With her mega world tour in progress, H.C. McEntire thought it was a perfect time to unveil the music video for “One Great Thunder” from her debut solo album “Lionheart”. Shot while McEntire was in Los Angeles playing solo dates, it shows the North Carolinian bringing some calming Southern vibes to the metropolis that surrounds her.
Watch the previously released music videos for “Baby’s Got the Blues” and “Quartz in the Valley”, then head to the Merge Record store where we’ve got “Lionheart” on CD, LP, and limited-edition white Peak Vinyl. There’s a ton of love, light, and friendship in and all around this record.
released January 26th, 2018 From the album LIONHEART, out now on Merge Records.
Even beyond the grave, David Bowie continues to gift us new music. On January 8th, what would have been his 74th birthday, two previously unreleased covers will be made available to the public for the very first time. The new Bowie covers are going to be packaged as a limited-edition two-song 7-inch single from Rhino Records. A total of only 8147 copies will be up for grabs, 1000 of which will be cream coloured. Digital downloads and streaming versions are also promised.
The first is Bowie’s take on “Mother”, the 1970 track from John Lennon. This cover was originally recorded in 1998 with the Thin White Duke’s long-time producer Tony Visconti. It was supposed to appear on a Lennon tribute collection, but the release never came to fruition.
Meanwhile, the second offering is a cover of Bob Dylan’s “Tryin’ to Get to Heaven”, taken from his 1997 Grammy-winning album “Time Out of Mind”. Bowie also recorded his reimagining in 1998 while working on his live album LiveAndWell.com that came out the following year.
David Bowie – vocals Reeves Gabrels – guitars Tony Visconti – bass, harmony vocals Andy Newmark – drums Jordan Ruddess – piano Richard Barone – harmony vocals
By 1976, Richard Hell was already the lynchpin stabbed through the tattered rags of punk before the genre barely had a name. He’d already served in seminal groups The Neon Boys, The Heartbreakers, and Television. He’d popularized the spiked hair and torn clothing aesthetic that would be soon copied by The Sex Pistols (and a million more). And that year he formed Richard Hell And The Voidoids, which wasted no time in releasing its debut (under just Hell’s name), the Another World EP, on foundational punk label Ork Records. Hell had been performing its standout track, “Blank Generation,” in his other groups for at least a year, and it shows: Although the 1976 version is slower than the one that would break wide on The Voidoids’ self-titled, Sire rercords debut the next year, there’s nothing hesitant about Hell’s performance—a sneering, yelping, nihilist cry in which Hell expounds on the existential freedom of being born into an indifferent world. “Blank Generation” became an underground hit and instant rallying cry for an entire movement, lending its title to a 1976 documentary on New York’s burgeoning punk scene (not to be confused with the rambling, faux-Godardian romance starring Hell released in 1980), and laying the blueprint for countless punk acts and proud misfits to follow.
Blank Generation, the iconic and influential 1977 debut album from Richard Hell & the Voidoids, upgrade for its 40th anniversary, albeit a limited-edition one for the 9,000 or so people that have heard of it.
The 2-LP (4,500 copies) and 2-CD (5,250 copies) deluxe edition, released November. 24th as part of the Record Store Day Black Friday promotion, includes the original album remastered, along with a second CD/LP of alternate studio versions, out-of-print single tracks and live recordings from a pair of shows at CBGB in ’76 and ’77.
I Belong to The] Blank Generation · Richard Hell Ork Records: New York, New York ℗ 2015 Numero Group Released on: 2015-10-30
Country Westerns is a three-piece rock band from Nashville that sounds nothing like its name. Drummer Brian Kotzur (Trash Humpers, Silver Jews) and singer-songwriter-guitarist Joseph Plunket (The Weight, Gentleman Jesse) began working on songs together in 2016, after bonding over the shared desire to be in a band in a town full of solo artists and guns-for-hire. Following a couple of years writing and playing shows with varying lineups, Sabrina Rush (State Champion) joined the band as bassist. The now complete Country Westerns recorded their debut album in New York and Nashville, encouraged by friend and producer Matt Sweeney. Plunket’s raspy bravado and subtle twang, his insistent 12-string guitar riffs, Kotzur’s dynamic and metronomic drumming, and Rush’s harmonic bass playing create hyper catchy rock songs, with lyrics that bend towards poetry and punk rock sneer in equal measure. Their self-titled debut is slated for release in 2020 on Fat Possum Records.
Out of nowhere, Ryan Adams has emerged with his new album “Wednesdays”, marking his first release since facing multiple abuse allegations. Ryan Adams his first full-length album since facing multiple sexual misconduct allegations last year. The controversial singer/songwriter dropped Wednesdays through his own Pax Americana label and Empire digitally earlier today, with no advance warning. He also made a CD and extended LP, which will be coupled with a 7” containing two bonus tracks, available for pre-pre-order.
“Wednesdays, it’s a map to days now gone,” Adams said in a statement. “I release it to anyone who needs it, with love and humility in hopes everyone is finding some shelter in these stormy times.”
Adams was originally slated to release three records, including the previously announced Big Colors and Wednesday, in 2019. However, those albums as well as his touring plans were put on hold after The New York Times ran an extensive article on the troubled musician’s pattern of allegedly inappropriate behaviour toward women. His ex-wife Mandy Moore and Phoebe Bridgers were among the high-profile performers who spoke out on record against Adams, demonstrating a history psychological abuse and manipulative behaviour toward woman. Adams was also dropped by his label, Blue Note.
Though Adams denied the claims at the time, earlier this year he seemed to apologize, “All I can say is that I’m sorry. It’s that simple. This period of isolation and reflection made me realize that I needed to make significant changes in my life. I’ve gotten past the point where I would be apologizing just for the sake of being let off the hook and I know full well that any apology from me probably won’t be accepted by those I’ve hurt. I get that and I also understand that there’s no going back.”
The sincerity of Adams’ comments were met with skepticism by many, including Moore. The singer and actress called his apology “curious” and added, ” “I am speaking for myself, but I have not heard from him, and I’m not looking for an apology necessarily, but I do find it curious that someone would do an interview about it without actually making amends privately.”
The new version of Wednesdays features a slightly rejiggered track listing, including new tunes “I’m Sorry and I Love You” and “Dreaming You Backwards” Eight songs originally slated for the project are also no longer included. Adams’ only known live performance since cancelling his 2019 live dates was a surprise sit-in with long time collaborator Jesse Malin earlier this year. The album is officially out tonight at midnight, but it’s already on streaming services in other parts of the world, so you can preview Wednesdays below ahead of the record’s proper digital release in North America.
The new album from the singer arrived on Spotify and streaming services at midnight, and marks the follow-up to 2017’s ‘Prisoner’. “‘Wednesdays’, it’s a map to days now gone,” he wrote on Instagram. “I release it to anyone who needs it, with love and humility in hopes everyone is finding some shelter in these stormy times.” According to retail listings, Wednesdays will also be getting a physical release on vinyl on PAXAM on March 19th 2021.
Adams’ last album was 2017’s “Prisoner”. He was then scheduled to release his record “Big Colors” in 2019, but that album was ultimately shelved soon after the singer was hit with serious allegations of emotional abuse and inappropriate conduct with a minor. At the time, the singer-songwriter denied claims from several women – including one who was underage at the time – of emotional and psychological abuse, harassment, inappropriate and manipulative behaviour.
At the time, Adams had promised Big Colors would be the first of three album releases, which included Wednesdays.
These allegations in which Adams’ ex-wife Mandy Moore, Phoebe Bridgers and more offered accounts of their experiences with the artist. Bridgers later issued a statement calling on Adams’ ‘network’ of “friends, bands and people he worked with” to be held to account. “I’ve gotten past the point where I would be apologizing just for the sake of being let off the hook and I know full well that any apology from me probably won’t be accepted by those I’ve hurt. I get that and I also understand that there’s no going back.
“To a lot of people this will just seem like the same empty bullshit apology that I’ve always used when I was called out, and all I can say is, this time it is different. Having truly realized the harm that I’ve caused, it wrecked me, and I’m still reeling from the ripples of devastating effects that my actions triggered.” Discussing her experience of speaking out against Adams , Bridgers argued that “there’s a conversation around privilege to be had” so that others can also have their voices heard – while also seeming to confirm that her 2020 single ‘Kyoto Song’ was levelled against him.
Tunng have released a new album, “Dead Club”, it came out on November 6th via Full Time Hobby. It’s a concept album about death and grief that’s also tied to a podcast of the same name. The album’s third and final single, “Scared to Death.” They also also shared episode 7 of the podcast, which features Swiss-born British philosopher and author Alain de Botton (listen to that here).
Tunng’s Sam Genders had this to say about “Scared to Death” in a press release:
“It’s inspired by my relationship to life, death, fear and acceptance and how my relationship to those four things has shifted in recent years, and especially since we began this project. On one hand I’m hugely drawn to rational thought and scientific knowledge as a way to solve problems and navigate life. On the other hand, I only seem to make real progress when I accept how little I know and really embrace that unknowing. “Maybe the unknowing helps me deal with life’s contradictions? “I’m unafraid of being dead but afraid to die.
“Life scares the crap out of me and yet I love life so much.
“Trying to make intellectual sense of the huge range of positive and negative feelings I have about life and death doesn’t always seem possible. Accepting the flow of experience however, without trying to understand it, does sometimes seem to work for me and make it all more manageable.”
Tunng Presents…Dead Club Here’s what songwriter Sam Genders wrote about the track: It’s a song about how, by challenging taboos, we might arrive at a place closer to the truth and find ourselves better able to support each other as a result Whilst researching this project I’ve been struck by just how much of a taboo the subject of death is in our culture. Partly because of the ways in which people have responded when I explained what we were working on. One person was seriously worried I might be suicidal, and others clearly felt it was an odd thing to explore. Partly because of my own reactions. I often found myself nervous when talking about death or grief, or reaching for a socially acceptable way of phrasing an idea and struggling to find one. And yet, once the awkwardness has passed, I’ve also found that people are often eager to talk about how death and grief have affected their lives. Sometimes as if they’d be waiting far too long for the opportunity to unburden themselves. Interestingly I feel that in many modern settings people are more comfortable taking about sex than death.
We’ve journeyed so far in the last 60 years when it comes to talking about sex and I think you can make a very good case for that being a good thing. I expect the average person knows more about avoiding STIs or unwanted pregnancy, and is more likely to be comfortable with the idea of sexual pleasure or their own sexuality than ever before. I’m sure a lot of good has come from that. Now it seems like people are beginning to talk about death more. Imagine if we were so comfortable talking about death that everyone in our culture had the skills to support people who are grieving or to plan for the end of life for themselves or a loved one. It seems like there’s so much to gain. Palliative care is one obvious example of how more knowledge and awareness might help people live better lives. The song was inspired in part by my conversation with palliative care physician and writer Kathryn Mannix and her wonderful book ‘With The End In Mind’. Lyrically the song has clearly been through the Tunng filter. I wrote the words with a fantastical, almost comic book quality in places but it’s not flippant. I think these are genuinely important ideas.”
Previously Tunng have shared the album’s first single, “A Million Colours,” accompanied by an animated video. Then they shared its second single, “Death is the New Sex,” .
Ringo Starr has shared a new single, titled “Here’s To The Nights.” The song was written by Diane Warren, and it serves as the lead single for Starr’s upcoming EP “Zoom In”.
“When Diane presented this song to me I loved the sentiment of it,” said Ringo via press release. “This is the kind of song we all want to sing along to, and it was so great how many wonderful musicians joined in. I wanted it out in time for New Years because it feels like a good song to end a tough year on. So here’s to the nights we won’t remember and the friends we won’t forget – and I am wishing everyone peace and love for 2021.”
In addition to the single release, a new hardcover book chronicling the 30 years of Ringo Starr and his All Starr Band has been announced and is set for a release today, December 16th.
According to a press release: “This not to be missed commemorative photo memoir features some never-before-seen photos of the All Starr Band’s 30 record-setting years in the spotlight and life on the road, compiled by Henry Diltz and Jill Jarrett (who have followed Ringo Starr’s All Starr career since 1989), as well as exclusive images from many other photographers and members of the touring crew.
“Accompanying the photos are Starr’s candid stories, looking back on his legacy as the leader of one of the longest running live touring bands in the world – and all that goes into managing a band of music legends – and looking ahead to the All Starrs’ future making music together in a post pandemic world,” continued the release. “The book kicks off with a forward by Starr’s dear friend and brother-in-law, Joe Walsh, the renowned American musician, member of James Gang, the Eagles, and the Ringo Starr & His All Starr Band, and named one of the greatest guitarists of all time .
Starr sings and drums on the new track, joined by Steve Lukather on guitar, Nathan East on bass, Benmont Tench on piano, Bruce Sugar on synth guitar, Jim Cox on synth strings (and string arranger), Charlie Bisharat on violin and Jacob Braun on cello. “Here’s To The Nights” also features a star-studded cast on guest vocalists: Paul McCartney, Joe Walsh, Corinne Bailey Rae, Eric Burton (Black Pumas), Sheryl Crow, FINNEAS, Dave Grohl, Ben Harper, Lenny Kravitz, Jenny Lewis, Steve Lukather, Chris Stapleton and Yola.
“Here’s To The Nights” A Universal Music Enterprises release; a Division of UMG Recordings, Composer Lyricist: Diane Warren
Songs of Our Friends— a new EP by Lemont will bring back memories of the Texas Troubadors, the great blues legends, and the rock and roll soul of the 1970s. Throughout each track, threads of sympathy and intrigue about the range of emotions— from heart wrenching to joyful exuberance— that comprise this journey we call life.
Lemont, is the eclectic band bringing to life a new set of songs by Pennsylvania native Jason McIntyre. Now living in Denver, Colorado Jason has been a familiar face to the Central Pennsylvania music scene for the past two decades with groups like The Rustlanders, Little Townes, and The Contraband. Along side Jason stand an impressively talented line-up of musical souls, longtime collaborators and friends. Guitarist Junior Tutwiler and bassist Corry Drake from The Rustlanders, fiddler Daniel Collins, vocalist Kate Twoey, and keyboardist James Harton from The Contraband, and the infectious beat of drummer Kevin Lowe build the sonic landscape that highlight the lyric sensibilities of McIntyre’s writing.
Lemont is a group inspired by the music of the great rock and roll bands of the 1970s, the famed Texas Troubadours, and the great blues legends. Rocking and melodic, thoughtful and witty, reflective and socially conscious Lemont takes listeners on a musical journey through the hills and backroads of central Pennsylvania transversing the landscape with a sympathy and intrigue for the human complexities that face us all. Their new self produced 11 song record is a testament to their craft as writers and performers. Recorded over the past year in Central Pennsylvania, Denver Colorado, and Hollywood California, and mix and mastered by the legendary Tom “Bone” Edmonds (Todd Rundgren, Isley Brothers, Lenny Kravitz) the album brings to life a longtime musical journey between friends. Interweaving sounds of slide guitar and fiddle, driving rhythms from eras passed, and inspired vocals create a rich tapestry of sound that is uniquely their own— uniquely Lemont.
“Songs of Our Friends” Earwicker Released on: 2020-12-12
Once Wayne Coyne saw Runnin’ Down a Dream, a 2007 documentary on Tom Petty, he became fixated on a stop Tom Petty made through Tulsa, Oklahoma in 1974 and his recording in that city with the earliest inception of the Heartbreakers—along with Belmont Tench and Mike Campbell—as Mudcrutch. Manoeuvering through imagined scenarios and what-ifs, the Flaming Lips frontman became caught in some imaginary realm between his Oklahoma upbringing, the current state of America, and an imaginary jam session with the late rock legend. Imagine if the Lips were a local Oklahoma band that befriended Petty in his pre-Heartbreakers days—or what if Tom and company were pulled into the seedier side of Tulsa, shifting the course of rock history as we know it?
Running down a rabbit hole of reflections, the Lips’ sixteenth album “American Head” drifts through the singer’s wild imagination, exploring addiction and mental health in its drug-induced Americana. “As we destroy our brains / ’Til we believe we’re dead / It’s the American dream,” Coyne sings on “At the Movies on Quaaludes” before the more revelatory “Now I see the sadness in the world / I’m sorry I didn’t see it before” on “Mother I’ve Taken LSD.” Following up Lip$ha, a proposed 2014 album with Kesha, and collaborating on the psych-pop experiment Miley Cyrus & Her Dead Petz in 2015, for American Head, the Lips cozied up to Kacey Musgraves for some feminine texture on three of the record’s tracks. Only The Flaming Lips could conjure up their American Head narrative, mixing loosely based recollections, romanticized tales…and the state of the country as we think we know it.
American Legends The Flaming Lips are pleased to announce the release of their 21st studio album, American Head released on September 11th via Bella Union. The album is comprised of thirteen new cinematic tracks, produced by long time collaborator Dave Fridmann and The Lips. Among them, “God and the Policeman” featuring backing vocals from country superstar Kasey Musgraves. American Headtakes on a welcome temporal shift that occupies a similar space to that of The Soft Bulletin or Yoshimi Battles The Pink Robots and just may be their most beautiful and consistent work to date
American Head finds The Flaming Lips basking in more reflective lyrical places as Wayne Coyne explains in a longer form story titled “We’re An American Band.” Excerpt below:
“The Flaming Lips are from Oklahoma. We never thought of ourselves as a band. I know growing up (when I was like 6 or 7 years old) in Oklahoma I was never influenced by, or was very aware of any musicians from Oklahoma. We mostly listened to the Beatles and my mother loved Tom Jones (this is in the 60’s)… it wasn’t till I was about 10 or 11 that my older brothers would know a few of the local musician dudes.
So… for most of our musical life (as The Flaming Lips starting in 1983) we’ve kind of thought of ourselves as coming from ‘Earth’… not really caring Where we were actually from. So for the first time in our musical life we began to think of ourselves as ‘AN AMERICAN BAND’… telling ourselves that it would be our identity for our next creative adventure. We had become a 7-piece ensemble and were beginning to feel more and more of a kinship with groups that have a lot of members in them. We started to think of classic American bands like The Grateful Dead and Parliament-Funkadelic and how maybe we could embrace this new vibe.
The music and songs that make up the American Head album are based in a feeling. A feeling that, I think, can only be expressed through music and songs. We were, while creating it, trying to NOT hear it as sounds… but to feel it. Mother’s sacrifice, Father’s intensity, Brother’s insanity, Sister’s rebellion…I can’t quite put it into words.
Something switches and others (your brothers and sisters and mother and father…your pets) start to become more important to you…in the beginning there is only you… and your desires are all that you can care about…but… something switches.. I think all of these songs are about this little switch.”
The Flaming Lips return on Bella Union Records with American Head, their 21st studio album. They’ve pulled off a masterstroke here, it retains all of their bubbling psychedelics, whilst sounding more introspective or reflective than they have in years. It’s a cracking set of songs and very pretty too.
The Fat Angel Sings 