Archive for the ‘MUSIC’ Category

CHARITY STOW – ” Perfect Thought “

Posted: September 24, 2021 in MUSIC
Charity Stow – ‘Perfect Thought’

A wonderfully talented up-and-coming artist based in the creative heart of Nottingham, Charity Stow has always been drawn to music. Hailing from a musical family, Charity has found her unique sound with support and guidance from her father, Jack, both of whom are self-taught musicians with a penchant for emotive, tactile sounds. With song writing shaped by the music of the greats, such as Carole King, Bob Dylan and The Beatles, she’s poised to become one of the most impressive new artists around, and it’s all thanks to singles like ‘Perfect Thought’.

While Charity’s hometown is the small, quaint town of Stamford, she first took to song writing in Nottingham, pushing herself to forge a new musical identity and starting on a new phase in life. True to form, song writing became a form of therapy for Charity, guiding her to become the impressive talent that is today.

Her latest release, ‘Perfect Thought’ shines with an honesty and passion that is slowly becoming a trademark for the young artist, transporting the listener into a textured musical dream world filled with possibilities. The single is also the first glimpse into Charity’s upcoming EP of the same name, which is set to be released on the 24th of September this year.

In addition to petitioning for Operation Ivy to play Riot Fest, Against Me!’s Laura Jane Grace has also found time to write and record new music, and she just surprise-released the new seven-song EP “At War with the Silverfish” on Polyvinyl Records. Similar to last year’s “Stay Alive”, it’s a stripped-back solo release that’s largely fuelled by Laura’s acoustic guitar and voice, but there are some other embellishments on there too, like the string-laden “Electro-Static Sweep” and the Strokesy rhythms of “Long Dark Night.” Some songs are fired-up enough to pass for Against Me! songs (“Day Old Coffee”) and others are tender in a Shins-y indie pop way (“Lolo 13”).

The EP was half recorded at Laura’s TinyQuietStudio in Chicago and half at Electric Eel in St. Louis, and mixed by her Devouring Mothers bandmate Marc Hudson. Laura says, “These are songs of late night madness and loneliness, orphan songs that came wandering in looking to feed like insects. I’ve learned that if you share your experience with good intentions that the universe will always surprise you with abundant return. Every song is an act of faith; you don’t necessarily know why you’re singing it other than you know you’ve got to sing it.

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Yusuf / Cat Stevens celebrates his 1971 landmark album “Teaser And the Firecat” with this extensive 4CD, Blu-Ray, 2LP and 7” set in a rigid clamshell box.

Following last year’s 50th anniversaries of the era-defining albums, “Tea for the Tillerman” and “Mona Bone Jakon“, 2021 will see Yusuf / Cat Stevens celebrate the succeeding album that immortalized his status as a forerunner in the singer-songwriter movement. The 1971 multi-platinum selling landmark record, “Teaser and the Firecat”, will be celebrated as a 50th anniversary Super Deluxe Edition box set, due on November 12th, 2021 via A&M/UMe.

A previously unheard recording of the Cat Stevens classic and Teaser album highlight “Moonshadow (Olympic Studio Demo, 1970)” is released today. Actually recorded at Olympic Studio’s before the release of the two 1970 albums, Mona Bone Jakon and Tea For The Tillerman, this version provides a fascinating insight into the origins of one of the most enduring songs of the 1970s.

Cat Stevens achieved phenomenal success with his early work, but it was Teaser and the Firecat, his third LP with Island Records and A&M in the U.S. – that propelled Cat Stevens into superstardom, spawning some of his most unforgettable hits including “Moonshadow,” “Peace Train” and “Morning Has Broken,” songs by a youthful spiritual seeker, wise beyond his years that would lay the pretext for a poignant new wave of soulful troubadours and poets. Later, “The Wind” would see Teaser and the Firecat celebrated anew, rising to prominence following the song’s use in Wes Anderson’s much celebrated film “Rushmore” as well as the Oscar-winning Cameron Crowe film, “Almost Famous.” Through his spell-binding gift for song writing and his introspective vision, Cat delivered a universal sense of hope and peace in Teaser and the Firecat that still resonates profoundly to this day.

Teaser and the Firecat walked tall in what was a year of classic albums and events that would echo down the decades. The 12 months of 1971 was a transitional year in pop culture in which the album joined John Lennon’s Imagine, David Bowie’s Hunky Dory, Joni Mitchell’s Blue, Marvin Gaye’s What’s Going On, The Rolling Stones’ Sticky Fingers and Led Zeppelin IV as the soundtrack to the momentous 500,000 strong anti-Vietnam war March on Washington D.C., the largest demonstration against US war in history, and the “Fight of the Century” at Madison Square Garden, New York City which saw Joe Frazer hand Muhammad Ali his first ever defeat. With the ’60s now in the rear-view mirror – The Beatles gone, Jimi Hendrix and Janis Joplin having already passed on, and Jim Morrison tragically joining their number in July ’71 – there was a distinct mood of change in the air. Along with burgeoning heavy rock and the socially-conscious R&B of Funkadelic and Sly And The Family Stone, it was the era of the poetical singer-songwriter. As well as being part of this latter movement, Cat Stevens was himself inspired by it.

Half a century later, Teaser and the Firecat has been given the ultimate treatment in a brand new Super Deluxe Edition set; the most in-depth and definitive version of the album possible. Presented in a remastering of Yusuf’s original artwork, the release will include: 41 previously unreleased audio tracks and 21 live video performances on disc for the first time, amongst an entire CD and LP of studio demos and alternate mixes; a stunning 44-page, 12” soft cover replica of the original Teaser and the Firecat book, hand written and illustrated by Yusuf in 1972, and now featuring text in 10 languages; and a 108-page hard-cover 12” essay book, alongside a host of other rarities across 4CDs, Blu-Ray, 2 LPs and 7” vinyl. The set will be presented in a rigid clamshell box and is the latest in a series of boxsets – so far consisting of Back To Earth, Mona Bone Jakon and Tea for the Tillerman – that celebrate the albums in full depth with the direct involvement and direction of Yusuf and his son Yoriyos, who curates and designs each box set.

There will also be a slimmed down version of the Super Deluxe Edition, including the 108-page book in a soft cover format, along with the 4CDs and Blu-ray, housed in a rigid slipcase. Other 50th Anniversary reissue formats include a 2CD Deluxe Edition, plus 1CD and 1LP Remasters.

The 50th anniversary remaster of the album was mixed by David Hefti on CD and LP, the Super Deluxe Edition also includes a CD of previously unreleased studio material and bonus tracks, an alternate version of the album on LP, as well as a third and fourth CD featuring 23 live performances from 1971. The 50th anniversary remaster was completed at Abbey Road Studios, and was overseen by original album producer, Paul Samwell-Smith.

The set includes a remastered 7” single of “Moonshadow,” backed with a previously unreleased Spike Milligan narration of the track from the 1977 Teaser and the Firecat animated video. The 50thanniversary edition also includes an exclusive vinyl LP, track listed with 5 live performances at Montreux in 1971 and six BBC Recordings, as well as a Blu-Ray disc featuring a restored version of the 1977 animated video for “Moonshadow,” a live performance of “The Wind” from 2020, plus 21 live TV performances.

Also featured in the collection is “Bitterblue,” a newly recorded and never-before-heard version of the classic Teaser album track. Yusuf’s rich vocal, sung a full octave lower than the original, imparts a new sense of experience and gravity to the song whose lyrics seem to resonate with a whole new level of meaning: “I’ve been waiting a long time/To be back beyond.”

Ahead of the 50th anniversary Teaser and the Firecat celebrations, 2021 has seen Yusuf / Cat Stevens partner with New York Times bestselling author and illustrator Peter H. Reynolds to produce “Peace Train,” a children’s book celebrating the fiftieth anniversary of the iconic song’s original release. Featuring joyful illustrations and the timeless lyrics of the much-loved peace anthem, this hopeful picture book – now a New York Times bestseller itself – continues Yusuf’s commitment to children’s education and shared love for people of all cultures and identities.

Elsewhere, July 2021 saw a special Record Store Day release of the 1971 “Harold And Maude” soundtrack, featuring iconic songs from Tea for the Tillerman and Mona Bone Jakon alongside two new compositions for the film, “If You Want To Sing Out, Sing Out” and “Don’t Be Shy.”

50th Anniversary Super Deluxe Editions of Teaser and the Firecat will be released on November 12th via A&M/UMe.

IDA MAE – ” Click Click Domino “

Posted: September 23, 2021 in MUSIC

For nearly two straight years following the release of their critically acclaimed debut, “Chasing Lights“, Ida Mae — the husband-wife duo of Chris Turpin and Stephanie Jean lived on the road, crisscrossing the U.S. from coast to coast as they performed hundreds of dates. While those shows were electrifying for the duo, it was what happened in between the countless hours spent driving through small towns and big cities, past sprawling suburbs and forgotten ghost towns, across deserts and mountains and forests and prairies that truly laid the creative groundwork for “Click Click Domino“. Written primarily in the backseat of a moving car, “Click Click Domino” embodies all the momentum and possibility of the great American unknown, offering up a series of cinematic vignettes full of hope and disappointment, promise and regret, connection and loneliness. The songs here are raw and direct, fuelled by an innovative mix of vintage instruments and modern electronics, and the performances are loose and exhilarating to match, drawing on early rock and roll, classic country, British folk, and ’50s soul to forge a sound that’s equal parts Alan Lomax field recording and 21st century garage band.”

IDA MAE is Christopher Turpin and Stephanie Jean Turpin

“Click Click Domino” Musicians: Chris Turpin: vocals, programming, electric lead guitar, tin can, washboard Stephanie Jean: vocals, synthesizer, finger clicks, synthesizer bass Nick Pini: electric bass Marcus King: featured electric guitar Ethan Johns: Drums

EELS – ” Good Night On Earth “

Posted: September 23, 2021 in MUSIC
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A great new song from E and his band Eels is here, months in advance of the new album from which it comes, “Extreme Witchcraft”, which will be released on January 28th, 2022. It is their fourteenth studio album.

It’s in A, as were most of Buddy Holly’s songs. It is called “Good Night On Earth.” Eels leader Mark Oliver Everett, aka E, co-produced the record with John Parish, who is  best known for his work as PJ Harvey’s  producer and guitarist. Parish and E first teamed up in 2001 to create Eels’ “Souljacker” Album.

John Parish,” said E, “is one of the most even-tempered, polite people I’ve ever met. A true gentleman. Actually he’s probably the most polite person I’ve ever met. But when he gets into the studio he becomes a mad scientist. If you make music with John Parish, you get stuff no one else does.”

“[Parish] has a really unique toolbox and musical outlook,” said E. “Perhaps his politeness is a coping mechanism to keep Mr. Hyde under control when he’s out of his laboratory.”  

Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter Eels have released 13 studio albums since their 1996 debut, Beautiful Freak.

In 2008, E published his highly acclaimed book “Things the Grandchildren Should Know” and starred in the award-winning Parallel Worlds, Parallel Lives documentary about the search to understand his quantum physicist father, Hugh Everett III.  2020’s Earth To Dora album, received extensive critical praise, and was described as “their sweetest natured album ever”.  

EELS are also set for their Lockdown Hurricane Tour of Europe and America in Spring 2022; kicking off on March 11th in Belfast through to Rock City, Nottingham, UK on March 17th

Richard Ashcroft single artwork

Former The Verve frontman Richard Ashcroft is releasing an album of acoustic versions of his songs, and he’s just shared this track which was originally released as part of his RPA & The United Nations of Sound side project. “Acoustic Hymns Vol. 1″ is out October 29th. The new cut is taken from the former Verve frontman’s upcoming acoustic greatest hits collection, ‘Acoustic Hymns Vol. 1’.

The original featured hip-hop star No I.D. and was released as part of Richard’s ‘RPA & The United Nations Of Sound’ album.

A new music video for the track has also been shared alongside the anthemic song about overcoming challenges and includes archive footage of the 50-year-old rocker as a youngster. The upcoming LP boasts stripped-back renditions of Richard’s most popular songs from his revered solo career and his time in The Verve.

‘This Thing Called Life’ follows the release of a new version of ‘Bitter Sweet Symphony’.

Upon working on the new cut in 2019, Richard regained the rights to the Verve classic, which features a four-second sample of an Andrew Loog Oldham orchestral cover of The Rolling Stones song ‘The Last Time’. While permission for the recording was obtained, permission for use of the song was not, and so at the time of its release in 1997, Richard was forced to give up all the rights to the iconic track, including the total lyrical content.

However, he has since been able to earn royalties again after his team appealed to Sir Mick Jagger and Keith Richards directly. The 12-track LP also includes Richard’s close pal, Liam Gallagher, on ‘C’mon People (We’re Making It Now)’, which dates back to the late 90s, as he played the song to the 49-year-old former Oasis frontman in Majorca in 1998.

The record is co-produced by Richard and Chris Potter and features his live band, plus string arrangements led by Will Malone recorded at the legendary Abbey Road Studios in London, with the addition of Chuck Leavell on piano, Roddy Bloomfield leading the brass section, and Steve Wyreman on acoustic guitar and backing vocal arrangements.

‘Acoustic Hymns Vol. 1’ is released on October 29th .


Posted: September 23, 2021 in MUSIC

Singer Songwriter Andy Shauf recently released a new single, “Spanish On The Beach” a few weeks ago and now he’s announced that it’s part of new album “Wilds”, which will be out this Friday, September 24th via ANTI-Records. Its nine songs were all from the same sessions that gave us last year’s brilliant “The Neon Skyline”, though Wilds is less polished. Shauf played all the instruments on the album, came up with the arrangements “on the fly,” and laid it all down on “a little tape machine” in his Toronto studio. A collection of 9 songs written and recorded by Andy Shauf between March and May of 2018.

“Jaywalker” from the album ‘Wilds’, available September 24th

OVLOV – ” Land Of Steve-O”

Posted: September 23, 2021 in MUSIC
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A comfortable and familiar aura surrounds Ovlov’s fuzzy, shoegaze-tinged indie rock, like meeting someone for the first time and feeling like you’ve known them your whole life. This sense of security is a bit ironic, considering the Connecticut crew led by Steve Harlett is known for constantly breaking up and getting back together. “Land of Steve-O,” the first single from the group’s forthcoming record “Buds”, marks the group’s return; the title alone invokes the aforementioned divine déjà vu with the reintroduction of the endearing character Steve-O, who last appeared in 2017’s Greatest Hits, Vol. II with “Strand of Steve-O.”

“Land of Steve-O” utilizes one of the band’s usual song formulas: steady verses followed by an explosive chorus with staticky riffs and Harlett’s inviting intone: “Don’t feel crazy / When you walk around your town / Just call your friend Steve-O,” he sings. Intensifying at the end, the track transcends into an unhinged, euphoric catharsis before fading and forcing us back into reality.

Connecticut indie rockers Ovlov have announced their third album, “Buds”.

Releases November 19th, 2021

Ovlov is Morgan Luzzi, Steve Hartlett, Theo Hartlett, and Jon Hartlett

“Land of Steve-O” is the first single from Ovlov’s new album “Buds” out November 19th, 2021 on Exploding in Sound Records.

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The Legendary 1979 “No Nukes Concert” from Bruce Springsteen and the E Street Band were recorded at the September 1979 MUSE (Musicians United for Safe Energy) benefit concerts at Madison Square Garden in New York City. The performances have been newly remixed and remastered for pristine sound and HD resolution. During the early days of the E Street Band, Springsteen resisted nearly every opportunity to capture the magic of their live show on film. “I had some voodoo thing about that,” he says. “Film and television were relatively cool mediums, and we were a hot band. I said, ‘If you want to feel that heat, you need to be at that show.’”

He made a rare exception to that rule in September 1979, when he agreed to perform at two “No Nukes” benefit concerts at Madison Square Garden alongside Jackson Browne, Tom Petty & The Heartbreakers, Crosby, Stills & Nash, Bonnie Raitt, The Doobie Brothers, and Carly Simon. “They were filming it,” Springsteen says. “They said, ‘You’ll have a choice of whether you’re in the movie or not.’ That meant I didn’t have to think about the cameras since I knew I could throw it away if I wanted to.” He ultimately let the event organizers use his performances of “The River,” “Thunder Road,” and “Quarter to Three” as the climax of the 1980 concert movie “No Nukes”, but the vast majority of the three hours of E Street music that was filmed over two nights ended up stuffed into a vault and not seen by the public for the next four decades. Springsteen’s new movie, That will change on November 16th, when The Legendary 1979 No Nukes Concerts, is released for purchase on all digital film outlets.

Featuring the best moments from both of Springsteen’s No Nukes performances, including explosive renditions of “Born to Run,” “Rosalita (Come Out Tonight),” “Badlands,” “Prove It All Night,” and “The Detroit Medley.” Without question, it is the best representation of a Seventies Springsteen concert ever captured on film.

“The energy of the band that comes across in this film is just incredible,” says Zimny. “You can read about it or hear sonic recordings, but when you see this footage it’s as exciting as seeing the Clash in this same time. This is a band that was exploding onscreen.”

At the time of the shows, Springsteen had been off the road for nine months and was hard at work on “The River”, whose release was still a year away. He’d attached to his name to virtually no political causes at this point, but Jackson Browne, Graham Nash, Bonnie Raitt, John Hall, and activist Harvey Wasserman came together as MUSE (Musicians United for Safe Energy) in the wake of the Three Mile Island nuclear accident, and they asked Springsteen to help guarantee that Madison Square Garden would be packed for the final two shows of the five-night stand.

“That was a critical moment,” says Springsteen. “My friend Jackson Browne was very involved. He’s an activist and I was sort of a hired gun. But I was curious to see where else I could take my music, and where it would be helpful. We had enough success where I felt like I should be doing something with it, and that was where I was at that moment.”

Springsteen says he paid almost no attention to the camera operators assembled all around Madison Square Garden at both shows, but they were an ace crew led by cinematographer Haskell Wexler, best known for his work on In The Heat of the Night, The Thomas Crown Affair, and American Graffiti. “These guys were filmmakers and cinematographers at the top of their game, and they were in sync with the band,” says Zimny. “The cameramen are at the foot of the stage, and they’re literally side-by-side with audience members. This is not a language of MTV and this is not a language of multi-cam cranes and swooping angles and quick cuts. It’s pure documentary.”

Sony Music Entertainment present a new film and concert album by Bruce Springsteen & The E Street Band at the end of 2021: “The Legendary 1979 No Nukes Concerts” is a compilation of two performances recorded during the Musicians United for Safe Energy concerts, a series of benefit concerts popularly known as “No Nukes” concerts at New York’s Madison Square Garden in 1979. The MUSE gigs were founded by a group of musicians as a protest against nuclear power. In addition to Springsteen, stars such as Tom Petty, Crosby, Stills & Nash and James Taylor also performed.

The new film gives fans an interesting look at the early career of the band, who were inducted into the Rock and Roll Hall of Fame in 2014. With little footage of Bruce Springsteen & The E Street Band from this period, “The Legendary 1979 No Nukes Concerts” offers a rare opportunity to see the band perform explosively just seven years after their formation. “The Legendary 1979 No Nukes Concerts” is available as either a double LP or a double CD including a DVD, or a double CD with a Blu-ray disc.

On the first night, Springsteen debuted his new song “The River,” which wouldn’t see release until the following fall. It was inspired by the struggles of his sister Virginia, who’d had a baby at 17 with her husband, Mickey Shave.

“That song was a real turn in my songwriting,” says Springsteen. “I felt like I had broken through to a narrative type of song writing that I previously hadn’t quite [figured out],” he says. “That turned into Nebraska and The Ghost of Tom Joad, Devils and Dust, and so many other things. That one song birthed so many other incarnations and so much other music. It was a really critical song in my development and I knew it when I wrote it.”

Virginia Springsteen was in the audience of Madison Square Garden when he first played it, having no idea he’d written her story into a song. “She inspired it with my brother in-law, so it was nice to play it for them out of the box,” Springsteen says. “She came backstage and all she said was, ‘That was my life.’”

In 2012, Virginia Springsteen told biographer Peter Ames Carlin that she was initially uncomfortable with “The River.” “It was wonderful that he wrote that and all, but every bit of it was true,” she said. “And here I am [in the audience], completely exposed. I didn’t like it at first — though now it’s my favourite song.”

Near the end of both sets, Springsteen welcomed Jackson Browne and backup singer Rosemary Butler onto the stage for “Stay.” Tom Petty joined them on the second night, marking one of the few occasions in his entire career that he performed with Springsteen. “Rosemary Butler is phenomenal there,” says Springsteen manager Jon Landau.  “She doesn’t get enough screen time, because I don’t think the [camera] coverage was there, but musically, she’s in there, really helping to make that great version of that song.”

“Stay” goes directly into “The Detroit Medley,” a mashup of “Devil With the Blue Dress,” “Good Golly Miss Molly,” “C.C. Rider,” and “Jenny Jenny” that had been a staple of Springsteen shows since the “Born to Run” tour in 1975. It’s featured on the No Nukes soundtrack, but the complete footage has never been seen until now.

“At one hour and seven minutes, which is the start of ‘The Detroit Medley,’ this thing goes to an energy level that has rarely been seen,” says Landau.”Bruce transports himself to a space where the endorphins have been completely released. He’s floating on pure energy. He’s absolutely floating. It’s spectacular.”

The film ends with a nine-minute version of the 1961 Gary U.S. Bonds classic “Quarter to Three,” complete with false stops and Bruce collapsing on the stage James Brown-style and getting revived by Clarence Clemons and a towel-waving Steve Van Zandt. What’s not seen is an infamous moment during the performance where Springsteen noticed photographer Lynn Goldsmith, who happened to be his ex-girlfriend, snapping photos from the floor. He pulled her onto the stage. “Ladies and gentlemen!” he roared to the crowd. “This is my ex-girlfriend!” He then escorted her to the side of the stage and demanded she be removed from the house.

This moment was edited out of “Quarter to Three” in the original No Nukes movie, and it doesn’t appear here. “I had no interest in exploring that,” says Zimny. “It’s not a musical moment. Even if you wanted it, it’s not really even documented since it was such a chaotic moment and the cameramen didn’t know what was happening.” (Springsteen and Goldsmith made peace decades ago, and she told Carlin they laughed about the incident when they bumped into each other at the Sunset Marquis in 1980.)

The Lynn Goldsmith incident and all the other No Nukes footage were tucked away in a film vault and half-forgotten until Zimny started going through those archives while assembling the 2020 movie Bruce Springsteen’s Letter To You. “Bruce noticed this wonderful shot we used to show Danny [Federici] and Clarence,” says Zimny. “In that was a composition and a beauty and a clarity of the E Street Band in that era that we had never really seen before. It was something that immediately struck us as the next project to explore, and also Bruce was real into the idea of remixing the soundtrack of that concert and finding a way to piece together everything we had from those shows.”

The multi-track recordings of the show were given to Bob Clearmountain, a recording engineer, mixer, and producer who has been working with Springsteen since the Born in the USA days. “Bob Clearmountain is a giant,” says Landau. “We’ve worked with a variety of terrific mixers, but we always come back to Bob. He’s so creative and always takes the work to some unexpected sonic level. It’s a fact that, when it comes to mixing, Bob is a genius, pure and simple.

pringsteen didn’t see the film until it was practically finished, and it hit him on a deep emotional level. “It’s very intense to see the young Clarence and Danny,” he says. “But Clarence particularly, since he was in front and so athletic and so youthful, and he just looked so damn great. It’s a wonderful moment in Clarence’s performing experience, and mine with him.”

It also made him realize once again that he erred in not allowing the band to be filmed on many other occasions back then. “I wish we had filmed all the time,” he says. “It was a mistake. It was just a young, youthful, insecure, mistake at the time. I wish we’d filmed at least every tour we’d done once. That would have been really nice. There was a pretty decent bootleg from [Houston] 1978 that ended up on our [Darkness] box set. We have 1975 from the Odeon [in London]. We have a little taste of 1973 from the Ahmanson Theatre [in Los Angeles]. What’s funny thing is the one thing I don’t know we do have is anything from Born in the USA. There was a lot of video shot, but no film.”

“I’m just glad [No Nukes] is there,” he continues. “Looking back, I had my reasons. They worked for me well psychologically at that time and kept me stable. I just didn’t have the flexibility as a young man to sort of delve into that side of my work life. Looking back, of course I wish I had.”

Looking ahead, Springsteen hopes he can return to the road next year to finally support 2020’s “Letter To You” with a tour. “I’m hoping,” he says. “Like a lot of people. Everyone’s hoping. We’re just trying to figure out how to do that, like everyone else. If we can, if it’s possible, we will be [touring]. If it’s just not safe or not practical, we’ll be waiting it out like everyone else. We’re waiting and doing our best to see.”

Jon Landau feels the same way. “The only thing I can say about this is that we approach things very cautiously,” he says. “The safety of everyone, the audience, the artist, the band, the crew, and the people who work at the various facilities…We need to feel that everyone is as safe as possible in order to move ahead with what we hope will eventually be a great tour.”

The vinyl version features 13 songs performed over two nights, remixed and remastered for the release. Packaged in a gatefold cover, the double LP is complemented by a 24-page book with rare photos and memorabilia, an essay and a poster (33″ x 19″).The double-CD and DVD/Blu-ray sets include the 13 songs plus a concert film re-edited from the original 16mm film, restored and mixed in HD by Thom Zimny, a longtime Springsteen collaborator.

In addition, a 24-page book of rare photos and memorabilia, an essay, a vintage ticket cover, a ticket reproduction and a sticker also await.

Tracklist: CD1 Prove It All Night, Badlands, The Promised Land, The River, Sherry Darling, Thunder Road. Jungleland

Tracklist: CD 2 Rosalita (Come Out Tonight). Born To Run , Stay. Detroit Medley. Quarter To Three, Rave On

DVD / Blu-ray tracklisting Prove It All Night. Badlands. The Promised Land, The River, Sherry Darling, Thunder Road, Jungleland, Rosalita (Come Out Tonight)Born To Run, Stay, Detroit Medley, Quarter To Three, Rave On.

Available on November 19th as a 2LP, 2CD/DVD or 2CD/Blu-ray set and available globally in HD for digital download on November 16 and digital rental on November 23

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Blondie didn’t just leap with 1978’s “Parallel Lines”; they went into hyperdrive. As one of the early progenitors of the highly influential NYC punk scene, singer Debbie Harry and guitarist Chris Stein ditched the grime and grit and embraced what would become their own signature brand of glossy power pop and disco-tinged new wave — you know, the stuff that wound up shaping the next decade. “Heart of Glass”, the album’s state-of-the-art third single, was a total game-changer for the outfit, welding European electronica with Harry’s natural falsetto.

When Blondie went into New York’s famed Record Plant studios in June 1978 they were allocated 6 months to record their third studio album. Six weeks later, producer Mike Chapman deemed the job done and Parallel Lines was born.

Following on from their punk-meets-new-wave sound, Parallel Lines was a more focused and deliberate effort than their previous two albums, despite the band’s best efforts to achieve otherwise. With the central focus of Chapman behind the boards, he led the band to push themselves musically and at times beyond their own musical abilities. The result was an album that came to define pure post-punk pop. And Blondie’s days as a charmed underground group out of New York were numbered, as a larger world would open up to them on the heels of its release.

When Blondie started work on their third album, Parallel Lines, in the summer of 1978, they were an under-the-radar New Wave band with a nostalgic bent toward the girl-group sounds of the ’60s. They were in an entirely different position when they began recording their next album, “Eat to the Beat, less than a year later.  Kicking off with the rocking stalking anthem of “Hanging on the Telephone” (a Jack Lee cover) Debbie Harry delivers her strongest vocals to date, inhabiting the song with a sweet yet dangerous delivery.

Harry’s persona grows with the uber catchy “One Way or Another” with its signature guitar hook and sweet boppy beat that underscores the threat and menace on display in the lyrics. the obsessed jilted lover, Harry was taunting and preening with jealousy like a pro. With every line, Harry grows in strength and showcases the power needed to front an all-male band in the late ‘70s (and be taken seriously). Completing the opening trio of pop perfection, the band shifts gears with the lovelorn promise of “Picture This.” Amidst swirling guitar riffs and a classic backbeat by drummer Clem Burke, the song mixes early rock nostalgia with a burning sexuality and does so while still remaining sugary sweet.

After its release in fall 1978, Parallel Lines shot up the charts, reaching No. 1 in the U.K. and the Top 10 in the U.S. thanks to the powerhouse appeal of the single “Heart of Glass,” which went to No. 1 across the planet, including the U.S. The song added another influence to the band’s range of musical styles. So, when the six-member Blondie, led by singer Debbie Harry, entered the studio in their hometown of New York City as spring turned to summer in 1979, they pretty much followed the template of the record that rocketed them to stardom the previous year. That meant some New Wave, a little pop, a throwback or two to their punk roots and, of course, more disco. And then they took it even further.

Harry, who co-wrote eight of the new album’s songs, was thrust into the spotlight following “Parallel Lines” success. She became the focal point of the group and was often characterized by unknowing Top 40 fans as a solo artist named Blondie. Even though their publicity department stressed the issue — going as far as declaring “Blondie is a band” in press releases — getting casual music fans who knew them from only “Heart of Glass” to acknowledge there were five other people making the music was often an uphill battle.

This musical growth is evident on the modern torch song of “Fade Away and Radiate,” the pulsing driven beat of “I Know But I Don’t Know” with its borderline psychedelic melody, and the urgent rock swing of “11:59.”

Even the album’s filler songs such as “Just Go Away” and “Will Anything Happen” rival the hits on other band’s albums of the era. And then there’s the bouncy pop of “I’m Gonna Love You Too” and “Sunday Girl” that present a softer, more playful side to Blondie’s sound, But the game changer of the album, and for the band, was the soon to be disco anthem “Heart of Glass.” To a bubbling drum machine and strutting open hi-hat beat, the production on “Heart of Glass” is flawless. From the soft and subtle (at first) blipping synth line and slow sweeps, Blondie boldly stepped from the grimy stages of New York’s clubs to the dance floors of thriving discos.

Loved, and also hated, for producing a “disco” song, Blondie held fast to their belief of writing a great song befitting of the pop and r&b influences that appeared—perhaps less obviously—in their earlier recordings. Parallel Lines is the album of a band (somewhat reluctantly) finding its sound. It became the album that sprang them forward and launched them onto the world stage, and would form the blueprint for their subsequent efforts. It remains a perfect encapsulation of Blondie in their prime, focused on superior songcraft and musicianship. Whilst producer Chapman may have pushed them to beyond their creative breaking point, the result ensured an album that stands the test of time.

When they reconvened in the studio to make Eat to the Beat, Blondie were still working hard on that band dynamic. All six members contributed songs to the album in one form or another and, along with returning producer Mike Chapman, were determined to not rest on Parallel Lines’ laurels. Eat to the Beat sounds like a follow-up, but not a sequel. And that’s no small achievement.

From the start, Blondie didn’t quite fit in with the punk groups they were often associated with. They were poppier and more melodic. And they didn’t seem like they wanted to save the world — or burn it down, for that matter. So the disco explosion that was “Heart of Glass” sounded natural, an effortless offshoot from their downtown art-punk roots. A small step, but an integral part of Blondie’s story. As producer Chapman noted in the album’s 2001 reissue, tensions were high during the recording, stemming from increased drug use among various members. But Harry also began to assume more control, outlining a vision for the album that included the usual mix of pop, punk, disco, New Wave and even R&B-inflected songs.