI Years which taken together should give you extra insight into this truly eccentric outfit. When you see their name on an album you’re guaranteed entertainment and enlightenment. Great music, plenty of humour. Exactly what you want from The Tubes. The best advice here is to start at the beginning. Up from the deep and off you go.
The band finally folded in 1984. Waybill went on to write songs for AOR balladeer Richard Marx amongst others. Although the rest of the band continued to tour under The Tubes name, Bill Spooner and Vince Welnick spent some time with The Grateful Dead. Re-Styles became a landscape gardener.
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The Fat Angel Sings 