Last month, Amanda Shires released “The Problem” in recognition of International Safe Abortion Day. The riveting ballad, featuring her husband Jason Isbell, confronted the stigmas associated with reproductive rights, and over the weekend “The Problem” received the live video treatment from Isbell and Shires.
Shires said the song was originally written in 2016 and narrated by a group of women discussing the decision to have an abortion. “Its first incarnation was talking about another girl’s abortion. It just struck me that it’s not something we all talk about, and it should be something that we talk about,” Shires in a telephone interview. “And when you hear people talk about it, you usually hear ‘em describing somebody else — whether it’s really somebody else or ‘asking for a friend,’ you never really know.”
Instead, Shires uses a young couple’s conversation about whether to have an abortion to propel the song, echoing her own experience with abortion in her late 20s. The husband-and-wife team are gearing up to hit the road for a run of acoustic duo performances next month. On November 5th, Isbell and Shires will play a drive-in show at Maggie Valley Festival Grounds in North Carolina, as well as a two-night run of “pod” concerts at The Bend in Charleston, SC on November 6th and 7th.
The video features a familiar sight for fans of Isbell, Shires, and Peter Levin‘s “I So Lounging” series, as the power couple performs from their house just outside of Nashville, TN. While the sound of the video is markedly similar to the single released last month, the performance video provides added emotion to the already-wrenching song. Throughout Shires and Isbell’s back-and-forth vocals, they return to a refrain of “I’m on your side.” While only four simple words, this provides a backbone to the message of standing by and supporting those affected by the fight for women’s rights.
Amanda Shires and Jason Isbell perform “The Problem.” Recorded live at the barn.
We’re called PUP. We’re 4 dudes from Toronto. We play loud music. You’ll like it. Or maybe you won’t. Listen and love it / hate it / whatever. “This Place Sucks Ass” EP. is October 23rd. Yes, that’s a real title. Yes, it started as a joke that felt like it came true. No matter where you live or what your circumstances, this EP is about the place you are from & the place you are at now. Because both of those places suck ass. New song “Rot” out now. You can pre-order it right now! Bundles include t-shirts, sweatpants, totes, colour your own vinyl variants and “This Place Sucks Ass” pencil crayons. The EP art was designed by our pal Brandon Lepine.
To celebrate the EP release, we are doing our first ever livestream show on October 23rd. The show will be called “THIS STREAM SUCKS ASS – THE PUPTHEBAND LIVESTREAM EXPERIENCE” & it will be broadcast live from Sneaky Dee’s in Toronto.
Directed by Jeremy Schaulin-Rioux.
We are eternally grateful for any & all support. We hope this music finds you safe, as healthy as you can be, and committed to the fight for social justice. We’ll see you out on the road as soon as it’s safe for us all to be together again!.
These guys have great pop sensibility and a penchant for great melodies, all dressed up in a jagged suit of chaos and energy. I can’t wait to hear the rest of the EP; maybe we will be lucky enough to see a vinyl release?
Stoner-rock outfit Fuzz shared “Mirror”, the final single to appeared on their forthcoming third studio album—appropriately titled III—due out this Friday. The eerie video which arrives just in time for Halloween was directed by Joshua Erkman, and features homages to the body horror work of David Cronenberg. The horror-inspired video finds Fuzz back in the fold that made them a highlight of the stoner metal genre in the 2010s, as well as launched Segall into indie prominence.
Combining the heavy-hitting sounds that fans have been clamouring after for five years with the grotesque imagery of body horror puts an exclamation point on Fuzz’s statement: We Are Back.This latest track follows previously-released III singles “Spit” and “Returning”. This new album is the first from the Ty Segall-led project in five years, and was set to be accompanied by the group’s first North American tour. Unfortunately, COVID-19 laid waste to those plans, but Fuzz still plans to head out on the road this winter.
Director Joshua Erkman said of his involvement in the projectIn an abstract way I wanted to incorporate some of the thoughts that have been swimming around in my head about isolation; it’s pretty hard to avoid thinking about that these days. Making the video was an exciting challenge given our current circumstances – how do you shoot a rock ‘n’ roll band performing in a safe, but visually interesting way? In this case the answer was myself and the cinematographer, Star Rosencrans, dragging the band out to the middle of the desert with just a camera, some optical filters, and the bare minimum amount of lights needed.
Ty Segall on drums, Charles Moothart on guitar, Roland Cosio on bass.
The new Fuzz album including “Mirror” . III is out Friday 25th October
Co-founded by former Byrds members Chris Hillman and Gram Parsons, the Flying Burrito Brothers formed their own massive country-rock family tree: Rick Roberts, the band’s guitarist in the early ’70s, later fronted Firefall; guitarist Bernie Leadon left for the Eagles; and pedal-steel guitarist “Sneaky” Pete Kleinow recorded with just about any pop or rock artist who craved a little twang. The Burritos only released one album in the ’60s, but it’s enough to warrant their inclusion: 1969’s ‘The Gilded Palace of Sin’ is a high watermark of the genre, adding elements of psychedelia and gospel to their country core.
On the heels of recent releases including the first-ever reissue of GeneClark’s classic A&M album White Light, Intervention Records has turned its attention once more to a group of California legends with ties to The Byrds: The Flying Burrito Brothers. Following its previous release of the Burritos’ debut “The Gilded Palace of Sin” on both hybrid SACD and deluxe vinyl, Intervention will reissue the band’s sophomore LP, “Burrito Deluxe”, in those formats. The 180-gram vinyl LP will arrive by October, .
Burrito Deluxe marked the second and final album by the country-rock pioneers to feature founding member Gram Parsons. Drummer Michael Clarke, late of Gene Clark’s duo with Doug Dillard, came on board along with another Dillard and Clark alumnus, guitarist Bernie Leadon. Chris Hillman, who played guitar on Gilded Palace, moved over to bass to replace Chris Ethridge. Pedal steel guitarist “Sneaky” Pete Kleinow continued to round out the roster.
The sad story of the Flying Burrito Brothers is that they were always far, far ahead of their time. Hillman “We had always hoped the band would become as successful as the Byrds were, but it never happened. We never had a hit single . . . just a lot of ups and downs. It was a magical, very productive period in my life. But nobody was really ready for us. Now, even the new Flying BurritoBrothers are doing all right. I do really suspect their motive, though. It’s like me hiring four other guys and calling myself the Byrds. My point, though, is what we were doing is real popular now. For God’s sake, I watch these groups with their rhinestone suits on, singing out of tune, playing shitty, and they’re being accepted. It breaks my heart. “We all worked so hard with that band. Goddamn it, we deserved success.”
Like most bands in their position, the Flying Burrio Brothers splintered out of desperation. ChrisHillman was helping Stephen Stills with his third solo album at the time of the final breakup. When Stills promptly offered him a partnership in Manassas, it seemed a comfortable solution to post-Burrito depression. “We were always more of a band than people thought,” Hillman recalls fondly. “Stills wouldn’t have been the same without us, that’s for sure. Stills was playing a concert in Cleveland with the Memphis Horns. I was sitting in the audience, going, ‘Jesus Christ. They’re making 25,000 bucks and they’re shitty. The Burritos are better than this.’( Rolling Stone ’72)
Like the first album, Burrito Deluxe blended both band originals and cover versions – this time including Bob Dylan’s “If You Gotta Go (Go Now),”Harlan Howard and Wayne Kemp’s “Image of Me” (most closely associated with Conway Twitty), the southern gospel standard “Farther Along,” and most notably, Mick Jagger and Keith Richard’s “Wild Horses” – a year before The Rolling Stones released it themselves. The opening track, Parsons’ “Lazy Days,” also had history as it was previously recorded by both The International Submarine Band and The Byrds, though neither version had been released at the time. Just two months after the release of the album in April 1970, Parsons was fired from the group he founded. He would be replaced by Rick Roberts for the band’s next LP.
Intervention’s 180-gram vinyl LP reissue has been remastered by Kevin Gray from original analog tapes (a 1/2-inch safety copy of the original stereo master), and has been pressed at RTI in an old-school Stoughton-printed “tip-on” jacket. The artwork has been restored by Tom Vadakan and features red foil accents on the front cover. Look for this country-rock classic on vinyl in October.
The Flying Burrito Brothers, Burrito Deluxe (A&M SP-4258, 1970 – reissued Intervention Records IR-022, 2018)
In November of 1991, Neil Young told Rolling Stone about his ambitious plans to dig into his archives and release “eighteen to twenty albums’ worth of unreleased material” in some form or another. “We can’t put it all out,” Young said. “But it will be like an archive. There will be a lot of detail, things you wouldn’t usually find on a box set. I’m not so much concerned with how or when it comes out but that it’s in order. I want to do that myself. And I only have so much time to do these things.”
Well, it took him nearly 30 years, but Young’s vision has finally been realized on the revolutionary Neil Young Archives interactive website and app. Not only can fans hear every song in his catalogue with significantly better sound quality than the offerings on Spotify and Apple Music thanks to the Xstream streaming platform (which utilizes a 192-kHz/24-bit sample rate), but there’s also an interactive timeline packed with unseen video, photographs and lyric manuscripts from throughout his entire career. There’s also the Times-Contrarian newspaper where Young and his team post regular news updates and respond to fan letters.
The Neil Young Archives was initially free and anyone can still browse through it, but late last year he opened it up for paid subscribers ($1.99 a month/$19.99 a year) that allows complete access to the site and exclusive early access to concert tickets for all of his shows. Subscribers can also watch livestreams of select concerts and watch vintage Neil Young movies in the Hearse Theater, including films like Muddy Track and Solo Trans that are practically impossible to find anywhere else.
Ahead of his “Archives Volume 2″ box-set release, Neil Young has officially dropped a previously unreleased version of ‘Powderfinger’. While we can access the era vicariously on various platforms and with tangible items like records, sometimes there’s nothing like new music, or a re-release. One of the latest pieces of re-release news comes from legendary rock artist, Neil Young, who in 2020 is continuing to keep on rocking in the free world.
Right now, a previously unreleased version of Neil Young’s ‘Powderfinger’ is available The ‘Powderfinger’ re-release further ramps up the hype of his upcoming special release, with Young recently announcing the complete track list from his highly-anticipated Archives Volume 2 Box-set. You can pencil the release date in for Friday, November 20th. Right now we’re still waiting on further details, but for now you can catch up on other great Neil Young music news here or listen to the previously unreleased version of ‘Powderfinger’ .
The deluxe edition box set of Archives Volume II: 1972-1976 contains 10 CDs with 131 tracks, including 12 songs that have never been released in any form, and 49 new unreleased versions of Young’s classics—studio and live recordings, both solo and with Crazy Horse (Odeon Budokan), The Stray Gators (Tuscaloosa), the Santa Monica Flyers (Roxy: Tonight’s the Night Live), Crosby, Stills, Nash and Young, and The Stills Young Band. It also includes a 252-page hardbound book with hundreds of previously unseen photographs, additional archival materials, a partial tape database, a detailed description of the music, a fold-out timeline of the period.
In addition, each purchase includes the hi-res 192/24 digital files of all 131 tracks, as well as a free one-year membership to the Neil Young on-line archives. The box also includes a massive poster Box sets are strictly limited worldwide to 3,000 units and available exclusively from NYA’sGreedy Hand store only.
Neil Young Archives Volume II – 10 Disc Retrospective The Limited Edition, 10 Disc Box Set includes: 131 Tracks with 12 Previously Unreleased Songs & 49 Previously Unheard Versions 252 Page Hardcover Book with Hundreds of Photos Full-length Archives Poster Releases November 20th, 2020
It’s a Tuesday in the Catskills, and Patton Magee and his bandmates in the Nude Party are making preparations for a weekly tradition: “Tiki Tuesday.” The garage-rock band, their producer Oakley Munson, and a few friends and girlfriends who’ve been quarantining with the group in their upstate New York home are mixing up Mai Tais, Scorpion Bowls, and Zombies for a night of drinking and listening to Jimmy Buffett and surf band the Waikikis. “There is always something to look forward to,” says Magee, the Nude Party’s 26-year-old singer-guitarist. “Every Tuesday is a house party.” The six-piece band, whose members met while students at North Carolina’s Appalachian State University, succeed in recreating that college house-party vibe on their new album, “Midnight Manor”, the follow-up to their self-titled 2018 debut. It’s garage rock updated with a touch of 21st-century cynicism, written and performed by a group of self-taught musicians who bonded over Sixties rock & roll. “We wanted to play like the Rolling Stones, Creedence Clearwater Revival, and the Kinks. It just hit us all in a particular way,” Magee says.
Magee and his mates — bassist Alec Castillo, guitarist Shaun Couture, pianist Don Merrill, drummer Connor Mikita, and percussionist Austin Brose — went through a Doors phase too, but they were more attracted to the notion of a musical brotherhood over “any egotistical antics, Jim Morrison style,” Magee says. After meeting the producer Munson (drummer for garage-rockers the Black Lips), they fully committed to the communal idea by moving into a farmhouse together in New York. To get to gigs — in 2019, they opened for Jack White and Arctic Monkeys — they all piled into a converted church bus, which Magee says they recently sold for “1500 bucks and an old sitar.”
Financially, it was a loss, he admits, but “maybe in the end this sitar will help us make a really corny psych album. Midnight Manor isn’t that. Rather, it’s an unabashed rock record, full of chiming guitars, sha-la-la refrains, and lo-fi production that plays like the soundtrack to an Animal House remake. In the piano burner “Pardon Me Satan,” Magee wails about falling prey to drunken temptation.
But the enforced downtime has worked wonders for the six-piece, who’ve used lockdown to create a YouTube series about two rival Italian families’ power struggle to dominate the frozen pizza market, and produce their rollicking and instantly catchy third album, Midnight Manor. The Nude Party’s Midnight Manor is a fresh breeze of good old fashioned rock and roll made to make you feel good. To find out more about the making of the album, we asked lead singer and guitarist Patton Magee to scribble down the process behind a few select tracks off the release, and here’s what he had to say. Take it away, Patton.
Lonely Heather
Infatuation with someone unobtainable. I think of the rodeo game where scores of kids try to catch a greased up hog… But that metaphor doesn’t work on most levels. It started with an upbeat piano rhythm from Don. We’d just watched Heathers, and were both a little obsessed with Winona Ryder. ‘Heather’ is like an object of desire and obsession; it’s loving the fantasy and not even knowing the person.
Shine Your Light
I’ve started to realise, with heartbreaks again and again, that I don’t really regret anyone. Because a lover can be ‘the one’ for a period of time, and that time is usually not ‘til death do us part. Even when you’re sure it’s forever, you learn that you can be dead sure and dead wrong at the very same time. The light leads through the dark but it also blinds you.
Things Fall Apart
There’s a streak of what you’d call ‘break up songs’ on this record… for pretty obvious reasons, maybe. I actually started this song at the beginning of a relationship as ‘Feels Like I’m Falling in Love’. It was more upbeat and kind of Elvis-y. But I never quite finished it. When everything turned to shit, I fell back on it with newfound purpose. Misery motivates
What’s the Deal
This song has been kicking around in our repertoire for longer than any of the others. On our DIY tour around the US, we’d often stay with extended family members and friends, so we all came to meet mostly everyone’s entire families. We stayed with my grandma in rural Louisiana and she cooked us biscuits and gravy, we talked and hung out and had a lovely time. The next time we came through, a year later, she had suffered a stroke and was in an assisted living facility. With only the faintest memory of everyone, repeating the phrase ‘oh those sweet boys’ again and again. That was the spark that led to this song. Wondering out loud what it’s all about, and where it all goes.
The devil wears a suit in “Nashville Record Company,” a gentle acoustic number that devolves into a rowdy kazoo solo. And “Lonely Heather” is a frantic punk jam, packing a wallop in just over two minutes. In the hooky shout-along “Easier Said Than Done,” the Nude Party — who tweaked the name bestowed upon them by fans, “The Naked Party Band,” into something Magee calls “slightly more presentable” — spell out the pitfalls of the touring life. “That song is two-pronged. One of the prongs is that everything does sound like peaches and cream, fun and partying. But it does wear on you. It’s a weirdly sedentary lifestyle, where there’s a lot of sitting in cars. You’re always hungover, tired, and sore, and always feeling a little bit depraved,” he says, citing a classic-rock staple. “What does Joe Walsh say? ‘I can’t complain, but sometimes I still do!’”
After two years of non-stop touring behind 2018’s The Nude Party (that church bus was “a rolling deathtrap,” Magee says) — a period that also saw the end of more than one relationship — the band’s nerves were frayed. Magee channeled some of that burnout into Midnight Manor, exposing a little bit of emotional vulnerability along the way. “There’s less distance between the singer and the song. When we came together to make the record, it was at the end of a long, emotionally traumatic period,” he says. “But it felt like we were reunited — a rediscovery of the brotherhood. For all those reasons I definitely think this is the best record we’ve ever made. It’s a bummer that it’s coming out in the middle of a global crisis. When the pandemic began in March, the Nude Party welcomed friends who had nowhere to safely quarantine into their Catskills retreat. They raised chickens, ducks, and geese, and planted an enormous garden. Magee says they were worried. “There were some pretty wild thoughts in your head as to what was about to happen, like a Mad Max-type future. Things have sort of stabilized, but we didn’t know how bad things were going to get,” he says. “Now we just have a ton of fucking tomatoes.”
The Nude Party (from left): Shaun Couture, Austin Brose, Connor Mikita, Alec Castillo, Don Merrill, and Patton Magee.
Sinéad O’Connor marks her long-awaited return with a stunning interpretation of ‘Trouble Of The World’, a traditional song made famous by exalted gospel singer Mahalia Jackson. It follows the-ever-more pertinent ‘Trouble Soon Be Over’ – her contribution to 2015’s ‘Tribute To Blind Willie Johnson’ compilation and once more exudes the heart and soul of this extraordinary performer. Sympathetic to its origins, the heartfelt, evocative tones propel this impassioned rendition to the present its poignancy highlighted by a remarkable artist who leaves her own indelible mark on this topical realisation whilst realigning with a positive viewpoint. In her own words, she explains; “for me the song isn’t about death or dying.
More akin, a message of certainty that the human race is on a journey toward making this world paradise and that we will get there.” The inspirational lyrical narrative that underpins ‘Trouble Of The World’ unfortunately bears more relevance than ever today in the context of the death of George Floyd and the highlighting of the persistent racist undercurrents that trouble mixed societies across the globe. Sinéad has also allocated all her profits as a donation to Black Live Matter charities which not only aid various causes but highlight the inconsistencies in society.
The song sees Sinead joining forces with renowned producer David Holmes, and recorded in Belfast, Northern Ireland at the easing of the lockdown it shares an uncanny albeit eerie symmetry with our new trouble of the world backdrop and once again Sinéad awakes our souls to the ironies and similarities of our collective past and present. The pair have created a sonic tonic and shout out to the powers that be as a voice of the people still questioning all-too-frequent events such as witnessed over the past few months that ensue decades since the nascent birth of the civil rights movement in the United States. Embodying a voice with beauty and innocence, a spirit part punk, part mystic with a combined fearlessness and gentle authenticity – unique, uncompromising, a pioneer, a visionary, just some of the descriptions that perhaps merely touch the surface of Sinéad O’Connor.
All of Sinead O’Connor’s profits from the single ‘Trouble of The World’ are going to Black Lives Matter.
Marika Hackman returns with an album “Covers”, a darkly beautiful, self-produced new album which showcases a more vulnerable side, available on November 13th. Accompanying the news, Marika has shared her version of Grimes’ single “Realiti” plus details of a NoonChorus live stream with her full band that will take place on album release day.
During the extended stay-at-home order of the last few months, Marika felt that creating a covers record was a way of exploring new sound ideas and expressing herself without having the pressure of the blank page. She recorded and produced “Covers” between home and her parents’ house, then got the legendary David Wrench (Frank Ocean, The xx, Let’s Eat Grandma) to mix it. David also co-produced her excellent 2019 record Any Human Friend. In contrast to her last two albums (including 2017’s I’m Not Your Man), this collection of songs is more akin in tone and feel to her debut We Slept At Last, with a darker and more introspective sound.
On Covers, we hear Marika’s emotive voice set against sparse arrangements of guitars and strings with the occasional synth or scattered drum groove. Breathing new life into the songs she’s chosen, Marika reimagines work by some of the world’s most beloved artists such as Radiohead, Grimes and Elliott Smith. It’s a suitably varied collection, but Marika’s intimate delivery and soft, nuanced and atmospheric touch to production, thread them all together effortlessly. Marika explains how she came to choose the material: “When it comes to covers, I like to pick songs which I have been listening to obsessively for a while. It gives me a natural understanding of the music, and lets me be more innovative with how I transform it.”
First single “Realiti” is a stripped back piano and guitar based version of the Grimes classic from her most celebrated album Art Angels. Marika’s take is a total reinvention and yet it feels wholly her own. Muna’s “Pink Light” from their 2019 record Saves The World is a slice of dark pop, reminiscent of The Cure. In Marika’s hands, it’s a remarkably seamless switch-up to convert these into slower, brooding soft jams. Marika’s version of Air’s “Playground Love” is one of the highlights, taken from the soundtrack the group composed for Sofia Coppola’s coming of age The Virgin Suicides, the result being a moodier, disorientating reworking of a classic modern moment.
Final track “All Night” sees Marika tackling one of the standouts from Beyonce’s Grammy-nominated Lemonade. Again, Marika flips the song on its head. Joined by a choir of stacked vocal harmonies, Marika’s voice transcends to conjure a deep emotional resonance. Adventurous and versatile, Covers continues Marika’s lineage in turning each body of work into a new take and perspective on her creative vision. She twists and turns, always surprises, and is never afraid to wear her heart on her sleeve. It remains anyone’s guess to imagine where she will head next.
Tickets are for a NoonChorus performance on Friday, November 13th at 6pm PST / 9pm EST. A viewing code will be sent to you from Noonchorus (help@noonchorus.com) with seven days to go to the show, and emailed again with a reminder on the day of the show. If you haven’t received your code in the 48 hours before the show, please contact help@noonchorus.com. The tickets and bundles will only be available here until Friday 6th November, after which tickets for the livestream will exclusively be available from noonchorus.com
In the off chance you haven’t given her “Realiti” cover a listen, here’s what you’re missing: “… a new take on ‘Realiti’ by Grimes, inverting Claire Boucher’s electronic template for some introspective acoustic balladry.” – Clash
“Grimes gets the ethereal folk treatment with Hackman’s contemplative, beautiful version of ‘Realiti’,” – Gigwise
All Them Witches have released another track from their upcoming album, Nothing As The Ideal. “Lights Out” along with the other seven songs on the album — was recorded at Abbey RoadStudios in the legendary Studio Two (home to landmark recordings by The Beatles, Pink Floyd, and more). All Them Witches have built a career out of playing music that cannot be pigeonholed into one specific genre. Nothing As The Ideal with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come. The band’s signature psychedelic blues riffs, relentless drums, melodic bass lines and non-linear lyrics are all present. The resulting album is a thought provoking head banger that is the band’s most cohesive album to date
“…the new album is their most experimental work to date. Tape loops coincide with unplugged minimalism. It’s their heaviest album marked by their broadest atmospheres, intimate and pummeling.” – Glide Magazine
All Them Witches premiered a new video for their track, “Rats In Ruin” this week. The video was co-directed by drummer Robby Staebler and actress Drea de Matteo (The Sopranos, Sons of Anarchy) and they both star in it as well.
“Before we recorded Nothing As The Ideal I knew I wanted to do a visual for “Rats,” said Robby . “The tape demo that was stuck on repeat in my head was fully realized at Abbey Road… Tucked away overlooking Los Angeles, Drea and I decided to put our heads together for this project.
Stream “Lights Out” from the new album “Nothing As The Ideal” (out September 4th.
As hinted by the official David Bowie site earlier this week, there is a new product release for . Parlophone will soon issue as series of Bowie live albums with material recorded between 1995 and 1999 under the banner ‘Brilliant Live Adventures’.
These are six albums which will all be made available on CD and vinyl, but as “limited one run only pressings”. The first release is called “Ouvrez Le Chien”. This was previously a streaming-only live album but will be released physically at the end of this month. It features audio recorded at the Starplex Amphitheater, Dallas, 13th October, 1995, during the U.S. leg of the Outside tour.
‘Brilliant Live Adventures’ will see previously unreleased live recordings by the late star from 1995-1999 released on limited edition vinyl and CD.
Ouvrez Le Chien was produced by David Bowie and recorded by Steve Guest. The musicians are David Bowie – vocals and saxophone, Carlos Alomar – rhythm guitar, Reeves Gabrels – lead guitar and vocals, Gail Ann Dorsey – bass and vocals, Zachary Alford – drums, Peter Schwartz – musical director, keyboards and synthesisers, George Simms – vocals, Mike Garson – piano and keyboards.
I think it’s reasonable to presume that the two other streaming exclusives – Something In The Air (Live Paris 99) listen on LiveAndWell.com will be amongst the remaining five yet-to-be-announced concerts, but we’ll have to wait and see about the other three.
All these live albums will ONLY be available via David Bowie’s online store or the newly rebranded Rhino store ‘Dig!’ and for now Ouvrez Le Chien is the only one you can pre-order.
Parlophone are incentivising you to buy all six albums, by offering empty boxes with ‘Brilliant Live Adventures’. The idea is you buy the boxes to house your purchases. Neither are available yet from the Dig! store – you have to ‘register your interest’ but on Bowie’s shop they are showing as ‘sold out’ (CD was £12, vinyl box £17). As we approach the season of goodwill, you’d think, if you buy all six albums under one account, they might actually GIVE you a box… but apparently not (Disc Union in Japan do this very thing – if you purchase a ‘set’ of mini-LP CD vinyl replicas, they give you a ‘free’ box).
The ‘Brilliant Live Adventures’ reissue series follows a host of David Bowie reissues also shared in 2020.
The star’s 1975 album ‘Young Americans’ received a limited edition vinyl reissue in celebration of its 45th anniversary last month, while ‘Something in the Air (Live Paris 99)’, a 15-track LP capturing Bowie’s 1999 performance in France as part of his ‘Hours Tour’, was also released.
Another Bowie live album, ‘LiveAndWell.com’, came out back in May. Originally available on the now-defunct BowieNet, the record never received a commercial release after it was shared on the online platform 19 years ago.
“Ouvrez Le Chien” will be released on 30th October 2020.
The Fat Angel Sings 