The Fat Angel Sings

“From Here to Eternity: Live” is a live album by punk rock band The Clash, originally released in October 1999 through the bands label Epic Records. The album’s songs were selected from various Clash concerts recorded between 1977 and 1982. Some of the recordings featured also appear in the film Rude Boy (1980). “London’s Burning”, “What’s My Name” and “I Fought the Law” were instrumentally overdubbed to repair some technical deficiencies of the original live recording.

Years after the Clash disintegrated, their live performances remained legendary, partially because most things concerning the band entered rock legend. Bootlegs offered proof of those great performances, but only hardcore collectors would seek those out, which is why “From Here to Eternity: Live”, the Clash’s first official live album, is a welcome addition to their catalogue, it confirms that the legend is deserved. Sequenced as “the ultimate live concert,” as so many compiled live albums are, this is one time the trick actually works.

The album comprises 17 songs, with a further 2 songs released as iTunes bonus tracks.

All the performances were recorded between 1978 and 1982, but they’re sequenced according to the date of the song, not the date of the performance. Consequently, the album divides roughly in half, as the first nine songs are devoted to The Clash and “Give ‘Em Enough Rope“, with the rest of the record comprised of songs from “London Calling” and its successors. That doesn’t necessarily mean that the performance is taken from the same era as the song, however. The amazing thing is that the performances all sound like they’re taken from the same show.

“From Here to Eternity” has genuine momentum, rushing through its 17 songs at a furious pace — things don’t slow down until “Armagideon Time,” the 11th song in. Only after the album is finished does it sink in that it is indeed sequenced chronologically, since it has the feel of a set list. More importantly, it’s impossible to tell when each song was recorded. “Career Opportunities” sounds as if it were recorded at a packed, sweaty London club, but it was taken from tapes of the band’s opening set for the Who at Shea Stadium in the fall of 1982. That’s not the only incident of such historical sleight of hand, either. Throughout the first portion of the album, early and latter-day performances blend seamlessly, creating the illusion that everything on the record was from one dynamic, relentlessly exciting show. By doing so, “From Here to Eternity: Live” offers undeniable proof of the Clash’s greatness — this was a band that sounded every bit as good in its final days as it did in its first. (This, of course, is discounting the post-Mick Jones Clash.) But the best thing about the album is that it never sounds like a historical project or an archival release, because it is such a captivating listen. From the opening chords of “Complete Control” to the closing notes of “Straight to Hell,” “From Here to Eternity” is an invigorating record, teeming with life and energy. It’s a live album worthy of a band as legendary as the Clash.

Record Collector Presents… King Crimson looks back on a remarkable career that’s gone from psychedelic rock and raunchy jazz to avant-garde improv.

It’s 55 years since progressive rock’s first family took shape in a basement in southwest London, launching a sonic assault like no other on the release of their jaw-dropping debut LP later that year, “In The Court Of The Crimson King. Record Collector Presents… King Crimson looks back on a remarkable career that’s gone from psychedelic rock and raunchy jazz to avant-garde improv and heavily metallic thwak with new interviews from head royal Robert Fripp, plus cardinal Court members Bill Bruford, Tony Levin, Mel Collins, David Cross, Pat Mastelotto, Trey Gunn and many more. Elsewhere, the doors to the Crimson Archive are unlocked, and we have Robert’s guide to Crimson’s Dorset Hotspots, an archive interview with Ian McDonald, origin notes from Peter Giles and Judy Dyble, a select UK discography and solo Frippography, plus collectors, collaborators, and 26 cut-out-and-keep cosmic Guitar Craft Oracle Cards, taken from Robert’s Aphorism series.

What larks, indeed! It’s A Crimson Kcornucopia like no other.

Thurston Moore’s forthcoming album is his ninth solo recording. Some of the songs were written & arranged in Europe and The United Kingdom and include lyrical references to their environments and inspired by nature, lucid dreaming, modern dance and Isadora Duncan. The album was arranged at La Becque in Switzerland and recorded at Total Refreshment Studios in London in 2022, and mixed at Hermitage Studios in London with Margo Broom in 2023.

Thurston Moore of Sonic Youth is releasing a new album, “Flow Critical Lucidity”, on September 20th via Moore’s own Daydream Library Series label. Moore had this to say about the new song in a press release: “The song is about fresh blood. The new kid in school. The new kid on the scene. A new potential for change in an already active community hoping to protect the world from the poisons of power-hungry creeps. The spirit of youth demonstrated in the early ’80s slam pits of hardcore refusing the worn-out expectations of adulthood.”

“Flow Critical Lucidity” includes “Rewilding,” a new song Moore shared back in April with its release timed to Earth Day. The album features Deb Googe of My Bloody Valentine on bass, alongside James Sedwards (guitar), Jem Doulton (drums), and Jon Leidecker (electronics).

Last year Moore released his memoir, Sonic Life.

“Flow Critical Lucidity” Due Out September 20th via Daydream Library Series

‘Koalas’ the new single is out now. so excited to announce the release of our new album, ‘Pomegranate’, Tess Parks is back with her third solo album, ‘Pomegranate’, dropping October 25th The dreamy lead single and video ‘Koalas’ is out everywhere now .

Following her critically acclaimed solo return with 2022’s ‘And Those Who Were Seen Dancing’ and earlier albums with Anton Newcombe, ‘Pomegranate” was written and recorded between London, Toronto and Los Angeles and produced by close collaborator Ruari Meehan, who also co-mixed the record alongside Grammy-nominated engineer Mikko Gordon.

Re-establishing Parks as the consummate artist-observer against a swirling nouveau-delic backdrop, ‘Pomegranate’ is her most ambitious and cinematic to date. The single ‘Koalas’ is a piece of beautifully hazy, slow-burning psych-folk with Parks’ smoky vocals floating over feathery acoustic guitar and piano, and some spellbinding whistling courtesy of Molly Lewis.

The first song, ‘Koalas’, is out everywhere now (!!) and you can stream/pre-order the album on limited edition vinyl and CD

Nick Cave & the Bad Seeds are releasing a new album, “Wild God”, on August 30th via Bad Seed/Play It Again Sam. This week, Cave shared its third single, “Long Dark Night,” via a lyric video.

The song was inspired by the poem “Dark Night of the Soul” by the Spanish 16th-century poet St. John of the Cross. Cave further explains in a press release: “‘Long Dark Night’ is inspired by one of the greatest and most powerful poems of conversion ever written. Ultimately, though, it’s a beautiful country tune. It feels like a sweet companion to the song, ‘Wild God.’”

Previously Nick Cave & the Bad Seeds had shared the album’s first single, title track “Wild Then they shared its second single, “Frogs,” . “Wild God” is Nick Cave & the Bad Seeds’ 18th studio album and is he follow-up to 2019’s acclaimed “Ghosteen”, Cave and bandmate Warren Ellis produced the album, which was mixed by David Fridmann. Cave started writing the album on New Year’s Day 2023 and there were recording sessions at Miraval Studios in Provence, France and Soundtree Studios in London, England.

The album also features Colin Greenwood of Radiohead (who contributes bass) and Luis Almau (on nylon string guitar and acoustic guitar).

“I hope the album has the effect on listeners that it’s had on me,” Cave said in a previous press release. “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a master plan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.” Cave added: “Wild God”…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.”

London-based artist Naima Bock is releasing a new album, “Below a Massive Dark Land“, on September 27th via Sub Pop/Memorials of Distinction. This week she shared another new song from it, “Gentle,” via a music video.

Bock had this to say about “Gentle” and its video in a press release: “I’ve lived with this song for a couple of years. It’s a kind of copy and paste of different sections of my life, each verse is a different version of myself or situation I was in. None of them link in reality, but they fit together in this song, which leaves me with a sense of union and satisfaction. I would like to allow for the listener to take the lyrics in whatever way is relevant to them. I can say it’s my favorite song to play and one of my favorite songs that I’ve written. It means a lot to me.”

Ellie Wintour and Sophie Lincoln directed the video and collectively had this to say: “Our jumping off point for the video began with the lyrics ‘You want me to be gentle, fragile, you want me to stay young. I pray that I stay gentle, fragile, I pray that I stay.’ We developed Naima a character playing on femininity as facade, but also her sense of easygoing style. In using two-dimensional substitutes for three-dimensional objects – mixing worlds of the real and make-believe – we tried to play on the song’s themes of expectation, assigned roles, and conformity.”

Bock has already shared two new songs from it, “Kaley” and “Further Away,” and announced some tour dates. “Below a Massive Dark Land” is Bock’s second album, the follow-up to 2022’s debut album, “Giant Palm”. Jack Osborne and Joe Jones produced the album, with additional production and arrangement by Oliver Hamilton and Bock.

Yesterday a new Flyte recording was gently nudged out into the world. It’s a live recording of “Chelsea Smiles” from Middle Farm Studios. You may have heard the live version of “Even On Bad Days” from that same day, well this completes the picture.

Recorded at Middle Farm Studios Performed by Will Taylor, Nick Hill and Her Ensemble (Deni Teo, Coco Iman and Ellie Consta)

Burlington, Vermont’s Robber Robber are one of those bands who defy easy categorization. I don’t know if they’re unpigeonholable but they do incorporate a bunch of disparate elements into their off-kilter brand of indie rock. One of the first things you notice on their debut album is the drums; co-founder Zack James has a unique style that is both lithe and powerful where live drumming hits side-by-side with either triggered samples or drum machines. He gives the band a unique backbone that effortlessly slips between easy groove and industrial clank, and locks in step with Carney Hemler’s bass. Then there’s the guitar interplay between singer-guitarist Nina Cates and Will Krulak; their instruments dance around each over, sometimes slashing, sometimes blurring together, sometimes slapping you in the face. Cates’ vocals are chameleonic as well, capable of a breathy coo that lends itself to “Wild Guess” shoe gazier moments (“Sea of War,” “Seven Houses”), but also banshee wails and heavy-attitude snarl.

Robber Robber are at their best and most memorable when throwing curveballs — the push-pull mechanics of “Backup Plan” and playful ripper “How We Ball” — which thankfully makes up most of “Wild Guess”.

released July 26th, 2024

Written and produced by Nina Cates and Zack James

It’s been five years since the last Wand album and a lot has gone on in their world since “Laughing Matter”. The band’s line up changed significantly — only singer-guitarist Cory Hanson and drummer Evan Burrows remain from their original line up and since Hanson released two very good solo albums, including last year’s unfortunately named “Western Cum”. With new members inspiring new sounds, in particular Evan Backer who comes from a music composition background, Wand went back into the studio to quietly blow up their sound. Hanson mostly left guitar duties to Rober Cody and played Fender Rhodes electric piano instead, while Backer arranged strings and horns while the band got inspired by Miles Davis’ electric albums from the ’70s.

The result is “Vertigo”, a record unlike anything they have made before that still retains their Wand-iness. Gone are the guitar heroics and in their place are subtle, simmering arrangements and songs that don’t follow traditional pop arrangements and often flow into seamlessly into the next. This all makes for an “album” album, in the ’70s sense, where you’re meant to listen to the whole thing as a piece. “Vertigo” is not “difficult” but it does benefit greatly from dedicated listening — it’s a great headphone album — and there are no shortage of standouts, including the syncopated horn blasts of “Mistletoe,” the dreamy, jazzy “Lifeboat,” and the swaying, subtle stunner “Smile.” (There are also plenty of guitars here, just not the towering riffs of their previous records.) “Vertigo” has a lot of big ideas and impressive moments packed into a mere 39 minutes, but all of them flow naturally and nothing is overstuffed. Ten years on from their debut album, Wand continue to grow and surprise in wonderful ways.

Wand is Cory Hanson, Evan Burrows, Robert Cody, and Evan Backer.

Reissues of Spooky Tooth’s “It’s All About” and “Spooky Two”

Proper Records, in collaboration with Universal Music Recordings, are reissuing “It’s All About” and “Spooky Two,” the first two albums by the much-loved and greatly missed Spooky Tooth.

The band’s line-up (guitarist Luther Grosvenor, vocalist Mike Harrison, drummer Mike Kellie and bassist Greg Ridley) joined forces with American keyboardist/vocalist Gary Wright in October 1967 and formed Spooky Tooth. Wright was introduced to the members by Chris Blackwell, the founder of Island Records renowned for promoting Progressive Rock,

In the 21st century, Spooky Tooth remains somewhat under the radar. Despite being signed to Island Records and offering a heady brew of heavy blues and soul, their music, beloved by the underground in the late ’60s, is still ripe for rediscovery. Formed from the group Art, featuring vocalist Mike Harrison, guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie, Spooky Tooth came into being with the addition of American-in-London keyboard player Gary Wright, suggested by Chris Blackwell.

“It’s All About” (1968)

Recorded at Olympic Studios and produced by Jimmy Miller, who was also behind the boards for Spencer Davis Group, Motörhead, Traffic, the Rolling Stones and Blind Faith. their debut album, “It’s All About,” is a powerful blend of soul-tinged rock, suffused with sweetness on both originals and carefully chosen covers. Released in June 1968, it includes a version of Bob Dylan’s “Too Much of Nothing,” a blistering take on the Nashville Teens’ “Tobacco Road,” and the Jimmy Miller-Gary Wright co-write “It’s About A Roundabout,” On this dreamy cut, vocalist/keyboardist Gary Wright demonstrates some sharp melodic and compositional instincts. which has a driving beat reminiscent of Northern Soul. “It’s All About” is a lovely, often surprising album that offers a unique listening experience.

This full-length debut from British blues-rockers Spooky Tooth has a tone similar to Traffic with its psychedelic take on the influential pop and soul music of the ’60s. The few cover tunes including Janis Ian’s “Society’s Child” but original songs like the soulful ballad “It Hurts You So” and “Bubbles” (with its Beach Boys sensibility) are the real standouts.

Although Spooky Tooth eventually became better-known for their straightforward blues-rock, the trippy pop of It’s All About counts as a career highlight for the group. Fans of late-’60s British rock are definitely advised to check out this impressive release.

“Spooky Two” (1969)

Released in March 1969, “Spooky Two” is heavier and less quirky than the debut. It includes a remarkable version of Larry Weiss’ “Evil Woman,” a heavy nine-minute blues track that established Luther Grosvenor as one of the great British guitarists of his era. Gary Wright’s originals shine on this album, with tracks like the Cream-inspired “Lost In My Dream” and the storming “Better By You, Better Than Me,” later covered by Judas Priest. Mike Harrison’s voice is in fine form throughout, making “Spooky Two” one of the great British rock records of the late ’60s.

“I’ve Got Enough Heartache” whines and grieves with some sharp bass playing from Greg Ridley, while “Better by You, Better Than Me” is the catchiest of the songs, with its clinging hooks and desperate-sounding chorus. The last song, “Hangman Hang My Shell on a Tree,” is a splendid example of the bandmembers’ ability to play off of one another, mixing soulful lyrics with downtrodden instrumentation to conjure up the perfect melancholia. Although Spooky Tooth lasted about seven years, their other albums never really contained the same passion or talented collaborating by each individual musician as Spooky Two.

Both “It’s All About” and “Spooky Two” are presented with meticulous attention to the detail of the original UK first pressings and are available on audiophile 180gm vinyl. Whether you’re replacing much-loved originals or adding to your collection afresh, this is a great way to enjoy such enduring and influential music.

The band members, Grosvenor later joined Mott the Hoople in the 1970s (replacing Mick Ralphs who left to form Bad Company), adopting the name Ariel Bender. Kellie later joined the Only Ones in the late 1970s also performing with them in 1980s. Ridley became a member of Humble Pie.