Today, we’re taking a look at four recent titles pressed for audiophile-level vinyl excellence by the Run Out Groove label!

Run Out Groove embraces the Paisley Underground with the vinyl premiere of The Dream Syndicate’s The Complete Live at Raji’s.  Recorded on January 31st, 1988 (not 1989, as indicated on the original CD release of the truncated album), the set captured the underground heroes prior to the release of their Ghost Stories album – and a year prior to their breakup.  But the line-up, at this point consisting of Steve Wynn (vocals and guitar), Paul B. Cutler (guitar, vocals), Mark Walton (bass, vocals), and Dennis Duck (drums), was as tight and attuned to each other as possible.  The fifteen songs played that evening at the Hollywood club and preserved here on four sides of 180-gram, colorful swirl vinyl attest to that.

The original Live at Raji’s was released by Rykodisc as the band’s final album, following Ghost Stories. The 2004 expansion – the basis for this vinyl release – added four tracks including two covers (the fast and furious opener, Blind Lemon Jefferson’s “See That My Grave is Kept Clean,” and Bob Dylan’s ominous “All Along the Watchtower,” rendered with a dollop of Hendrix inspiration) and two Dream Syndicate favourites – “When You Smile” and “Tell Me When It’s Over.”  The sound on the vinyl as mastered by Paul duGré is full and warm, with dynamics that well translate the intimacy of the venue and the power of the performance – particularly in Cutler’s searing lead guitar and Wynn’s fiery growl.  The spare, aggressive overall sound owes to the swaggering likes of Television and The Velvet Underground as well as to the rawer, electric side of Neil Young, whose frequent collaborator Elliot Mazer produced the original live album.

The two LPs are housed in a sturdy gatefold containing liner notes by Pat Thomas, who co-produced the reissue with Run Out Groove’s Matt Block.  Now Sounds’ Steve Stanley has designed the bold jacket, and both of the discs are happily stored in black protective sleeves as per Run Out Groove’s typical attention to detail in packaging.

Though never commercially successful, Paisley Underground darlings – the Dream Syndicate were critically acclaimed and held up their version of neo-psychedelic rock n’ roll through the vapid MTV-dominated synth years of the 1980s. Influenced by the Velvet Underground, Neil Young and Television, the Syndicate led by vocalist, guitarist and band leader, Steve Wynn, formed the original version of the band with guitarist Karl Precoda in 1982 after moving back to Los Angeles.

Drummer Dennis Duck, who played in the Pasadena band, Human Hands, joined the Syndicate and suggested the band’s name in reference to Tony Conrad’s early 1960s NY experimental ensemble that included John Cale. The band performed their first live show at Club Lingerie in Hollywood on Feb 23, 1982 and later signed to Slash Records’ subsidiary, Ruby Records, releasing their enigmatic and best known album, “The Days of Wine and Roses.” After a brief hiatus in the latter 1980s, Wynn, Duck and bassist Mark Walton joined with guitarist Paul Cutler who had produced the band’s very first EP. By 1988 the band was on Enigma Records and began a relationship with producer Elliott Mazer, who produced Neil Young’s “Time Fades Away.” Mazer produced “Live at Raji’s”. 

Roger & Brian Eno

Roger and Brian Eno’s creative collaboration ‘Mixing Colours’ continues with seven additional tracks. New music will appear on a special vinyl 12” EP ‘Luminous’ And digitally on ‘Mixing Colours Expanded‘ –  Brian Eno and Chilvers have worked together on videos for the album Mixing Colours that distil the album’s essence, marrying the simplicity and contemplative qualities of its soundscapes with suitably uncomplicated, mesmerising imagery of slowly-changing, dreamlike panoramas. Whether or not these settings are familiar, their impressionistic character lends them an enigmatic anonymity, encouraging the mind to wander into worlds both real and imagined. “The more you listen to this,” says Roger, “particularly with the fabulous worlds that Brian has created, you can really walk into this enormous landscape and stay.” Roger & Brian Eno – “Celeste”

“There’s a huge commonality between what we’re interested in.” Roger Eno, “These pieces are very Impressionistic and very much to do with sonic quality, sonic colour.” Brian Eno

Roger Eno and Brian Eno – together and individually among the foremost innovators in experimental ambient music – will release their first album on Deutsche Grammophon: Mixing Colours.

Brian and Roger Eno have revolutionized many concepts of music production and performance, from pioneering treatments of pop music by Brian Eno to younger brother Roger Eno’s ambient synth/piano recordings reminiscent of Erik Satie.  The result is deep-dive listening and landscapes of sound bearing titles like abstract art: Obsidian, Deep Saffron, or Wintergreen. This debut DG release will reach a wide new audience still unfamiliar with their artistry. The poetic and ambient anthology reveals two celebrated ambient musicians at the height of their artistry.

David Bowie - Ouvrez Le Chien Image

We can’t pronounce it either, but damn if don’t sound good! Bowie’s “OUVREZ LE CHIEN” was recorded live at the Starplex Amphitheater, Dallas, 13th October, 1995, during the US leg of the Outside Tour. It also features two bonus tracks Moonage Daydream and Under Pressure recorded live at the National Exhibition Centre, Birmingham, 13th December, 1995. Previously available on the Hallo Spaceboy CD single, both tracks are making their streaming debut.

This unreleased David Bowie concert recording from 1995 will debut on streaming services July 3rd with the release of “Ouvrez Le Chien (Live Dallas 95)”.

The live LP captures the late icon midway through his tour in support of 1995’s Outside. The gig’s set list leans heavily on that Brian Eno co-produced album, with tracks like “The Voyeur of Utter Destruction (as Beauty),” “I Have Not Been to Oxford Town,” “I’m Deranged,” and “The Hearts Filthy Lesson.”

The mysterious phrase ‘Zane, zane, zane, ouvre le chien’ (‘open the dog’ in French) had originally appeared on Bowie’s 1970 album track ‘All The Madmen’. He used it again in 1993 on the song ‘Buddha Of Suburbia’. Ouvrez Le Chien added the missing ‘z’ from ‘ouvrez’. The grammatically-correct phrase, and its English counterpart, was used in the stage set of the Outside Tour. It does not, however, appear elsewhere on the album.

Finally the round and round ending comes with various vocal parts coming in as counter melodies plus the immortal words, ‘Zane, Zane, Zane, ouvre le chien’, which means ‘Zane, open the dog’ in English. What does that mean? I’ll leave it to your imagination, although it has been analysed many times. This track [‘All The Madmen’] is sensational in every way, a five minute and 40 second symphonette.

The concert also finds Bowie delivering updated takes on classics like “Teenage Wildlife,” “The Man Who Sold the World,” and “Andy Warhol.” The digital album features a front cover image photographed by Bowie’s wife Iman. Ouvrez Le Chien (Live Dallas 95) contains sixteen songs, fourteen of which were recorded at the Starplex Amphitheater 1995, with Nine Inch Nails supporting Bowie. Six of Ouvrez Le Chien’s songs were from Bowie’s 1995 album Outside. There were one apiece from The Man Who Sold The World (the title track), Hunky Dory (‘Andy Warhol’), Ziggy Stardust (‘Moonage Daydream’), Low (‘Breaking Glass’), “Heroes” (‘Joe The Lion’), Lodger (‘Look Back In Anger’), Scary Monsters (And Super Creeps) (‘Teenage Wildlife’), and Black Tie White Noise (‘Nite Flites’).

In addition to the Starplex Amphitheater show, a pair of songs from a Birmingham, England, concert from December 13th, 1995  will also be included on Ouvrez Le Chien (Live Dallas 95). Both tracks previously appeared as B sides on the “Hallo Spaceboy” single, but make their streaming debut with this release.

The Bowie estate most recently explored the singer’s Earthling-era live recordings with the LiveandWell.comset.

The Band :

Personnel

David Bowie: vocals, saxophone
Reeves Gabrels: lead guitar, vocals
Carlos Alomar: rhythm guitar
Gail Ann Dorsey: bass guitar, vocals
Mike Garson: piano, keyboards
Peter Schwartz: keyboards, synthesisers
Zachary Alford: drums
George Simms: vocals

No photo description available.

A Certain Ratio – who celebrate their 40th anniversary this year. A Certain Ratio are back with a new album, ACR Loco. Revitalised by their most successful tour in over two decades, the band returned to the studio to record their first album in 12 years – due for release on Mute Records on 25th September 2020. ACR Loco was recorded by the core line up of Jez Kerr, Martin Moscrop and Donald Johnson with contributions from the ACR live line up – Tony Quigley on sax, Denise Johnson adds vocals and Matt Steele provides keyboards. Additional guests include Sink Ya Teeth’s Maria Uzor and Gemma Cullingford, Gabe Gurnsey (Factory Floor) and Manchester luminaries Mike Joyce and Eric Random.

“This album is a culmination of everything we’ve ever done,” explains Kerr. The album distils the different directions and styles that have run throughout the band’s career – one that began in the late ‘70s with Factory Records first ever 7” release. “Digging into the past for the boxset [ACR:BOX was released in 2019 on Mute] must have rubbed off on us and influenced the current album,” says Moscrop. “I think it helped spark up our imagination. It allowed us to work in some of the past as we move forward into the future.”

Keen on the joys of collaboration and sharing, it makes sense that adding the ACR touch to other artists via a series of reworks led to their latest album taking shape. Recent reworks of tracks for the likes of Barry Adamson, The Charlatans and Maps saw the band return to the studio to unpick those original tracks. “The reworks were crucial,” says Donald Johnson. “They got us back in the studio and forced a union and a bond. They allowed us to start getting a groove again.” Kerr mirrors this. “We love doing the reworks because it’s just us doing our thing,” he says. “The three of us jamming is really the basis of it all. Once you get that groove there’s no stopping us.”

The first sounds from the album were heard earlier this month when ‘Friends Around Us (Part 2)’ debuted after Tim’s Twitter Listening Party. This was followed by a limited edition 7” released in two parts across both sides of the vinyl, in homage to some of the great soul releases of the ‘70s and ‘80s, the 7” was available exclusively through the Love Record Stores Eventto help struggling independent retailers.

The new 10-track album is out on CD, cassette and limited edition coloured vinyl. The vinyl will be available in one of four colours: white, blue, red and turquoise, randomly packed, with each colour of varying rarity.

ACR Loco will be pressed on limited edition coloured vinyl – in one of four colours: white, blue, red and turquoise, randomly packed, with each colour of varying rarity.

The first sounds from the album were heard earlier this month when ‘Friends Around Us (Part 2)’ debuted after Tim’s Twitter Listening Party. This was followed by a limited edition 7” released in two parts across both sides of the vinyl, in homage to some of the great soul releases of the ‘70s and ‘80s, the 7” was available exclusively through the Love Record Stores Event to help struggling independent retailers.

“This album is a culmination of everything we’ve ever done,” explains Kerr. The album distils the different directions and styles that have run throughout the band’s career – one that began in the late ‘70s with Factory Records first ever 7” release. “Digging into the past for the boxset [ACR:BOX was released in 2019 on Mute] must have rubbed off on us and influenced the current album,” says ACR’s Martin Moscrop. “I think it helped spark up our imagination. It allowed us to work in some of the past as we move forward into the future.”

Live From The Forum MMXVIII 4LP

Live Album And Concert Film Captures Definitive, 26-Song Performance Recorded Live Over Three Nights At The Forum In Los Angeles In September 2018

The Eagles spent most of 2018 on the road with an extensive North American tour that found Don Henley, Joe Walsh, and Timothy B. Schmit joined by two new bandmates: Deacon Frey and Vince Gill. Earning rave reviews from fans and critics alike, the quintet was firing on all cylinders when they arrived at the Forum in Los Angeles for three sold-out, hometown shows on September 12th, 14th, and 15th. Highlights from all three shows have now been compiled for a new 26-song live album and concert film LIVE FROM THE FORUM MMXVIII.

LIVE FROM THE FORUM MMXVIII captures definitive live performances of the band’s most iconic hits (“Hotel California,” “Take It Easy,” “Life In The Fast Lane,” “Desperado”) and beloved album tracks (“Ol’ 55,” “Those Shoes”), along with some of the individual members’ biggest solo smashes (Don Henley’s “Boys Of Summer,” Vince Gill’s “Don’t Let Our Love Start Slippin’ Away,” Joe Walsh’s “Rocky Mountain Way”).

The band: Guitar, Vocals: Deacon Frey Drums, Vocals: Don Henley Producer: Don Henley Guitar, Vocals: Joe Walsh Piano: John Corey Backing Vocals: John Corey Supervisor: Richard F.W. Davis Drums, Percussion: Scott F Crago Guitar, Mandolin: Steuart Smith Backing Vocals: Steuart Smith Bass, Vocals: Timothy B. Schmit Guitar, Vocals: Vince Gill Keyboards: Will Hollis Backing Vocals: Will Hollis

Needle Mythology is back with a new release, And with their very first release of brand new music. Bernard Butler & Catherine Anne Davies’ In Memory Of My Feelings LP is out 18th September on heavyweight vinyl in gatefold sleeve, including a bonus 7″ with a cover of Madonna’s Live To Tell.

Ironically, despite being conceived in 2010 then completed in 2014, In Memory of My Feelings only took 15 days to make. The biggest battle facing its creators was finding someone to release it, where music journalist cum label owner Pete Paphides duly obliged in making it the first “new” release on his Needle Mythology imprint, which up until now has solely put out reissues.

In Memory of My Feelings is a very personal record, particularly for Davies, who wrote all of the lyrics. Nevertheless, the meeting of minds between two very talented individuals means the arrangements veer from sparse, such as on opener and lead single “The Breakdown,” or the exquisitely tender “I Know” and despondent penultimate number “The Patron Saint of the Lost Cause,” to the more upbeat and up-tempo, rockier pieces like “Sabotage (Looks So Easy)” and “Judas,” where Butler’s signature guitar sound rises to the fore.

Elsewhere, “The Waiting Game” could be a Manic Street Preachers outtake from the Resistance Is Futile sessions (if you’ve heard Davies’ contributions to that record you’ll understand where I’m coming from), while closer “F.O.H.” could be a distant relative of “P.S. Fuck You” off Davies’ alter ego The Anchoress’ 2016 long player Confessions of a Romance Novelist.

“I’m not especially interested in recreating whatever’s worked on previous projects,” Bernard Butler . “Odd is what I look for – and, by ‘odd’ what I really mean is ‘character’. And as for that Madonna cover? “When I was 16, Live To Tell allowed me to join the dots in song writing between True Blue and The Queen Is Dead.”

Catherine Anne Davies loves the song to (as do we – both the original and their 7″ cover). “I don’t know what Madonna wrote it about,” she told us, “but the resonances in a post-#metoo world are impossible to miss.”

’The Breakdown’ is the first offering to be lifted from the forthcoming collaborative album by Catherine Anne Davies (aka The Anchoress) and Bernard Butler. ‘In Memory Of My Feelings’ will be released via Needle Mythology on 18th September, 2020 and is notable as the first new master recording for Pete Paphides‘ label. The Breakdown explores the personal price to the pursuit of economic wealth and the failures of free market capitalism, framed through the story of one investment banker’s catastrophic breakdown. Butler adds “Musically the song is deliberately dysfunctional with an unorthodox slowed up 10/8 meter.

The piano arpeggio is played forwards then backwards to symbolise the dysfunctional dreamlike beauty of the breakdown” Taken from the forthcoming album ‘In Memory Of My Feelings’, out 18th September on Needle Mythology. Limited edition formats include 2LP +7” w/ signed lyric sheet and gatefold replica CD with signed postcard available for a limited period exclusively via the Official store.

Catherine Anne Davies – vocals Bernard Butler – piano Rex Horan – upright bass

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John Dwyer returns with his Damaged Bug project. ‘Bug On Yonkers’ features covers of Michael Yonkers tunes,

“I first heard Michael Yonkers via the Microminature Love reissue (Sub Pop) and was immediately hooked. I started collecting any piece of his legend that I could…some true, some likely not.
He had hand-built all of his gear. He had broken his back. He was part of experimental surgery that left him in lifelong pain. He was a dancer. He was still kicking around making some of the oddest and most contrary-to-contemporary-popular-norms type of music.

And then I heard Goodby Sunball, recorded and released in 1974, the year I was born. I had and have a very deep connection with this set of songs. I wasn’t sure why, but when I finally met Michael, I understood. He was kind and seemingly a pretty regular guy. But he was also a weirdo. A rare bird, waving the true freak music flag, and it didn’t matter what kind of music he made, I loved it all.

So, this record was recorded as a way to reboot and reconnect with some songs that have heavily inspired me over the years.  It was hard to pick from his vast catalogue, so I just sort of jumped in, with Tom Dolas, Nick Murray, and Brigid Dawson as my band (along with a bevy of others along the way) and these are the tunes that stuck to the wall.

I will forever be grateful to Mr Yonkers for bringing me a little joy with his music and inspiring weirdos everywhere.” – John Dwyer, Feb 2020.

“Sold America” by Damaged Bug. Written and published by Michael Yonkers BMI. From the forthcoming LP “Bug On Yonkers”, out on Record Store Day 2020 from Castle Face Records

Remain In Light (Deluxe Version)

This is not only Talking Heads’ best record, it’s on the shortlist of the most innovative albums ever made. Under the influence of Brian Eno, the group began to weave African music into the dance grooves (years before Paul Simon’s ‘Graceland’ did the same thing in a less transformative manner). Also, Eno and the members implemented the cutting-edge tactic of crafting loops and samples to form the core of tracks. That was unheard of when it came to rock, so it makes the music on this album a second cousin of hip-hop (another influence on the album in terms of Byrne’s delivery). Few bands have ever been so fearlessly creative as to make an extended tribal groove that is as breakneck as it is epic, then perforate it with a snarling guitar solo from Adrian Belew (“The Great Curve”). “Once in a Lifetime” is so weird, it’s hard to believe it’s become a celebrated staple of our musical past. Such is the power of a dive-bombing bass line, intriguing synthesizer sounds and Byrne’s nervy, nerdy charisma. After running themselves ragged on the earlier parts of the album, Talking Heads slow down and stretch out on the last three tracks, proving that they can be just as interesting after the dance party ends. Droning closer “The Overload” adds layer after layer of texture as it stretches into the void as the occasional squawking loop pays homage to another, great meditative final track: “Tomorrow Never Knows.” Is there a way for such dark thoughts to remain in light? Talking Heads found a way.

“And you may ask yourself, well, how did I get here?” The amazing “Once In A Lifetime” only hinted at the burst of creativity on the Talking Heads album “Remain In Light”. The 1980 Sire Records album finds the quartet incorporating African polyrhythms into its music, as well as making innovative use of loops and samples as instrumental tracks. Brian Eno returns as producer (guitarist Adrian Belew and funk keyboard great Bernie Worrell also contribute to the album), helping strike an appealing balance between danceable grooves (“Born Under Punches (The Heat Goes On),” “Crosseyed And Painless”) and more experimental fare (“Houses In Motion,” “The Overload”). The Deluxe Edition of REMAIN IN LIGHT adds four previously unreleased outtakes to the landmark alternative rock album; we’ll give the collection a spin now to wish Heads frontman David Byrne a happy birthday.

Album cover containing a drawing of a mountain range and four mostly red warplanes flying in formation. There is green text on the left hand side and a barcode in the top right corner.

“And you may ask yourself, well, how did I get here?” The amazing “Once In A Lifetime” only hinted at the burst of creativity on Talking Heads’ Remain In Light. The 1980 Sire Records album finds the quartet incorporating African polyrhythms into its music, as well as making innovative use of loops and samples as instrumental tracks. Brian Eno returns as producer (guitarist Adrian Belew and funk keyboard great Bernie Worrell also contribute to the album), helping strike an appealing balance between danceable grooves (“Born Under Punches (The Heat Goes On),” “Crosseyed And Painless”) and more experimental fare (“Houses In Motion,” “The Overload”). While outlets ranging from Rolling Stone to Pitchfork to Slant have called Remain in Light one of the best albums of the 1980s, it has a thrilling sense of discovery that remains of-the-moment.

Talking Heads

  • David Byrne – lead vocals, guitars, bass guitar, keyboards, percussion, vocal arrangements
  • Jerry Harrison – guitars, bass guitar, keyboards, percussion, backing vocals
  • Tina Weymouth – bass guitar, keyboards, percussion, backing vocals
  • Chris Frantz – drums, percussion, keyboards, backing vocals

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From its evocative, unhurried introduction, an ear-catching blend of jangle and fuzz, “Stop Pretending” is an immediate success, a song so crafty and well-crafted that its origins—written and recorded in two days this April, under lockdown conditions—seem all but miraculous. The end result sounds to me like the pandemic’s first true classic, a song at once languid and incisive, both musically and lyrically: We recorded this song, “Stop Pretending”, this week, as we were continuing to stay at home. The song was written using a collaboration exercise that we had given to our fans as an outlet to create and find connection in a time of duress & isolation (we called it the “Stay Home Stems” series) —and it ended up also working for us— this song was written, recorded, mixed and mastered in two days at our house, & this what we have to show for it.

If often write apocalyptic songs as way to enter a new world that juxtaposes despair with hope.. I hope it can bring a little bit of light in a dark season.

This life is dangerous, There’s no need to build those walls
Our love is all we have, Who knows where we’re heading

The song offers no solutions but the notion that we must make the effort to be present with what actually is, and tap into our basic goodness, even when the bad people are being awful. The music feels like a balm to the soul, with Jessica Dobson’s guitar noise and distortion churning below a soothing melody and heartfelt vocals. The instrumental break at 2:39, all growl and gristle, is weirdly lovely. Guitars get the job done. Oh and don’t miss the dog at the very end.

Deep Sea Diver is the Seattle-based duo of Dobson and husband Peter Mansen. Dobson played all the instruments but the drums and the “noise synth”; she engineered and mixed the track as well. Deep Sea Diver has released two albums and two EPs to date. Dobson has played with Beck, Spoon, and the Yeah Yeah Yeahs, among other artists, and was a member of the Shins for a while in the early ’10s.

Support the band via Bandcamp; while there you can also explore the rest of their catalogue.

The Band:
Drums- Peter Mansen
Noise synth- Elliot Jackson
All other instruments & vocals- Jessica Dobson
Additional harmonies – Natalie Schepman

Stop Pretending by Deep Sea Diver, all rights reserved to them released April 1st, 2020

Indie pop darlings Sylvan Esso have revealed they will drop their third album “Free Love” on September. 25th. Sylvan Esso is Amelia Randall Meath and Nick Sanborn. What started out in LA with Jon Hill and was finished back in North Carolina at Sylvan Esso’s home studio, Free Love asks major questions about self-image, self-righteousness, friendship, romance, and environmental calamity with enough warmth, playfulness, and magnetism to make you consider an alternate reality. These are Sylvan Esso’s most nuanced and undeniable songs—bold enough to say how they feel, big enough to make you join in that feeling.

“It’s a record about being increasingly terrified of the world around you and looking inward to remember all the times when loving other people seemed so easy, so that you can find your way back to that place,” the duo explained of the new LP in a press statement. This week, electronic duo Sylvan Esso announced their third studio album Free Love, out September. 25th via Loma Vista Recordings. Lead single “Ferris Wheel” is lush and bouncy—with synths keeping the song at a fun pace.

To give fans a taste of what to come, Sylvan Esso shared the lead single “Ferris Wheel” with the heat-wave appropriate opening lines, “August in the heat/ Sweaty in the street.”

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Releases September 25th, 2020