Archive for the ‘MUSIC’ Category

Derek and The Dominos‘ 1970 album “Layla and Other Assorted Love Songs” is being reissued for its 50th Anniversary as a deluxe 4LP vinyl set and across two CDs.

The original album has been half-speed mastered by Miles Showell at Abbey Road Studios and, being a double, is pressed on two LPs. Two further records of bonus material (not half-speed mastered) make up this 4LP deluxe box set.

Layla and Other Assorted Love Songs was celebrated back in 2011 with a deluxe, cross-format box set that featured the remastered original album (on CD, vinyl and in a 5.1 surround mix on DVD), 1973’s In Concert, and a disc of 13 bonus tracks, including new mixes of outtakes from the supergroup’s unfinished second album and a live set from The Johnny Cash Show. This new box strips things back somewhat, offering the half-speed mastered album and the 13 bonus cuts across four LPs along with the 12″ x 12″ book from the 40th anniversary set and a certificate of authenticity.  (The 2CD 40th anniversary edition will also go back into print as well, ostensibly for the 50th anniversary.) Alongside this is a further 2LPs of bonus material some of which has previously been unreleased on vinyl. All the bonus material across all of LP3 & LP4 is mastered normally (so is not half-speed mastered).

Layla was the end result of four members of Delaney & Bonnie Bramlett’s touring group – guitarist Eric Clapton (already well-known for work with Blind Faith, The Beatles and many more), singer Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon – coming together for a brief but fruitful series of sessions. (Their earliest session produced the briefly issued single “Tell the Truth,” produced by Phil Spector and featuring guitar work from Dave Mason and George Harrison.) The Layla sessions also featured scintillating guitar contributions from Duane Allman. Despite the album’s pedigree, the album never performed to expectations, and tragedy followed the group: Allman was killed in a motorcycle crash in 1971, Radle died in 1980 after years of drug abuse, and Gordon remains institutionalized after killing his mother during a schizophrenic episode in 1983.

But gradually, Layla‘s title track took hold as one of Clapton’s crowning achievements: written about his insatiable infatuation with Harrison’s wife Pattie Boyd (who indeed had a decade-long marriage with the guitarist after divorcing the Beatle), “Layla” became a Top 10 hit on both sides of the Atlantic in 1972; in 1990, its Gordon-led piano outro scored a pivotal scene in Martin Scorsese’s Goodfellas – and three years later, a striking acoustic performance for MTV’s Unplugged won a Grammy Award.

“That thing was like lightning in a bottle,” begins Bobby Whitlock talking about his short-lived band time with Eric Clapton, Derek and the Dominos. “We did one club tour, we did one photo session, then we did a tour of a bit larger venues. Then we did one studio album in Miami. We did one American tour. Then we did one failed attempt at a second album.” And all within about a year’s time in 1970.

So in this case, the oft-overused flash of lightning description is right on the money. And Whitlock was a key part of the kinetic energy behind what’s considered a genuine landmark in not just Clapton’s career but the entire classic rock genre: the 1970 album Layla and Other Assorted Love Songs, co-writing six of the double album’s 10 original songs, and bringing his soul-soaked Deep South keyboard skills to the musical mix, taking the vocal lead on two tracks and doubling/trading off with Clapton throughout the rest of the album.

Now, five decades later, he is the keeper of the Dominos legacy. And the dedicated survivor of a star-crossed band if there ever was one. After the band’s short flash as a working act, he descended into some three years of heroin adduction and seclusion. Duane Allman, who played on most of Layla, was killed in a motorcycle crash on October 29th, 1971. Bassist Carl Radle recorded and played with Clapton later in the ’70s and died of a kidney infection, exacerbated by his alcohol and drug abuse, in 1980. Drummer Jim Gordon as well continued to engage in substance abuse, damaging his career with behavioural issues. In 1983, he murdered his mother, claiming a voice in his head had told him to do so. He was diagnosed with paranoid schizophrenia and has remained incarcerated ever since.

Whitlock stresses “We were better than anybody.” One of the key elements that made them what he feels were the Greatest Rock ‘n’ Roll Band for that all-too-brief time was Whitlock’s deep Southern musical soul. Growing up a preacher’s kid in a family poor as a church mouse, he was weaned on spiritual music (and did some cotton picking in his youth). Coming of age in Memphis, Whitlock was steeped in R&B in the city where white rock ‘n’ roll was born at Sun Studio.

Although Whitlock, only 22 years old at the time, helped Clapton all but define anguished unrequited love in the most profound rock ‘n’ roll terms and tunes on songs like “Why Does Love Got to Be So Sad,” “Tell the Truth” and “I Looked Away,” his own ultimate love story is something quite different, and a rather delightful one at that. Though his post-Domino years were not without their struggles, today he’s blissfully married and in musical partnership with singer, bassist, guitarist, sax player, songwriter, recording engineer and producer CoCo Carmel.

Whitlock, Clapton, Radle and Gordon became part of the core crew on the sessions for Harrison’s post-Beatles debut, All Things Must PassWhen Harrison had business elsewhere for a few days, he told the four to use the studio time with producer Phil Spector to cut some tracks, which yielded the debut Dominos 45, “Tell the Truth” b/w “Roll It Over.”

Whitlock says of Clapton, “He wanted to be Derek not Eric. He wasn’t ready to step into his role of as a solo artist at that time.” The four musicians did a show at London’s Lyceum Theatre, and then set off on a tour of small English venues as Derek & the Dominos where the admission was £1, and Clapton’s name was forbidden to be used in any advertising. In late August of ’70, the Dominos arrived at Criteria Studios in Miami to record with producer Tom Dowd. He took them to see the Allman Brothers Band, Clapton and Duane Allman bonded, and the latter joined the Layla sessions to help create some of the most incendiary dual guitar rock ever recorded. The album was suffused with Clapton’s passionate longing for his best friend Harrison’s wife Patti Boyd – interestingly, while in England Whitlock dated her sister Paula – and even though it was only a middling hit on its release, over time its stature grew to become considered a rock ‘n’ roll masterpiece.

The vinyl box comes with a 12×12″ book of sleeve notes taken from the 40th-anniversary edition. A 2CD edition will also be made available which is effectively identical to the double-CD edition issued in 2011.

The big 40th anniversary box set (which was 4CD+DVD+2LP) featured a surround sound mix on the DVD. Since that is now very hard to get hold of, it’s disappointing that the DVD hasn’t been included as with the two CDs to make a triple disc package.

Layla and Other Assorted Love Songs will be reissued on 13th November 2020.

 

Prince – “Purple Rain” – The Concert 10-Inch Double Album on Purple Vinyl in Gatefold Sleeve Limited To Just 2000 Numbered Copies!. This limited edition 10-inch collector’s double album pressed on purple vinyl comes in a gatefold sleeve. This is the ultimate anthology featuring Prince performing tracks drawn from his classic album “Purple Rain”.

The live-to-air broadcasts collected together on this anthology reflect Prince at his very best. This is Prince with no second chances, no prospect of retakes and no overdubs. Here is the ultimate proof of the quality of Prince as a revolutionary music phenomenon and an inspiring artist. Prince had an incredible ability to deliver the most amazing performances in the live arena. The evidence of that fact lies in the wide variety of performances which were broadcast live-to-air without a safety net.

The tracks on this album are drawn from two legendary shows. Firstly there is a wonderful show from on Syracuse On March 30th, 1985, Prince and the Revolution performed in Syracuse at the Carrier Dome where they taped Prince and the Revolution: Live, which was distributed on VHS after the tour was completed on July 29th, 1985. The concert was also broadcast live throughout Europe.

Also featured is the landmark Madrid radio broadcast on 22nd June 1990.

The deluxe limited collector’s set includes a unique QR code which unlocks a full-length E-book and audio documentary.

Track Listing:

Side A
1. Let’s Go Crazy
2. I Woud Die 4 U
3. Little Red Corvette

Side B
1. Computer Blue
2. Darling Nikki
3. The Beautiful Ones

Side C
1. Purple Rain
2. Take Me With U
3. When Doves Cry

Side D
1. 1999
2. Kiss
3. Baby I’m A Star

 

Release date: 7th January 2021

Electronic music played by a rock band, or post rock you can dance to. Reverb-drenched kosmische mixed by Four Tet and mastered at Invada (Portishead, BEAK. “Barking to Gospel” was written over the past year at the band’s rehearsal studio in Hackney, and then recorded live over a weekend just before the UK went into lockdown. As the world ground to a halt, the band sent the raw files to Kieran Hebden (FOUR TET), who agreed to mix the EP while self-isolating in upstate New York, and then the EP was mastered at Invada, the studio run by Geoff Barrow. 

Electronic music played by a rock band, or post rock you can dance to. Reverb-drenched kosmische.

For fans of: NEU!, Public Service Broadcasting

Original release: 16 September 2020 “Barking to Gospel” Sonic Deterioration, Original release: 16th September 2020 on Limited Edition 12″ Black Vinyl, signed by the band – exclusive edition of 50 only.

An incredible mix of 90s grunge and millennial DIY from a duo we can comfortably call our favourite two-piece from Luxembourg. “All Change” is the debut EP by the Luxembourg-based, Canadian-American duo Francis Of Delirium, a band fast on the rise. First appearing back in January with the instantaneous track ‘Quit Fucking Around’, Francis Of Delirium have caught attention by making a powerful sound where 90’s grunge collides with indie folk and millennial DIY; different generations of rock explained in part by 18 year-old songwriter Jana Bahrich being thirty years junior to her collaborator Chris Hewett. 

A highly creative and self-contained duo, intimacy and vulnerability lies at the heart of their music, made impactful by Jana’s high energy vocals and genuine passion to connect with each member of the audience. All Change perfectly illustrates this, a five-track primer that not only delivers on their early promise but shows they’re just getting started.

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Limited Edition Black Vinyl LP + signed drawing [by FoD’s Jana Bahrich – exclusive edition of 250 First time on vinyl, 

 

Vancouver art collective Crack Cloud have shared their debut album “PAIN OLYMPICS”, marked by album highlight and lead single “Ouster Stew.” It was self-produced and written and recorded in Calgary and Vancouver between June 2017 and December 2019. The group’s previous release was their 2019 single “The Next Fix,” which followed their exceptional 2018 self-titled EP. Earlier this year, Paste featured them in our list of 30 Canadian artists you need to know in 2020. In comparison to the tightly-coiled, guitar-driven post-punk of their self-titled release, “Ouster Stew” is more colorful and eccentric—adding synths and saxophone into the mix. Lead singer Zach Choy’s (the group are adamant not to call him a frontman, doubling down on their decentralized model) vocals are positively waggish as their guitars squawk with an art-rock-meets-funk vivacity.

Like Psychic TV before them, Crack Cloud have a philosophy, and one that they are not afraid to wear on their sleeves. While their anarchic, phantasmagorical visuals, heavy use of symbology, and seemingly never-ending cast of colourful collaborators have often invited cult comparisons, this really does the collective no justice.

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There is no apocalyptic death drive here; no cult of personality; no hierarchy of power. While frontman and lyricist Zach Choy is in many ways the face of the group, the collective is one founded on equality, and in his cryptic lyrical blending of poetics, polemics and personal experience, Choy is truly the mouthpiece of something far larger than himself. Nowhere else is this more apparent than on the album’s first single, ‘The Next Fix.’ What begins as a caustic, claustrophobic account of addiction swells into a sprawling, euphoric hymn as Choy is joined by a choir of seemingly endless celestial voices. Less a cult then; more a church. Listening to this song or watching its accompanying self-directed video is a truly spiritual experience, and in its building, jubilant movement it offers a glimpse of Crack Cloud’s most vital message: using community to turn adversity into hope.

This isn’t just bravado; its a story born of deep, personal experience. Crack Cloud operate on the frontline of Canada’s out-of-control opiate crisis, mobilising and organizing in Vancouver’s harm reduction programmes.

The group themselves have had their fair share of trauma, and the collective LP offers its members a vital vehicle for rehabilitation and recovery. As the tagline on the album’s back cover makes clear then, this is absolutely ‘based on true shit.

Part Three of the “Pain Olympics” 2020 series, made DIY by the Crack Cloud Media Collective

POZI – ” 176 “

Posted: November 10, 2020 in CLASSIC ALBUMS, MUSIC
Tags: , ,

“176” boasts five new tracks written and recorded over a fruitful five days at PRAH Studios, Margate. The band took a more expansive approach to the composition process, taking inspiration from the spatial and rhythmic sonics of electronic music and blending it with their existing unique sonic palette of drums, bass, violin, vocals…and no guitars. Taking its title from the eponymous London bus route that runs from Penge to Tottenham Court Road, 176 contains themes of paranoia, social anxiety, jealousy and the accompanying nightmares these can create. The band explain: “All five songs have quite grim, dark subject matter. Once we’d started exploring that paranoid, angsty kind of path, the floodgates seemed to open and we ran with it”

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Title track “176” finds the narrator sat on the top deck of the 176, feeling alienated from their surroundings and shell-shocked at the public’s decision to vote in favour of Brexit, whilst “While You Wait” is written from the perspective of a dog recalling happier times rolling in fields, as it waits to be put down at the veterinary surgery – penned while the UK waited to leave the EU, the metaphor couldn’t be clearer. Elsewhere, “40 Faces” builds on a Morricone-esque bass riff to depict a jealous human waiting at home, tormenting themselves with images of what their partner might be up to without them. “The Nightmare” employs jarring call and response-style vocals to construct a sonically disorientating sound, creating a feeling similar to how you might feel after waking from a panic stricken bad dream or the anxiety you feel when trapped in an unnerving social situation.

For fans of: Warmduscher, Pottery, Depeche Mode Original release: 3 July 2020  Limited Edition White 12″ Vinyl – 300 copies worldwide

PRAH Recordings Released on: 2020-07-03

Meadow Meadow: Meadow Meadow: Signed Exclusive Translucent Green Vinyl EP in PVC Sleeve

Meadow Meadow is the debut collaboration from former Spring King members, James Green and Peter Darlington. After the breakdown of their previous band, their writing together became a meditative, healing process. Sharing demos between Manchester and London, the pair developed a distinct musical palette, using creativity as a “constant source of peace and catharsis”. Themes of childhood nostalgia and the natural world are juxtaposed with a sense of loss and dystopian malaise. “Memory is strange, it connects seemingly disparate experiences together to form a storyline that you then carry with you”.

Gently swaying, meditative pastoral indie from two former members of Spring King, their new name taken from a line in a Silver Jews song.

Tracklisting: Bonzo, Fireworks, TwoTwo, Neberdine, Sca

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Written, Performed and Produced by Meadow Meadow. From ‘Meadow Meadow’ EP – out 19/8/20 on Practise Music Limited run of 50 cassettes

  Bonzo  
2 Fireworks  
3 TwoTwo  
4 Neberdine  
5 Sca

Queen and Adam Lambert have shared a live performance video of “Somebody To Love” from Isle of Wight Festival at Seaclose Park on June 12th, 2016. The performance initially appeared on the collaborator’s first live album and concert film, “Live Around the World”, which saw worldwide release on October 2nd.

While Queen has rocked festivals for decades, this 2016 performance marked the first time the band had played with Adam Lambert in such a setting, and the vastness of the crowd cannot be understated. Sitting at the midpoint of their set, between “Don’t Stop Me Now” and “Love of My Life”, this high-energy rendition of “Somebody To Love” was impressive. Though nobody can compete with the raw showmanship of Queen’s original frontman Freddie Mercury, Lamberts stage presence is notable in this performance. He worked the crowd well, even having fun with a brief call-and-response section, while also proving his vocal prowess on some of the more difficult sections of the song.

Adam has the ability to sing anything and everything we throw at him,” said drummer Roger Taylor in a press statement, “There’s nothing he can’t handle. Our songs are big and theatrical and Adam fits that easily. I think he’s the best singer around. His range is staggering.” Explained Lambert , “Some of Queen’s songs are just so vocally athletic and physically demanding. For example, ‘The Show Must Go On’ is certainly demanding, ‘Who Wants To Live Forever’ goes from zero to 99. ‘Somebody to Love’ is really intense and big.

Their first ever Live album; Queen + Adam Lambert , ‘Live Around The World’

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Over the weekend, fans of Skinshape received a pleasant surprise when his forthcoming album, “Arrogance is the Death of Men”appeared on streaming platforms nearly a month ahead of its scheduled release. The sixth studio album from the U.K.-based looper (real name, Will Dorey) was originally scheduled to arrive on December 4th.

The track was first posted on the r/indieheads subreddit on Friday, and the album has yet to be taken down from Spotify or Apple Music. While it may be possible that Dorey just decided to put the record out early.

At any rate, this latest outing from Skinshape delivers more of the same chillwave beats that have made him an underground artist of note. In the three days since Arrogance is the Death of Men‘s arrival Spotify, the individual tracks are already starting to gain popularity per the service’s metric in the sidebar.

Given the premature release several days ago and the immediate internet response of “listen to it while you can,” it’s also possible that this was Dorey’s plan all along. Now, with his ever-growing fanbase under the impression that the album is only around for a limited time, people are much more inclined to listen to it immediately and even more than once—thus resulting in a large bump in streams.

Written, produced by W. Dorey Drums by Ivan Kormanak Lewis Recordings 2020.

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Jason Isbell dug into the vaults to pull out a special 2014 concert alongside his former Drive-By Truckers bandmates Patterson Hood and Mike Cooley . The concert, which took place at the Shoals Theatre in Florence, AL on June 15th, 2014, is available now on Bandcamp.

The show came together as a benefit concert for Terry Pace, a fixture in the local Shoals artistic scene. Pace—an actor, director, producer, lecturer and music historian—suffered a pair of “debilitating” strokes in March of that year, and faced a long and expensive road to recovery. Together these former bandmates, who hadn’t shared the stage in years, came together to perform in-the-round on this special evening.

The setlist for the evening saw a vibrant mix of the Drive-By Truckers songbook alongside some choice covers including a selection from Isbell’s then-budding solo career. Starting off the show with “Tornadoes” from Drive-By-Truckers’ 2004 record The Dirty South, the trio explored the band’s output during Isbell’s tenure of 2001—2007. Given Isbell’s seemingly-sudden departure from the group seven years prior, which in no small part led to the lasting sobriety he enjoys to this day, this concert served as an important statement to fans that there were no hard feelings.

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Over the course of the 25-song performance, the trio mined much of The Dirty South as well as 2003’s Decoration Day. It was toward the end of the evening, however, that Isbell showed everyone what he had been up to with a take on his solo single “Cover Me Up”. In the end, the show came to a raucous close with a 12-minute cover of AC/DC‘s “Let There Be Rock”.

Live at Shoals Theatre from Jason Isbell, Patterson Hood, and Mike Cooley is available to purchase on Bandcamp.

Recorded live at the Shoals Theatre in Florence, AL on 6/15/14
Released November 6th, 2020
The Band:
Mike Cooley – Vocals, Guitar
Patterson Hood – Vocals, Guitar
Jason Isbell – Vocals, Guitar