The Fat Angel Sings

Teeming with teenage angst, punk sensibilities, and Violent Femmes’ own special brand of jittery folk-rock, the trio’s self-titled 1981 debut “Violent Femmes” became a cult favourite. Featuring the anthems “Blister in the Sun,” “Please Do Not Go,” “Gone Daddy Gone,” and “Add It Up.” This expanded 40th anniversary edition features a trove of rare demos, live tracks, and more. The 3-LP + 7″ Set is expanded 40th anniversary edition of Violent Femmes’ self-titled debut featuring the remastered album, plus B-sides, live sessions, and rare demos. Housed in a lift-top box with die-cut darkened window detail revealing the box contents, the set includes three 180-gram LPs plus a replica 7″ single, along with a book featuring new liner notes by journalist David Fricke and interviews with the band.

One of the most distinctive records of the early alternative movement and an enduring cult classic, Violent Femmes weds the geeky, child-man persona of Jonathan Richman and the tense, jittery, hyperactive feel of new wave in an unlikely context: raw, amateurish acoustic folk-rock. The music also owes something to the Modern Lovers’ minimalism, but powered by Brian Ritchie’s busy acoustic bass riffing and the urgency and wild abandon of punk rock, the Violent Femmes forged a sound all their own

Still, the main reason Violent Femmes became the preferred soundtrack for the lives of many an angst-ridden teenager is lead singer and songwriter Gordon Gano.

Naive and childish one minute, bitterly frustrated and rebellious the next, Gano’s vocals perfectly captured the contradictions of adolescence and the difficulties of making the transition to adulthood.

Clever lyrical flourishes didn’t hurt either; while “Blister In the Sun” has deservedly become a standard, “Kiss Off”‘s chant-along “count-up” section, “Add It Up”‘ escalating “Why can’t I get just one…” couplets, and “Gimme the Car” profanity-obscuring guitar bends ensured that Gano’s intensely vulnerable confessions of despair and maladjustment came off as catchy and humorous as well.

Even if the songwriting slips a bit on occasion, Gano’s personality keeps the music engaging and compelling without overindulging in his seemingly willful naiveté.

Reflecting on the album’s 40th anniversary, bassist Brian Ritchie shares: “I am frequently stopped on the street by people who tell me, ‘Your album changed my life,’ or some variant. I don’t have to ask, ‘Which album?’ because it is implied that they’re talking about the first one. The uncanny thing is that these people range from early teens to septuagenarians, and they all have the same testimony.”

 Ritchie adds, “Sometimes music is more than just a pleasing sound that entertains. It takes on greater meaning. Multiple generations have found the songs to be relevant in their life situations. Some people say they had sex for the first time listening to it (which I find appalling but whatever) and someone even said, ‘I was conceived to your music.’ Wow.”

Includes the classic anthems “Blister in the Sun,” “Please Do Not Go,” “Gone Daddy Gone,” and “Add It Up.”

Now six records deep into a tenure that began in 2012, Ben McLeod (guitarist), Charles Michael Parks, Jr. (bass/vocals), Robby Staebler (drums) and Allan Van Cleave (keys) are unremittingly forward-looking. They have deep musical roots and grow a heavy, visceral sound, with sheer dexterity delivered in every song. There is a ferocious energy and rhythmic nuance to their sound — which features devastating guitar riffs in a raw blend of progressive, bluesy, neo-psychedelic rock. All Them Witches’ most recent record was recorded in Abbey Road and released in 2020.

They have relentlessly toured since inception, performing at festivals including Voodoo Music & Arts, Bonnaroo, Forecastle Festival and Pukkelpop; while also sharing tours with acts such as Mastodon, Ghost and Primus. They continue to hone their unique meld of crafted song writing and spacious grooves on the road with tour dates throughout North America, the U.K. and Europe.”

On their new album, ‘Baker ́s Dozen’, take you on their intoxicating trip in 13 songs. A trip in which everything happens. One moment you can hear solid, stoner rock-leaning riffs, blues in a brooding way, Pink Floyd-like psychedelic rock, hypnotic Krautrock and even country.

Ben McLeod (guitar), Charles Michael Parks, Jr. (bass, vocals), Robby Staebler (drums) and Allan Van Cleaves (keyboards) start with the slow blues, “Blacksnake Blues”. A brooding song with viciously biting guitar work by Ben McLeod and Ray Manzarek-like organ sounds by Allan Van Cleave.

The next song, “Fall Into Space”, is clearly heading in the psychedelic Pink Floyd direction. Then it’s time for the grimly fuzzy “Silver To Rust” in which a psychedelic Stoner sound is mixed with dreamy psychedelics. The dark “Acid Face” lives up to its title in intoxicatingly almost Amon Düül-like song. “6969 WXL The Cage” is a bizarre, wry introduction to the very dark and oppressive radio station of the same name. Designed in a very heavy thumping kind of psychedelic techno sound.

“Tiger’s Pit” is a high-fuzz song followed by the dreamy psychedelics of “Tour Death Song“.

In “Mama Is A Shining Star”, intoxicatingly beautiful ambient sounds pop up and in the dreamy closing track of the album, “Real Hippies Are Cowboys”, a steel guitar provides the psychedelic country rock atmosphere. With this album, All Them Witches proves once again that it is a very versatile, but always intoxicating band!

All Them Witches is a Psychedelic Stoner Rock band hailing from Nashville, Tennessee. With their unique blend of heavy riffs, hypnotic grooves, and mind-bending lyrics, they have established themselves as one of the most exciting and innovative bands in the genre.

All Them Witches quickly gained a dedicated following with their electrifying live performances and critically acclaimed albums. Their music takes listeners on a sonic journey through space and time, drawing inspiration from classic rock, blues, and psychedelic influences.

With each release, All Them Witches pushes the boundaries of what can be achieved within the realm of stoner rock. Their raw energy combined with intricate musicianship creates an immersive experience that captivates audiences around the world. Whether you’re a fan of heavy riffs or searching for thought-provoking lyrics, All Them Witches delivers it all with their signature style.

Wilco stopped by Jimmy Kimmel Live! this week to promote the band’s new album, “Cousin”, with a live performance of the song “Evicted”.

Released on September 29th, “Cousin” marks the first release by Wilco’s label under its new distribution agreement with Sony Entertainment Music and the band’s first album produced by Welsh musician/producer Cate Le Bon (Kurt Vile, Deerhunter). As for the album’s title, “I’m cousin to the world,” said singer/guitarist Jeff Tweedy. “I don’t feel like I’m a blood relation, but maybe I’m a cousin by marriage.” The live performance showcased Wilco’s ability to bring their songs to life and have the distinctive harmonies and harmonious flourishes that they’re so known for. Still, the bright and eccentric touch from celebrated Welsh musician/producer Cate Le Bon found on the studio project remained vivid in the memory.

Watch Wilco perform “Evicted” on Jimmy Kimmel Live! The band is currently on tour with upcoming shows around the West Coast, Rocky Mountains, Midwest, and more. 

A new super deluxe 4CD box set of magnificent early ’80 live performances by one of the all-time greatest rock bands to ever take the stage – UFO!

Founding members Phil Mogg, Pete Way, and Andy Parker are joined by Paul Chapman and Paul Raymond, and Neil Carter as they blast through the highlights from “No Place To Run”, “The Wild, The Willing & The Innocent”, and “Mechanix” as well as their smash hit singles “Lights Out,” “Doctor, Doctor,” and more!
• Features a gorgeous 16 page booklet plus carefully duplicated printings of two vintage tour programs!

“Lights Out” was the sixth studio album by English rock band UFO, released in 1977. All songs are band originals except for “Alone Again Or” which is a cover of a song by the band Love. Reaching number 23 on the charts, it remains the band’s highest-charting album in the United States. In the UK it hit number 54 and stayed on the chart for two weeks.

The album was UFO’s first to feature lush string arrangements alongside more complex song structures than their previous albums. Producer Ron Nevison brought in Alan McMillan to handle the string and horn arrangements. The most notable song to feature the orchestral colouring was “Love to Love”. It is also the first UFO album to feature Paul Raymond on keyboards and rhythm guitar.

A crowd of over 400,000 attended this open air event, a fund-raiser for the French Communist Party. The Who came onstage at 6pm, preceded by Country Joe McDonald. Townshend had invited a reclusive Eric Clapton and his then girlfriend Alice Ormsby-Gore to watch the show from the wings but during the band’s set Eric was mistaken for a fan and ejected by a roadie.

Usual set opener “I Can’t Explain” was short and to the point, ditto the band’s version of Eddie Cochran’s “Summertime Blues“. “Baba O’Reilly” required the band to play along to a taped synthesiser track, as did “Relay“. These last two tracks were written for Townshend’s Lifehouse project and whilst the former had already appeared on “Who’s Next” the latter would not be released until December 1972 as a non-album single. “Relay” is longer than the recorded version with call and response vocals and a brief drums-only interlude before Townshend and Entwistle solo simultaneously.

The last word goes to Roger Daltrey who thanked the enormous crowd by saying “we’d like to speak in French. Unfortunately we didn’t go to school, so we can’t”.

All tracks recorded live at the Fête de l’Humanité at Parc Georges-Valbon, Paris on September 9^th 1972 and broadcast on the RTL commercial network

Roger Daltrey – Vocals, harmonica, Pete Townshend – Guitar, vocals, John Entwhistle – Bass, vocals, Keith Moon – Drums, vocals

Fleetwood Mac’s sessions for the BBC were legendary. The sessions were always productive – their Top Gear session on August 27^th 1968 produced eleven numbers when most bands only managed to record three tracks in their allotted time. The band were also very experimental. Rather than trot out their latest single or recently-recorded album tracks, Fleetwood Mac would frequently perform songs that they never recorded elsewhere. They would also work with special guests, such as Eddie Boyd on their January 1968 session. On March the 17^th Fleetwood Mac participated in a one-off all star session with blues godfather Alexis Korner, one-man band Duster Bennett and future band member Christine Perfect (later Christine McVie). The three tracks they recorded together have never been officially released and we are delighted to feature them here.

“You’ll Be Mine” and “Good Morning Blues” were two acoustic blues covers that never made it onto a Fleetwood Mac studio LP, originating from Howling Wolf and Leadbelly respectively. “Shady Little Baby“, “Hot Rodding” and a stomp through “New Worried Blues” benefit from the guitar and vocals of Alexis Korner, the vocals and harmonica of Duster Bennett and the distinctive piano of Christine Perfect. The versions of “Early Morning Come” and “Linda” are different to those on the official release “Fleetwood Mac Live At The BBC”. “Early Morning Come” is mis-introduced by host Brian Mathews as “Coming Your Way” and is performed on acoustic guitar by Danny Kirwan. “Linda” illustrates Spencer’s fixation with Buddy Holly: as an homage it is spot on with galloping drums and careful backing vocals.

Moving from radio to TV, the first track on Side Two is an unidentified live-in–the studio version of “Oh Well” with clearly differentiated guitar lines from Green and Kirwan: the Flying V that Spencer totes seems to be mainly for show. Then warm applause greets a measured, delicate performance of “Albatross” from German TV. At the other extreme comes bizarre US TV programme Playboy After Dark, hosted by publisher Hugh Hefner and assorted Bunnies. “Rattlesnake Shake” makes for a wonderfully appropriate choice of song (didn’t anyone notice the lyric?). A hint of “Albatross” follows, with a truncated “Coming Your Way” forming a suitably elegant coda. Finally we feature a lengthy instrumental excerpt from “The Green Manalishi“, joining the song after the vocal section just as Green and Kirwan begin their guitar interplay. This is followed by a drum and bass interlude featuring Green on 8-stringed bass, playing melodically against McVie’s shuffle beat. 

Such music seems a long way from the traditional blues with which Fleetwood Mac had started their career. But some things about the band had not changed and would not change: their impeccable rhythm section, a desire to keep moving artistically and a commitment to writing songs rather than jams. Listening to this LP you can hear the full range of their musical capabilities, disrupted when an acid-addled Peter Green announced he was leaving in May 1970. 

RVG present an electro-funk remix of the lead single from their critically acclaimed album “Brain Worms”– ‘Nothing Really Changes’ by UK post-punk duo Sleaford Mods (Rough Trade). The release will feature on the band’s forthcoming remix EP “Nothing Really Changes (Remixes)” – out Friday 20 October.

Sleaford Mods have become one of the UK’s cult bands of the moment: unapologetic champions of working-class anger in a post-Brexit, austerity-era landscape. They have collaborated with the likes of Leftfield and The Prodigy, have made a high-profile fan in Iggy Pop and have had 3x UK top 10 albums in the last four years.

On ‘Nothing Really Changes (Sleaford Mods Remix)’ the duo slow down the tempo and turn up the funk, transforming the beloved heartbreak song into five and a half minutes of feel-good bliss. Vager’s iconic line ‘Baby don’t you know, everyone is sad’ manages to land with less despair, instead lending a hopeful and harmonious outlook on a chapter closing.

‘Nothing Really Changes (Sleaford Mods Remix)’ is the first of three glorious remixes, with two to come from Warpaint’s Stella Mozgawa and Huntly’s Andy McEwan aka Ahm.

Released in June, “Brain Worms” was dubbed “the sound of a band at the height of their rock powers´ (Rolling Stone Australia), “one of their finest moments yet” (ABC), and “contender for the best indie-rock album of 2023)” (NME), while also receiving 4-star reviews from The Guardian and Uncut. The record landed Double J Feature Album, PSB Album of the Week, 2RRR Album of the Week, 2SER Album of the Week and RTRFM Feature Album. 

releases October 20th, 2023

Grant-Lee’s first solo album, “Ladies’ Love Oracle”, was recorded in just three days. Here, Phillips takes the warmth and broadness of his work with band Grant Lee Buffalo and internalizes it, producing a raw, yet focused acoustic work. Harmonica and piano fill out certain tracks but only to compliment the stark skeleton created by Grant-Lee’s voice and guitar. As Phillips himself has been quoted as saying, “Sometimes a sketch says more than a mural. “Ladies’ Love Oracle “bridges the gap between two phases of a legendary career and signifies the emergence of a refreshed and unchained song writing voice, one that would go on to be proven as one of the most singular of last twenty years.

 After being a big fan of Grant Lee Buffalo, seeing Grant find his solo voice was very fulfilling. These tracks are personal, yet so relatable & whispered into your lover’s ear, they become so meaningful. Grant’s follow up shows during this period were some of the best shows I’ve ever seen. None of these tracks overstay their welcome.

First time on vinyl! Limited to 500 copies worldwide and remastered for vinyl.

Originally Released November 10th, 2009

2009 Yep Roc Records

This cover of “Jeane” is my tribute to The Smiths, who have been an important influence on me since 1985. I never took guitar lessons, but I did buy a “Meat Is Murder” songbook and learn to play the songs as best I could. Without the Smiths, The Persian Leaps would still exist, but we’d sound very different, with less jangle and happier lyrics.

This propulsive and addictive rendition of one of The Smiths‘ lesser known tracks celebrates the band’s colossal body of work and the impact it has had on so many people. Originally released in 1983 as the B-side to ‘This Charming Man’ on 7-inch vinyl, it would later be re-released in several formats in 1992.

Despite being a huge fan of The Smiths since 1985, I’d never heard “Jeane” until 5-10 years ago. The song blew me away. It’s not unusual to track down a rarity or B-side and find it interesting if underwhelming, but “Jeane” felt to me like an essential Smiths song that’s been unfairly overlooked. It also sounds unfinished to me–as though with a few more takes and some production love, it could have been an A-side. I’d always wanted to cover a Smiths song, and “Jeane” felt like one I could put my own mark on and perhaps even introduce to people who don’t know the original.

released September 13, 2023
Drew Forsberg – Vocals, guitars, keyboards, bass, drum programming

The Persian Leaps is an indie rock/power pop band from Saint Paul, Minnesota. New single “Jeane” (Smiths cover) out now!,

Portland-based Pete International Airport, presents his collaboration with Slowdive goddess Rachel Goswell, who is involved both as vocalist and co-writer. the ‘Tic Tac’ 7″ vinyl version is released on translucent yellow vinyl and digitally as a Bandcamp exclusive. The A-side original is complemented by the B-side remix by the iconic Anton Newwcombe (The Brian Jonestown Massacre).

Pete International Airport, which is the brainchild of guitarist Peter G. Holmstrom of The Dandy Warhols, recently released his third album ‘It Felt Like The End of the World’ via Little Cloud Records – a meticulously crafted psychedelic rock journey into the dark heart of electronica. Apart from Goswell, it features numerous guests, including members of Cheap Trick, A Place To Bury Strangers, Dark Horses and Pang Attack, producing songs merging into Holmström’s hyper-stylized world of symbols, themes and archetypes.   

Pete International Airport is the brainchild of guitarist Peter G. Holmström of The Dandy Warhols.  Named after one of their songs, this eclectic project builds immersive soundscapes that are also classic, catchy songs.  Holmström has an uncanny ability to curate, with a penchant for dropping collaborators into challenging creative spaces—both virtual and actual—then letting them duke it out.

Pete International Airport (Peter G. Holmström) ·featuring Rachel Goswell album release “It Felt Like the End of the World” Released on: 30th june 2023.