The Fat Angel Sings

Tori Amos’ 2002 album “Scarlet’s Walk” will be issued on vinyl for the very first time, in September.

This was Tori’s seventh studio album was self-produced and was her first record with her then new label, Sony/Epic Records (2005’s “The Beekeeper” and 2007’s “American Doll Posse” would be the only two original albums she’d issue on the label).

The record was an 18-track concept album (a “sonic novel about a road trip”) which details the cross-country travels of Scarlet, a character loosely based on Amos, and was greatly inspired by the changes in American society and politics post 9-11 world. Topics explored on the album include nationalism, personal relationships, and the death of a close friend. Amos also took inspiration from the stories of her grandfather, who she claims was Cherokee and told her of the abuses against Native Americans throughout the United States’ history.

The album has been remastered and is pressed on half-speed mastered vinyl. It’s a 2LP set since it runs for well over an hour! “Scarlet’s Walk” has never been issued on vinyl; back in the day it was only available on CD and cassette with a notable CD+DVD deluxe edition which came with postcards and a map depicting the journey and including lyrics.

A 2LP red (scarlet) vinyl edition on 8th September 2023 via Sony Music.

The Pretenders have shared “A Love,” the next single from their forthcoming studio album, “Relentless”. featuring exclusive footage of the legendary band’s recent live run at small U.K. clubs. Last week, the band also announced a rare U.S. headlining club tour to fill in dates in between their opening slot on Guns N’ Roses’ 2023 stadium tour. “A Love” is the third track released from “Relentles”, due September 1st, via Rhino Records. The album marks the band’s return to Warner Music Group after more than two decades having first been signed to Sire Records in America by the legendary Seymour Stein. The original album announcement coincided with the release of the first single, “Let the Sun Come In,” featuring Chrissie Hynde’s usual tough-as-nails vocal.

“I suppose ‘A Love’ is the most traditionally Pretenders-sounding song on the album,” says Hynde, “in the vein of ‘Kid’ or ‘Talk of the Town’ or any of the mid-tempo ones over the years. I often see love/relationships almost in the same vein as drug addiction. Although, having said that, I know I am jaded and cynical…”

“I enjoy seeing the various meanings and origins of a word,” says Hynde of the album’s title. “And I liked the definition: ‘showing no abatement of intensity.’ So when it came to an album title, it seemed fitting. You know…to keep doing it. I think anyone in a band is constantly questioning if they should keep going. It starts as a youthful pursuit and eventually, it makes you wonder, why am I doing this? It’s the life of the artist. You never retire. You become relentless.”

“A Love”, taken from Pretenders’ brand new album ‘Relentless’.

Nick Lowe’s 1998 classic “Dig My Mood” finds the worldly balladeer in the middle of his fabled Brentford Trilogy of albums. The album features some of Lowe’s greatest second-act triumphs like “You Inspire Me” and “Man That I’ve Become” as well as sophisticated covers of Ivory Joe Hunter’s “Cold Grey Light of Dawn” and Henry McCullough’s “Faithless Lover.” Dig My Mood’s 25th anniversary edition includes the rarity “I’ll Give You All Night to Stop” and four live cuts from Nick’s 1998 tour in Japan.

Featuring:
Robert Treherne – drums
Geraint Watkins – organ, piano, electric guitar, accordion
Steve Donnelly – lead guitar
Nick Lowe – bass, rhythm guitar
with Nick Pentelow – tenor saxophone
Violins on “Cold Grey Light of Dawn” arranged and conducted by Richard Bissill

released July 28th, 2023

The LA post-punks’ latest record “Witness Marks” arrives September 22nd via God? Records, Ty Segall’s Drag City imprint. If you’re a fan of the West Coast garage scene and you haven’t jumped into Flat Worms’ discography at any point over the past six years, you’ve still more than likely encountered at least one of the trio’s members: vocalist/guitarist Will Ivy played with Hunx and His Punx while bassist Tim Sullivan has recently put in time with the ever-evolving Oh Sees and drummer Justin Sullivan held down the kit with Kevin Morby and Cassie Ramone’s short-lived project The Babies. Yet as Flat Worms, the trio have explored everything from garage rock to dance punk, with their third and latest LP “Witness Marks” leaning heavily into post-punk conventions.

After unveiling plans for the new record (which arrives September 22nd via Ty Segall’s Drag City imprint God? Records) last month, the group are sharing the project’s second single “Suburban Swans,” which applies clanging guitar and tight percussion to a frustrated narrative of busting out of the constricting monotony of suburban life. “The last time we were in the UK, I learned that every mute swan in all of England legally belongs to the royal family,” Ivy shared regarding the song’s title in a press statement. “In the swan’s mind, it is free, living its life as a wild animal. It is totally unaware of the system in which it has been claimed as property by a human establishment. 

Hitting flat and hard with their bass-drums-guitar and vocals alignment, Flat Worms use a buzzing combo of blunt force and surreal lyrics to hammer the absurdity of the status quo, as it deserves. Our social experiment continues to implode before our eyes; “Witness Marks” offers both critique and compassion, with songs that corkscrew through shades of exhilarating, dizzying and ambiguous spaces in between times of crisis and complacency.

releases September 22nd, 2023

Nashville punks Be Your Own Pet have returned with another explosive new single entitled “Big Trouble.” The track will be featured on their forthcoming album “Mommy”, out via Third Man Records on August 25th. Said vocalist Jemima Pearl about the track, “I live in a country that has taken away the basic human right to an abortion and then has the audacity to ask ‘why are you so angry?’ ‘Big Trouble’ is about how the daily injustices are all connected to the overarching societal issues of living in a patriarchy.”

Be Your Own Pet returned with new music after nearly 15 years apart. They re-introduced themselves with tracks “Hand Grenade,” “Worship the Whip,” and most recently “Goodtime!”.

The Nashville, Tennessee, garage rock group were signed as teenagers to the prestigious XL in the UK and Thurston Moore’s Ecstatic Peace label in the US, with whom they released two widely acclaimed albums. They went on to tour with the likes of Arctic Monkeys, Sonic Youth, Le Tigre etc and have been cited as influences for groups such as Paramore and Big Joanie.

Now they return with their first album in 15 years on Third Man Records. It explosive, scuzzy and full of fireballs of energetic nuggets. Welcome back!!

The second volume of Trapeze’s official studio and live albums, collected onto five CDs.

Formed from two Midlands bands, Finders Keepers, featuring Mel Galley (guitar/vocals), Dave Holland (drums) and Glenn Hughes (bass/vocals), and the Montanas’ John Jones (vocals/ trumpet) and Terry Rowley (keyboards/guitar/flute), Trapeze were discovered by The Moody Blues, and signed to their own Threshold Records label. After three well received LPs, Glenn Hughes joined Deep Purple in 1973, finding worldwide fame and acclaim.

Mel Galley assumed the role of lead singer and front man, joined on bass by Pete Wright and second guitarist, Rob Kendrick, with Dave Holland on drums. The quartet released ‘Hot Wire’ (CD1) on Warner Bros. in 1974, produced by Neil Slaven. ‘Trapeze’ (also on CD1), their
second self-titled LP, was released by Warner Bros. in 1975. Produced by Steve Smith at Island Studios, the four-piece were also re-joined by Glenn Hughes on the tracks ‘Chances’ and ‘Nothing For Nothing’.

Trapeze’s sixth and final studio album, 1979’s ‘Hold On’ (CD2) was co-produced with famed producer Jimmy Miller. Now with future Uriah Heep singer Pete Goalby, ‘Hold On’ features six songs from Mel Galley and three from Goalby.

‘Live At The Boar Club’ (CD3) was recorded on September 13th, 1975 in Nottingham, UK. Featuring Mel Galley, Rob Kendrick, Pete Wright and Dave Holland, with Terry Rowley on synthesizer.

‘Live At Arlington’ (CD4) saw the return to their classic power trio of Mel Galley, Dave Holland and original singer / bassist Glenn Hughes. Returning to play for some of their most loyal fans with a show at the Texas Hall Auditorium in Arlington, on September 12th, 1976.

By the release of ‘Live in Texas: Dead Armadillos’ (CD5) in 1981, founder member Dave Holland had joined Judas Priest for a run of worldwide hit records. A live album recorded by the ‘Hold On’ line-up of Galley, Goalby and Wright joined by Steve Bray on drums, the album cherry picks the best of their six studio LPs.

Soccer Mommy has shared a cover of Sheryl Crow’s “Soak Up the Sun” ahead of show at NYC’s Forest Hills Stadium. Crow is a formative artist for Soccer Mommy’s Sophie Allison, who was interviewed by The New York Times last year about Crow’s influence.

“She has so many songs that are these massive hits that, at least for someone my age, you can’t have grown up and not heard those songs,” she said. “She has a knack for saying something hard, but making it feel like she’s ready to acknowledge it and be cool with this hard acceptance.”

As a big Sheryl Crow fan, “Soak Up The Sun” is a song I’ve been wanting to cover since we used to practice it in my parents’ basement years ago. I’ve always wanted to work it up again.

The Grateful Dead has announced a 50th-anniversary release of their 1973 album “Wake of the Flood” featuring previously unheard material. As the debut album from their own record label, Grateful Dead Records, “Wake Of The Flood” marked a period of transition, growth, endurance and optimism for the band. While songs like “Eyes Of The World,” “Stella Blue,” and “Mississippi Half-Step Uptown Toodeloo” were largely road-tested for more than half a year beforehand, and have remained staples of live sets by any number of Dead-related bands ever since, the album and record label delivered both a profound artistic statement and proof of concept for the community, ideals and future the band were building.

“Wake of the Flood – 50th Anniversary Deluxe Edition” will be released September 29th. The collection, will be available as two-CD or digital sets, will include re-mastered versions of the album’s seven original songs, along with previously unreleased demo recordings of “Eyes of the World” and “Here Comes Sunshine” that were recorded in early 1973.

Originally released on October 1973, “Wake of the Flood” was recorded following the death of Grateful Dead founding member Ron “Pigpen” McKernan. It was the first album released on the band’s record label and represented an evolution in their style. The Dead brought a wide variety of influences to the table on the LP, including country, folk, R&B, jazz and rock.

The second disc is made up of live material recorded on November 1st, 1973, at Northwestern University’s McGaw Memorial Hall. The set opens with “Weather Report Suite” and closes with “Mississippi Half-Step.” In between, it features one of the group’s trademark jams, made up of “Morning Dew,” ”Playing in the Band” (twice) and ”Uncle John’s Band.”

“Here Comes Sunshine 1973”, “Dave’s Picks Vols. 45-48”, and Bob Weir “Ace” They were not only one of the most well-documented live acts in history, but quite active in the studio as well, and that means that Dead Heads can always expect plenty of goodies from their vaults. This year’s bounty included an expanded look at their sixth studio LP, 1973’s “Wake of The Flood; Here Comes Sunshine 1973“, a 17-CD anthology of complete shows from their spring tour of that year; four new volumes in the ongoing “Dave’s Picks” series, all featuring classic ’70s concerts; and finally, a reissue of Bob Weir’s debut solo album, “Ace”, which was actually a thinly disguised Dead album.

Steve Miller Band will commemorate the 50th anniversary of his classic album  “The Joker” with the “J50: The Evolution of The Joker” box set, which arrives on Sept. 15.

“J50” will be available in two-CD, three-LP (plus bonus 7″) and digital formats. Miller is previewing the collection with “The Joker Suite,” which showcases his musical journey to the album’s chart-topping title track and includes the previously unreleased songs “Lidi”  and “Travelin’.”

Miller curated the “J50” box set, which chronologically places the original album alongside 27 previously unreleased recordings, including songwriting tapes made in hotel rooms and at live performances, studio outtakes and rehearsals and audio commentary tracks. It also features exclusive liner notes from Miller and music journalist Anthony DeCurtis.

“The most important rule that every kid out there who wants to make a record should remember is: When you go into the studio, be ready to do the whole performance the first time you do it because that’s going to be the best time you do it,” Miller noted in a press release announcing the set. “The whole thing is to capture the first performance. That’s a lot of what “The Joker’s” about. It was all first takes, and first takes are always better than perfect takes.”

Reflecting on the star-making title track, Miller said, “To make a hit record, I thought it was best to have five hooks. Not one, not two, not three, not four, but five, if you really wanted to deliver a hit. Like if you take ‘The Joker.’ ‘Some people call me the Space Cowboy.’ What the hell was that? Then it continues and it gets your attention again: the slide guitar, the chorus, the harmony, the wolf whistle. It all adds up. All of these things are just elements of writing. You learn those elements, and you’re always playing with them.”

Steve Miller is honouring the 50th anniversary of the chart-topping, RIAA Platinum-certified studio album “‘J50: The Evolution of The Joker’ arrives everywhere September 15th, and available to listen to today is “The Joker Suite,” a collection that shows the development of album’s title track over four songs: “Lidi – Studio,” “Lidi / Travelin’ (Harmonics – Looking for A Chorus For The Joker),” “Travelin’ (Looking for A Chorus For The Joker)” & “The Joker – Album Version.”

“Love of Will” is the only solo studio album by David McComb, released in March 1994. The album was recorded and mixed between June and August 1993, at Platinum Studios with additional mixing at Metropolis and Sing Sing Studios. McComb selected 13 songs out of a pile of 35 and recorded them at Platinum Studios, Melbourne with producer Nick Mainsbridge,

He also said, “I wanted to be certain that every song was right. I’m not obsessed with longevity, but a song has to last a few years. There’s no point doing something that’ll only last a few months. The criterion is for the songs to be as powerful as they can be.”

Triffids drummer Alsy MacDonald said, “I think those songs were specifically designed to be recorded not by the Triffids. And Dave was less worried about atmospherics it’s a rootsier album.” “Evil” Graham Lee added, “the songs that the Triffids could have done, we wouldn’t have played like that. It’s a straightforward band record.

Videos were made for the singles from the album, “Setting You Free” and “Clear Out My Mind”.

In 1994, David McComb, the leading light of Australian band The Triffids, released his only solo album, ‘Love Of Will’. He drew on members of Nick Cave and The Bad Seeds and The Blackeyed Susans as well as members of The Triffids for backing support, notably Graham ‘Evil’ Lee. The result is a collection that sounds partly different from the Triffids catalogue, while retaining the unmistakeable McComb touch. Sharing some songwriting with Will Akers lent a gospel flavour to tunes such as ‘Nothing Good’, ‘Leaning’ and the haunting ‘The Lord Burns Every Clue’, and two other songs are collaborations with Graham Lee and Adam Peters. Easily overlooked if you are a fan of The Triffids’ records, but well worth exploring as a complement to those musical gems.