Roger Waters will issue a new mini-album called “The Lockdown Sessions”, in June.
These are re-recordings of old songs, three are from Pink Floyd’s “The Wall“, two are from the last Floyd album with Roger Waters, 1983’s “The Final Cut” and one track (‘The Bravery of Being Out of Range’) is from Waters’ 1992 solo album “Amused to Death”.
‘Comfortably Numb 2022’ is the last song on “The Lockdown Sessions” and is an exception to the ‘lockdown’ rule, since this was recorded during Waters’ This Is Not A Drill North American tour last year.
The Lockdown Sessions are 5 seminal tracks from Waters time with Pink Floyd his solo career: “Mother” and “Vera” from Pink Floyd The Wall; “Two Suns In The Sunset” and “The Gunner’s Dream” from Waters final Pink Floyd album, The Final Cut; and “The Bravery of Being Out Of Range” from his highly acclaimed solo album, “Amused To Death”. Additionally, Waters new version of the classic Pink Floyd song “Comfortably Numb” features as the final track on “The Lockdown Sessions”.
“Our Us and Them Tour lasted three years…At every gig we did an encore after the main show closed with “Comfortably Numb”…the encore was always “Mother” I can’t remember why I decided to start doing other songs?…Anyway, at some point after the end of the tour…I started thinking, “It could make an interesting album, all those encores”…“The Encores”. ”Yeah, has a nice ring to it!” Then…I’m in England doing the Ginger Baker tribute gig one Tuesday night at the Hammersmith Odeon with Eric Clapton and…the following Saturday marching from The Australian Embassy to Parliament Square to make a speech in support of Julian Assange, when bugger me, Covid…Schlummmm! For me it was Friday March 13th 2020. Lockdown! So much for the “Encores” project. Unless…
We’ve tacked C. Numb on the end of the collection, as an appropriate exclamation point in closing this circle of love.”
The Lockdown Sessions were produced by Roger Waters and Gus Seyffert. Appearing on the recordings are Roger Waters – Vocals, Guitar and Piano; Gus Seyffert – Bass, Cellos and Vocals; Joey Waronker – Drums and Percussion; Dave Kilminster – Guitar and Rhythm Guitar; Jonathan Wilson – Guitar and Vocals; Jon Carin – Keyboards and Vocals, Lucius (Jess Wolfe and Holly Laessig) – Vocals; Bo Koster – Hammond (on all tracks except “Mother”) and Ian Ritchie – Saxophone (“Two Suns In The Sunset”).
Videos have been made for the songs which were produced and directed by Sean Evans. Roger’s This Is Not A Drill is currently on tour in Europe, and we know he has more recordings in the bag waiting to be released, namely his reworking of Pink Floyd’s The Dark Side of the Moon.
“The Lockdown Sessions” are released on CD and vinyl on 7th June, via Colubmia/Sony Music.
Two of Little Feat’s best albums – “Sailin’ Shoes” and “Dixie Chicken” – have been both newly remastered for upcoming Deluxe Editions that will introduce unreleased live and studio recordings that capture peak Feat. Little Feat’s second and third albums, “Sailin’ Shoes” and “Dixie Chicken”, will be reissued as expanded deluxe editions in June.
Both records “Sailin’ Shoes” was first released in 1972 while “Dixie Chicken” followed in ’73) have been remastered and recut to vinyl and the expanded 2CD and 3LP editions offer previously unreleased studio outtakes and demos, and complete unreleased live shows (same content on vinyl and CD).
“Sailin’ Shoes” includes the classic and much covered ‘Willin”, as well as the title track which Robert Palmer recorded for his debut album “Sneaking Sally Through The Alley”. In fact, so smitten was Palmer with Little Feat as musicians, that they became his backing band on a few tracks on his second solo album, 1975’s “Pressure Drop”.
Released in 1972, “Sailin’ Shoes”was the second studio album from the founding quartet of singer-guitarist Lowell George, drummer Richard Hayward, keyboard player Bill Payne, and bassist Roy Estrada. Ted Templeman produced the record, which was the first to feature artwork by illustrator Neon Park, who created covers for nearly all of Little Feat’s albums.
SAILIN’ SHOES (DELUXE EDITION) opens with a newly remastered version of the original album, which introduced signature tunes like “Easy To Slip,” the title track, and an updated version of “Willin’” a song that also appeared in 1971 on the band’s eponymous debut. Several outtakes from the album’s recording sessions make their debut on the Deluxe Edition, including alternate versions of “Cold, Cold, Cold,” “A Apolitical Blues,” and “Willin’.”
The magic that Little Feat conjured in concert takes centre stage in the new set with a newly discovered and previously unreleased complete show recorded at the Palladium in Los Angeles on August 28th, 1971. This live set marks the only multi-track recording in existence to feature the original line-up of the band. The performance features songs from both Sailin’ Shoes (“Tripe Face Boogie,” “Teenage Nervous Breakdown”) and Little Feat (“Hamburger Midnight,” “Snakes On Everything.”) The set also comes with illustrated liner notes written by acclaimed music journalist, David Fricke.
“Dixie Chicken”, the band’s third studio album, emerged in 1973 and introduced fans to Little Feat’s evolving sound and new line-up. The group’s shift toward New Orleans-style funk was accompanied by the arrival of three new members, guitarist Paul Barrere, percussionist Sam Clayton, and bassist Kenny Gradney (who replaced Estrada).
DIXIE CHICKEN (DELUXE EDITION) contains the newly remastered album, which features classics like “Two Trains,” “Fat Man In The Bathtub,” and the title track. Several unreleased session recordings debut in the new set, including alternate versions of “Roll Um Easy,” “On Your Way Down,” and “Juliette.” The unreleased live music was recorded at Paul’s Mall in Boston on March 1, 1973. They feature songs from Dixie Chicken (“Two Trains,” “Walkin’ All Night”) and the band’s earlier albums (“Willin’,” “Got No Shadow.”) The illustrated liner notes included in the collection were written by author Dennis McNally, who got his start as the Grateful Dead’s publicist.
“Dixie Chicken” features songs such as ‘Two Trains’, ‘Fat Man in the Bathtub’ and of course the brilliant title track.
Little Feat will celebrate these deluxe editions with “The Albums Tour” this fall, which will feature the band playing each album in its entirety across back-to-back nights at select venues (night one will be Sailin’ Shoes and night two will be Dixie Chicken). Preceding “The Album Tour,” the band is currently in the midst of their “Boogie Your Spring Away” tour, making their way across the East Coast in the coming days before making special appearances at the MerleFest in North Carolina April 27 and The Green River Festival on June 25 in Massachusetts. After a short break, Little Feat will hop back on the road for the “Boogie Your Summer Away” tour, kicking off July 12 in Atlanta and wrapping up summer dates at the Hot August Music Festival on August 19 in Maryland.
SAILIN’ SHOES (DELUXE EDITION) 3LP Track Listing
Original Album (2023 Remaster)
Side One
“Easy To Slip” “Cold, Cold Cold” “Trouble” “Tripe Face Boogie” “Willin’” “A Apolitical Blues”
Side Two
“Sailin’ Shoes” “Teenage Nervous Breakdown” “Got No Shadow” “Cat Fever” “Texas Rose Café”
Hotcakes, Outtakes, Rarities
Side One
“Sailin’ Shoes” – Demo * “Easy To Fall” (early version of “Easy To Slip”) – Demo For Doobie Bros. “Texas Rose Café” – Demo For Doobie Bros. “Cold, Cold, Cold” – Alternate Version * “Roto/Tone”
Side Two
“A Apolitical Blues” – Alternate Version * “Boogie” (early version of “Tripe Face Boogie”) “Trouble” – Alternate Version * “Doriville” “Willin’” – Alternate Version * “Easy To Slip” – Mono Single Version
Thank You! I’ll Eat It Here: Live At The Palladium, Los Angeles, CA (8/28/71)
“Got No Shadow” * “Texas Rose Café” * “Snakes On Everything” * “Hot Rod” * “Teenage Nervous Breakdown” *
DIXIE CHICKEN (DELUXE EDITION)
3LP Track Listing
Original Album (2023 Remaster)
Side One
“Dixie Chicken” “Two Trains” “Roll Um Easy” “On Your Way Down” “Kiss It Off”
Side Two
“Fool Yourself” “Walkin’ All Night” “Fat Man In The Bathtub” “Juliette” “Lafayette Railroad”
Hotcakes, Outtakes, Rarities
Side One
“Two Trains” – Demo “Fat Man In The Bathtub” – Demo “Walkin’ All Night” – Alternate Version * “Roll Um Easy” – Alternate Version * “On Your Way Down” – Alternate Version *
Side Two
“Eldorado Slim” “Juliette” – Alternate Version * “Hi Roller (Ace In The Hole)” “Dixie Chicken” – Alternate Version *
Icepick Eldorado: Live At Paul’s Mall, Boston, MA (4/1/73)
Side One
“Two Trains” * “Got No Shadow” * “On Your Way Down” *
Side Two
“Walkin’ All Night” * “Fat Man In The Bathtub” * “Willin’” * “A Apolitical Blues” *
These 2CD and 3LP deluxe editions of “Sailin’ Shoes” and “Dixie Chicken” will be released on 23rd June 2023, via Rhino Records.
I’m aching to see you again / mistaken, beginning inside of the end,” Meg Duffy sings at the start of “Something Wrong,” the first song on their six-track new release, “Sugar the Bruise”. Everything that forms will un-form. Everything that comes together will disperse. Everything that lives will die. Every moment is over as it passes. Every end contains a beginning. “Sugar the Bruise”, out from Fat Possum Records on June 16th, doesn’t shy away from these truths. It dives into the heart of them.
In August 2021, nearly 2 years before “Sugar the Bruise’s” creation, Duffy taught a month-long songwriting class through School of Sound. They created a container for both new and experienced songwriters, designing prompts to help participants play with new approaches and forms. They re-discovered, with newfound clarity, the generative capacity of embracing the unknown, and how essential collaboration and improvisation are for accessing the indescribable.
After three beloved, meticulously written albums – 2017’s “Wildly Idle (Humble Before the Void)”, 2019’s “Placeholder” and 2021’s “Fun House” – Meg Duffy offered themself up for a 10-day writing trip. Working alongside Luke Temple (Here We Go Magic, Art Feynman) and in the final hours Philip Weinrobe (Adrienne Lenker, Cass McCombs, Lonnie Holly), at Panoramic Studios in Stinson Beach, CA, Duffy surrendered to the present moment, trusting that whatever sounds and words emerged were meant to emerge. With additional production, engineering and arranging from Jeremy Harris, Duffy created something which, in their words, “Turned out nothing like I’d imagined it would.”
The result of this collective experiment, born equally from play and intention, is a radical gift for listeners: proof that our most vital processes, creation and destruction, are exquisitely entangled. The unanswerable and untenable suffering of experience is the fact of perpetual loss. And, yet, there is precious, vivid magic created by this condition. In “Sugar the Bruise”, grief folds in on itself and becomes laughter; language fades away into sonic expanses of the inexpressible; melodies melt into cacophonies; love songs surrender to loss; historic violence is supplanted by the disks of sunlight.
Duffy, of course, is no stranger to the magic of collective music-making. They have collaborated with heavy-hitters as wide-ranging as Angel Olsen, Emile Mosseri, Perfume Genius, SASAMI, Sylvan Esso, and Weyes Blood.
They have inflected each of these collaborations with what The New Yorker has called their “masterly sense of melody” and Pitchfork has described as their “virtuosic talent,” to name but some of the hyperbolic praise they’ve garnered over the course of their career (see other examples in Rolling Stone and The Fader, to name just a few more).
Duffy’s devout fans will recognize their signature intimacy, artistry, and technical expertise in “Sugar the Bruise”. But they will also encounter an artist questioning what it means to be in control. Do we write songs or do songs write us? The same could be asked of poems, of books, of whole lives. All artists realize sooner or later that choice is elusive, will is illusory. We grasp for certainty, we write towards resolution, only to learn again and again that as soon as we think we’ve arrived, these destinations prove themselves to be mirages. This lesson holds for all people, too. And, yet, we laugh along the way, we fall in love, we make meaning, and we play. “Sugar the Bruise” is your companion in the void, your friend at the end, a reminder that, in the immediacy of loss, something beautiful has already begun.
Wye Oak are delighted to have some new music to share with you–“Every Day Like the Last,” the title track from our upcoming singles collection: “Every Day Like the Last” The nine songs on “Every Day Like the Last” came from a period where Wye Oak were in flux after a decade-plus of steadily releasing albums and touring. Sonically, the collection represents Wasner and Stack getting back to basics. Balancing the organic and the artificial, using electronics and programming to add new textures.
Those of you who have been paying attention may have noticed that we’ve been experimenting with releasing music differently over these past few years. This compilation brings together the singles released since 2019, plus three new unreleased songs. We are deeply proud of the music contained here–we think it’s some of the best work we’ve ever done as a band, and are so happy to see it get the release it deserves .
This song in particular is about the sacrifices we make for love, companionship, and community. Human beings are messy, and yet—we need each other. The quality of our relationships determines the quality of our lives. But for all of us, and especially for those of us whose formative relationships were not so simple—alone can feel like the safest place to be. This song is about learning how to relax into imperfection, release the impulse to control, and accept the reality that life is brief and always ending, so we might as well have some company.
For more than 15 years, Wye Oak have offered comfort to their listeners in the form of warm, expressive music that has showcased their ever-growing maturity as players and people. “Every Day Like the Last” captures them at a moment when they realized the strength of the bonds they’ve forged—and even though they aren’t sure where their individual and collective journeys will take them next, these nine songs act as a signal that figuring things out along the way can result in beauty.
Recorded and played by us, with the exception of some pedal steel from Alan Good Parker. Mixed by Adrian Olsen at Montrose Recordings. Mastered by Sarah Register. Artwork by Aaron Lowell Denton, lyric video by Spence Kelly, new photos by Graham Tolbert.
This 50th Anniversary edition comes on five LPs and expands on the original with 42 additional tracks – curated by Lenny Kaye and supervised by Elektra Records’ founder Jac Holzman.
There are a lot of classic rock fans — or aficionados of obscure classic rock, if that’s not an oxymoron — that will be looking for this boxed set as the first thing they do when they get in the store. The pressing quantity is high for an item that retails for around $100, so the supply should meet the demand for a while, though you may well have to hit more than one shop. You’ll be glad you did: This probably counts as one of the most essential Record Store Day releases ever, for rock history buffs. If you’re not familiar with the original “Nuggets” release from 50 years ago, it was a collection that evinced nostalgia for something that had transpired only about five or six years before: the intersection of garage-rock and psychedelia.
Still the daddy of all 60s psychedelic pop collections, the original double-disc “Nuggets” was lovingly compiled by music writer and future Patti Smith Group guitarist Lenny Kaye, under the supervision of Elektra Records’ boss Jac Holzman, in 1972. Inspiring the early punk movement, the compilation also laid the groundwork for further 60s psych-pop collections, such as the multi-volume Pebbles series, before expanding to four discs for a CD box set reissue in 1998.
There was a plan to follow that 1973 comp with a two-LP “Vol. II” — it never came out, but it’s included here, at last. And so is a fifth disc (!) of songs that had been considered for either collection but didn’t make the cut. The expanded set is curated now, as it was in ’73, by the great Lenny Kaye, of Patti Smith Group and other fame. He and fellow history buffs Jac Holzman and BillInglot have contributed liner notes to a 16-page booklet that accompanies the individually jacketed slide-out LP jackets-within-a-jacket. A “Nuggets” neophyte will know a few of the tracks (“I Had Too Much to Dream (Last Night),” “Pushin’ Too Hard”), but what a voyage of discovery this is. “You’re Gonna Miss Me,” said the Thirteenth Floor Elevators, and man, we do.
The original “Nuggets” showcased a few acts, such as The Electric Prunes, 13th Floor Elevators and The Shadows Of Knight, who did enjoy a bit of a career (or at least established a legend) in music, though many of the acts featured on its additional discs rapidly disappeared back into obscurity, leaving behind just one fantastic single to prove they existed. Collectively, though, these short-lived 60s US outfits bequeathed us a seminal psych-flavoured smorgasbord to tuck into – one which vinyl lovers can again greedily chow down on thanks to the expanded “Nuggets’ first appearance on wax.
A seminal collection, this 5LP edition easily tops our list of the best Record Store Day 2023 releases.
Original mixes by album producer Graham Gouldman and 3 additional songs from the sessions not included on the original album. Will feature alternative artwork found in the Warner Library. Yellow vinyl
Produced by 10cc’s Graham Gouldman, The Ramones’ sixth studio album, “Pleasant Dreams”, remains an unsung part of the NYC punks’ catalogue. Even polarising opinion within Ramones themselves, many of the album’s pop-punk highlights “She’s A Sensation”, “The KKK Took My Baby Away” and the angry “We Want The Airwaves” are right up there with the best Ramones songs. Pleasant Dreams makes a timely return on yellow vinyl, its status as one of the best Record Store Day 2023 releases secure, thanks to the inclusion of three extra tracks and alternate artwork from the vaults.
The Ramones’ “Pleasant Dreams” might not receive the accolades “Leave Home” or “Rocket to Russia”, but it is an interesting work in its own right. In 1981, Joey’s pop heart and Johnny’s hard-rock leanings converged to deliver one of the most sonically diverse works in the band’s catalogue. These rough and ready New York mixes with album producer Graham Gouldman yield raw versions of favorites such as “We Want The Airwaves” and “The KKK Took My Baby Away” as well as three songs not included in the original track listing, namely the Beach Boys-evoking “Touring” (which would later appear on 1992’s “Mondo Bizarro“). If you’re curious about how this record sounded before the 10cc guy glossed it up, make sure you pick this up.
The early 80s was quite a time for Talking Heads fans. Not only were the band releasing seminal albums such as “Remain In Light”, but the individual members all weighed in with memorable solo projects. David Byrne and Brian Eno’s “My Life In The Bush Of Ghosts” copped the critical plaudits, while Chris Frantz and Tina Weymouth won hearts with their spin off Tom Tom Club. However, guitarist/keyboardist Jerry Harrison was the dark horse, with his underrated solo debut, 1981’s “The Red And The Black“, tapping into a dense and fascinating seam of urban funk. Still ripe for rediscovery, the record returns as part of a suitably fetching red and black vinyl set; it’s been recut from the original master tapes and comes with a disc of previously unreleased outtakes and alternate mixes.
Whether it was with the Modern Lovers or Talking Heads, multi-instrumentalist Jerry Harrison was the secret weapon that pushed both groups to creative heights. His 1981 solo debut is one of the lost treasures of the Talking Heads multiverse, featuring guest vocals from Nona Hendryx and guitar sparks from current tourmate Adrian Belew. This limited edition expanded edition to be released on Record Store Day adds on a full bonus LP worth of instrumental versions of the album’s funky, angular nine songs, recut from the original tapes.
Formed in 1986 in Boston, Massachusetts, Pixies are one of the key acts associated with the late 1980’s American alternative rock scene and were also considered a big influence on acts such as Nirvana, Smashing Pumpkins and Radiohead.
The more obscure of the two RSD 2023 releases from the Pixies (the Massachusetts band is also releasing their 2009 Brussels gig on vinyl), “Demos” comprises the nine (of 17) tracks that were recorded in the band’s first studio session in March 1987 but didn’t make their first album, “Come On Pilgrim”.
These remaining songs from that 17-track demo reel, which has become known as ‘The Purple Tapes’, were released for the first time in 2002, but this EP marks their debut on 10-inch vinyl, which, by the way, is purple, comes with a printed inner sleeve and is limited in quantity. While this isn’t new or unheard material – these songs found their way onto subsequent albums from the band in some shape or form, after all – these original demo recordings, especially of “Here Comes Your Man”and “Rock A My Soul”,are very tasty indeed – and together here on coloured wax make for an attractive collector’s item for diehard fans.
‘Demos’ comes in a Limited Edition 10” EP pressed on purple vinyl with a printed inner sleeve.
The songs on this release were recorded by Pixies in March 1987 and were included in what has come to be known by diehard fans as ‘The Purple Tapes’. From this collection of 17 songs, 8 were chosen to comprise Pixies’ first album – ‘Come On Pilgrim’. The 9 remaining songs are featured on this release.
Available for the first time on 10” vinyl, including original demo recordings of ‘Here Comes Your Man’, ‘Broken Face’, ‘Down To The Well’ and ‘Rock A My Soul’.
Denton, TX indie folk-rock pioneers Midlake announce their first catalogue-spanning double live album, “Live At Roundhouse”. Recorded at London’s historic Roundhouse in April 2022, the album includes material from their latest album “For The Sake Of Bethel Woods”, fan favourites from 2013’s exploratory Antiphon, dark psych-folk thickets of 2010’s “The Courage of Others“, and the highly wondrous and critically acclaimed modern classics of 2006’s “The Trials of Van Occupanther”.
A pivotal city to the band’s success and their dedicated fanbase, London was the obvious show to record during their most recent tour. Midlake’s Eric Pulido shares, “Since our early days, London has been like a second home. We’ve been embraced so warmly all of these years and knew our show at The Roundhouse would serve as the perfect night to celebrate our 20-year relationship with our first live album.” A long overdue retrospective, “Live at Roundhouse” includes 75+ minutes of music including Midlake classics “Roscoe,” “The Old and the Young,” “Head Home,” and “Acts of Man,” featuring vocals from singer/songwriter Bess Atwell.
We are pleased to announce our first-ever live album, “Live At Roundhouse”, coming to you April 22nd for Record Store Day UK / Record Store Day on Bella Union and ATO Records.
Recorded on April 6th, 2022 at the historic Roundhouse in London, the double LP will be pressed on Translucent Orange and Translucent Red 180 gram vinyl with expansive artwork by our friend and photographer Andy Little. Also big thanks to Tom Bejgrowicz for nailing our vision with the packaging.
The album showcases material from our entire catalog including “Roscoe,” “The Old and the Young” “Head Home,” and “Acts of Man,” featuring guest vocals from Bess Atwell.
Thanks to everyone who played a part in the making of this record. The live double album is actually the indie rockers’ first, which spans its catalogue, featuring tracks from latest album “For the Sake Of Bethel Woods”, and ventures back through their direction-changing “Antiphon” (the first post-lead-singer-Tim-Smith record), their ‘very Midlake’ “The Courage Of Others“, and of course the die-hard classics from 2006’s “The Trials Of Van Occupanther” – ya Roscoes and Head Homes and whatnot.
These superior example of a live albums that are only being made available on vinyl, and only for RSD (for now, at least). Midlake has not been around for 20 years, of course, but on this career-surveying set, they sound like they’ve been around for 50+ — they’re so in touch with a kind of moody rock timelessness that you can easily close your eyes and imagine Bill Graham is in the wings, putting them on between Santana and Ten Years After.
The packaging showcases a gorgeous matte-board double album, printed on Translucent Red (Side A) and Translucent Orange (Side B) 180-gram vinyl, with expansive artwork by photographer Andy Little. “Live At Roundhouse” is a true collector’s item for any fan of the band.
If you missed the recent joint stadium headlining dates by these two, here’s a chance to recreate ’em on your turntable, kind of. These are two examples of live album that were previously squeezed into a boxed set, now made available as independent titles for the first time. In the case of Nicks, her December 1981 performance at L.A.’s Fox Wilshire Theatre — needless to say, that would count as an underplay now — was part of a 2016 deluxe CD edition of her first solo album, and includes material from that as well as what she’d done with Fleetwood Mac to date. More than 40 years later, her solo performances still include a lot of this material, of course.
One of rock’s all-time great vocalists, at the peak of her powers, performing tracks from one of her great albums, and some of Fleetwood Mac’s most-loved songs, live on stage; what more could we ask for?
Another title making its vinyl debut among the best Record Store Day 2023 releases, Bella Donna Live captures Stevie Nicks on stage during her White Winged Dove Tour, at Los Angeles’ Fox Wilshire Theatre, on 13th December 1981. Part of the tour to promote Nicks’ quadruple platinum solo debut album, “Bella Donna”, the show features sublime versions of many highlights among the best Stevie Nicks songs (Stop Draggin’ My Heart Around, Leather And Lace, Edge Of Seventeen), in addition to Fleetwood Mac perennials “Gold Dust Woman”, “Dreams”, “Sara” and “Rhiannon“.
Available for the first time on vinyl, this 2LP set features Stevie Nicks live recording from the ‘White Winged Dove Tour’ at the Fox Wilshire Theatre on December 13th 1981. The show included tracks from “Bella Donna” including “Stop Draggin’ My Heart Around,” “Leather and Lace” and “Edge of Seventeen,” along with Fleetwood Mac favourites “Gold Dust Woman,” “Dreams,” “Sara” and “Rhiannon.” Black vinyl
