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Featuring Brent DeBoer of the Dandy Warhols (US) and boasting Aussie indie rock queen and Grammy nominee Courtney Barnett as a former member, Immigrant Union are a local band with international rock royalty heritage. With their unique Australian-American psychedelic/folk/country sound, they have supported Noel Gallagher and Black Rebel Motorcycle Club and toured their own headline shows, creating unforgettable moments at boutique festivals, occasional BBQs and the odd house party across Australia. The band’s yet to be released third album,” Judas”, was recorded in Melbourne and mixed in Portland, Oregon, combining their signature Americana elements with brilliant rad rock.

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“Judas” will be released mid June 2020 on Cheersquad Records & Tapes; digitally, on CD and on vinyl. There will be a very limited coloured gatefold sleeve 9 track vinyl edition for the first 100 pre-orders. Because of the length of the album only 9 tracks will be included on the vinyl. However, you will receive all 11 tracks via your free digital download. The two bonus tracks are English Paradise and Awake.Releases June 19th, 2020

Bob Harrow and Brent DeBoer available on Cheersquad Records & Tapes.

 

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Hello and welcome to Sunday episode #6!
This week’s song, “Only You” by Yazoo, was requested via this bandcamp page, and thank you, Mark W, for suggesting this one. Upstairs At Eric’s was easily one of the most played albums of my late teens, shared with the people I spent every possible waking hour with back then — dancing to it in Dave N’s attic, lying on the sand listening on a Walkman with shared headphones, a boom box on the cliffs at night. The songs on that album hit so many heartstrings: love (of course), hurt (obviously), confusions, kinships, finding a place to land for a while.
Our guest singer this week is Andrea Gillis, who is inarguably one of Boston’s MVP singers, as well as being one of the best loved people here. Marc Pinansky is our fantastic guest guitarist, and on accordion, the always wonderful Elizabeth Steen (with whom we’ve collaborated for many, many moons). These are also three of the funniest people I know.
Also throwing in another bonus vid of me and Dean in our bunker, playing one of ours.
Your donations this week will go to Horizons for Homeless Children…
released May 24th, 2020
The Band:
Tanya: vocals
Russell Chudnofsky: acoustic and 12 string guitars
Joe McMahon: piano, toy piano
Dean Fisher: percussion
Andrea Gillis: vocals
Elizabeth Steen: accordion
Marc Pinansky: electric guitar, slide

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Since announcing her third full-length record “New Truth”, Jenny O. (full name Jennifer Anne Ognibene) has shared a new song every two weeks. Now she has shared the album’s fourth single “Even If I Tried.” New Truth is due out June 19th via Mama Bird Recording Co. On the new song Ognibene delivers an upbeat and sunny melody about breaking free from the toxic people in your life. She rejoices in discovering she is better off without the “dead inside” accomplice: “But good news!/No one has to talk to you/The world keeps turning/And you, you fade away.”

In a press release Ognibene shared her inspiration behind the new track: “Everyone knows somebody who is always a critic and just won’t listen. Often those with the strongest opinions have the most uninspired lives. People exist this way for years, decades, generations. Fortunately, you can ditch them for supportive friends and a life of curiosity and fun.”

Prior to “Even If I Tried,” Ognibene released the track “What About That Day,” a cathartic daydream featuring Ognibene’s gentle timbre and surrounding ethereal harmonies. She also recently shared this note relating to her forthcoming album:

“Hey, Here’s my new album, it’s called “New Truth”. New Truth is coming to terms with my deaf ear. It’s any new accepted reality. It’s the hilarious way I wore my hair for a week before cutting it away from my face. The songs are as personal as ever—continued misadventures of an introvert in Hollywood. I think it’s relatable—heartache and epiphany—I hope people like it?

I’m singing lower sometimes, I always assumed I’d move back into my lower register, I finally have. Hard to get power that way, but I don’t sound like a little kid. I’ll have to practice singing them a lot, and it will be trickier to pull off live. I recorded this album with Kevin Ratterman, who is so fast, so patient, willing to try anything, and so much fun. It was important to me to have a good time while making it, and we did. I played all the guitars on this record. I wanted to channel the freedom of the Home and Work EPs, but recorded way better. I took solos! I played bass, except Rachel Goodrich did the funkier two songs because her time is better than mine. The past couple albums were tracked live to tape with a rhythm section, so someone would quickly learn something great and close to my demo but not exactly. I wanted to play bass this time.

Kevin set up his nice microphone at my place so I could do all my vocals alone while he was making another record. It’s the best way—much faster and more free to experiment by myself. Building harmonies on a whole album with an engineer can get frustrating, communicating between each take.

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All songs written by Jenny O.
Jennifer Ognibene – The Sleepy Anne Publishing Company

Releases June 19th, 2020

2020 Mama Bird Recording Co.

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Three years ago, hundreds of friends and thousands of fans converged on Madison Square Garden for LCD Soundsystem’s farewell performance. All the while, the cameras were rolling, resulting in Shut Up And Play the Hits, a documentary that follows James Murphy and the band in the days leading up to, during and after the tumultuous four-hour farewell. Directors Will Lovelace and Dylan Southern use a staggering number of cameras and crosscut liberally to provide an experience that’s arguably even better than seeing the band live (okay, maybe not quite that good but…). And the scenes outside the concert footage are equally compelling.

On April 2nd 2011, LCD Soundsystem played its final show at Madison Square Garden. LCD Soundsystem frontman James Murphy had made the conscious decision to disband one of the most celebrated and influential bands of its generation at the peak of its popularity, ensuring that the band would go out on top with the biggest and most ambitious concert of its career. The instantly sold out, near four-hour extravaganza did just that, moving the thousands in attendance to tears of joy and grief, with NEW YORK magazine calling the event “a marvel of pure craft” and TIME magazine lamenting “we may never dance again.”  SHUT UP AND PLAY THE HITS is both a narrative film documenting this once in a life time performance and an intimate portrait of James Murphy as he navigates the lead-up to the show, the day after, and the personal and professional ramifications of his decision. Watch the official trailer here

The official trailer for SHUT AND PLAY THE HITS, the music documentary on LCD Soundsystem’s last ever gig at Madison Square Gardens.

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Here’s the central paradox of the Minutemen: what makes them so great and so loveable and their music so powerful is how normal they seem as people. They are pure and perfect representations of the everyday working class American, and they believe that everybody can and should make art out of their everyday life, no matter their race, class or creed. And yet there’s absolutely nothing normal or everyday about Mike Watt, D. Boon and George Hurley, or the art that they made together.

Their value—and they were extremely valuable, one of the absolute greatest rock bands of all time, and perhaps the most admirable one to ever exist—isn’t just in their music but their influence and their inspiration; not because they might’ve convinced some kids to pick up guitars and bash out in their garage, but because the Minutemen were paragons of doing things the right way. They had a conscience. They believed in fairness and equality and weren’t strident or uptight about it. All of this ripples through We Jam Econo: The Story of the Minutemen, Tim Irwin’s 2005 documentary that tracks the band’s history, the deep bond between Watt and Boon, and the ideals that permeated everything they did. Irwin captures why people love this band so much still, decades after Boon’s untimely death, through original interviews and copious footage from the early ’80s. We Jam Econo is just like the band: humble, workmanlike and gloriously transcendent.

Produced by Keith Schieron in association with Rocket Fuel Films Productions

Here we are, arriving at the tenth edition of Brown Acid in just half as many years! As always, we packed in the highest highs of the dankest hard rock, heavy psych, and proto-metal tracks previously lost to the sands of time. Like we’ve done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. It’s hard to believe we’re already up to 10 volumes of this lysergic Neanderthal wail, but the long-lost jams just keep-a-coming like Texas crude to fuel your rock ’n’ roll engine and melt your metal mind.
This Trip kicks off with the Hammer of the Gods howl of “Plastic Thunder” by Bitter Creek. The Atlanta, GA quintet’s lone single from 1970 on Mark IV Records is rated #6 of the Top 50 Heaviest Songs Before Black Sabbath by GuitarWorld Magazine. You can hear why in the ominous riff and larynx-ravaging chorus that merges the deepest of Deep Purple sludge with The Who’s rollicking psychedelia.
Not much is known about The Brood’s 1969 bluesy paean to dirtbag weed consumption “The Roach” on the It’s A Lemon imprint, except that it’s a big, growling rocker with a crazed in-the-round blowout of wailing guitar solos, screeching organ blasts, wildly overlapping vocals and drum rolls for days.
Nova Scotia, Canada sextet Brothers and One’s double-entendre laden single “Hard On Me” certainly pushes the boundaries of what would be acceptable at the time (especially amongst their ever-polite Canadian brethren.) Their lone full length was released in 1970 on short-lived Audat label, the group featuring two sets of brothers (hence the name) recorded the album while all members were between age 13-18-years-old. This glam-influenced single was privately released on the band’s own label nearly 4 years later.
Louisville, KY quartet Conception’s excellent revision of Blue Cheer’s “Babylon” (1969, Perfection Records) adds heavy phaser effect on the guitar and a more driving rhythm to make the song entirely their own. Lead guitar and high harmony vocals by Charlie Day (not to be confused with the Sunny Philadelphian actor) are assertive and commanding as he implores listeners onward to hallucinagenic nirvana.
Not exactly a typically psychedelic band name for the era, but First State Bank’s “Mr. Sun” (1970, Music Mill) pays hearty dividends of boogie bustle. The Central Texas band led by guitarist/vocalist Randy Nunnally released only 3 singles in its career from 1970-1976. For those keeping score at home, their song “Before You Leave” was featured on The Third Trip back in 2016. “Mr. Sun” is the heavy B-Side to “Coming Home To You.”
Clearly inspired by Jimi Hendrix, Tucson quartet Frozen Sun topped the local charts in 1969 with this barnstorming rocker “Electric Soul” (Capt. Zoomer Records.) The song is replete with guitarist/vocalist (with big Hendrix hair) Ron Ryan’s spoken interlude, “Well have you been electrically stoned? You know, living in the danger zone?” We say yes.
Ralph Williams and the Wright Brothers took flight with “Never Again” on Hour Glass Records in 1972, and apparently never landed after this 45 with “Dark Street” on the A-side. The serpentine riff and sexually-charged backing vocal grunts drive this archetypal tale of a young man’s chemical odyssey… or, should we say, trip?.

Sounds Synonymous pretty much epitomized heavy fuzz from Michigan with their 1969 single “Tension” on the Wall Productions label. The Hendrix “Fire” meets Arthur Brown’s “Fire” track lunges and lurches with glee throughout its 3-minutes and change of unbridled crunch. Tabernash’s “Head Collect” (1972) is the suburban Denver quartet’s only release following the name change from The Contents Are and a move from Davenport, IA. This more stately psych-rock chune features Byrds-like harmonies, twangy reverse-looped guitar soloing and Keith Moon-esque drumming that should’ve made it a chart-topper, but we all know there’s no justice in rock’n’roll.
The Tenth Trip closes, appropriately, with the “War Pigs” reminiscent fuzz of New Orleans quartet The Rubber Memory’s 1970 tune “All Together.” The band self-released only 110 copies of their lone album, making it an incredibly sought-after rarity for decades. Alongside a limited edition reissue in 2000, the group reformed for a one-off show before quickly bouncing back into our collective cosmic consciousness.

Hear First State Bank’s “Mr. Sun”

The forthcoming tenth edition Episode #10! — of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Tenth Trip will be available, fittingly, on April 20th, 2020. As the celebrated series reaches landmark double-digits, there are no indications it will slow down in the near future.

We are living in unprecedented times, but this pandemic can’t stop the Brown Acid train! If you’ve kept up to date with all the latest BA releases, you might need a place to put them,

“Having released 10 editions of the Brown Acid series in just half as many years, we’re still only at the tip of the iceberg of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the 60s-70s. With each new edition, we unearth even more incredible bangers that somehow eluded popularity up until now. For every classic rock mainstay like Black Sabbath and Grand Funk Railroad, there’s hundreds of great bands who, for a variety of reasons, were previously lost to the sands of time.

They were different times between 1968-1979. The gatekeepers had a much tighter grip on which bands got airplay, whose records were available in shops and what sounds were considered palatable to nightclub audiences. Many of these bands barely made it out of the garage, self-releasing 45s as demo tracks for record executives or to beg club owners for a gig. Others have had fleeting brushes with fame, while a few recordings here have spent the past half-Century gathering dust in a closet before being discovered by Brown Acid archivists.

Couple those challenges with the rockcritstocracy’s enduring disdain for hard rock, and the exhaustively thorough archives of legendary compilation series like Nuggets, Pebbles and their ilk having virtually ignored this kind of lysergic Neanderthal wail while exhausting the mines of early garage rock and proto-punk. So, while certain types of unsung heroes have gotten their due, before Brown Acid, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten pre-metal wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices.

Of course, the Internet music revolution has made it possible to find extremely rare music with great ease. But even with such vast archives to draw from, few have organized such a nonstop barrage of heavy-hitting greats in the format they were meant to be heard: on vinyl. If you’re holding this box in your own collection, clearly you’re hooked on this mind-melting series dubbed Heavy Rock From The Underground Comedown.

This long, strange Trip began in the Fall of 2015 with the inaugural edition launching raging hellfire from Raw Meat, Zekes, Zebra and more. The Second Trip followed a little over half a year later on 4/20/16, showcasing later repeat offenders Ash and Spiny Normen among other crushing tunes. From that point on, new installments have been released like clockwork on 4/20 and Halloween every year. The tunes range from Sabbath plod to Hendrix squall, MC5 bluster to psychedelic heavy prog and everything in between that one might’ve heard blasting out of a tricked out van in the era.

Lance Barresi, co-owner of L.A.-cum-Chicago retailer Permanent Records and co-creator of Brown Acid has shown incredible persistence in tracking down a stellar collection of rarities that continues to grow and open up new avenues of discovery. Partnered with Daniel Hall of Riding Easy Records, the two have assembled an ever-growing library of songs that’s hard to believe have remained unheard for so long. As we’ve done throughout this series, all of the tracks were painstakingly licensed legitimately and the artists were paid. Because it’s the right thing to do.

While this box set nicely bookends the first 10 volumes, the Brown Acid trip will continue on, hopefully for at least another 10 volumes in order to amass the greatest collection of dank, subterranean, wild-eyed and hairy rock’n’roll in the world. For now, sit back, crack a cold one and dig in to over 100 tracks of mind blowing cosmic crunch.” – RidingEasy

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Songs for Supper is a collective of friends and musicians who have come together to use their music and social platforms to help and support those who are in desperate need around the UK. Fueled by the COVID-19 outbreak, they have formed a compilation album featuring unreleased demos written during quarantine to raise funds for food banks across the UK with all proceeds going to the Trussell Trust, Will Taylor from the band Flyte comments: A song written in quarantine available for your listening pleasure on the Songs for Supper charity album. It’s just a voice memo/demo so it’s raw as hell. You can hear the birds outside the window. It feels appropriate for mental health day as it came from a real low point emotionally a few weeks back. Whoever has been finding it hard to cope during this isolated time, all I can say is you’re not alone. Darkness can be our friend, it can teach us everything. Be kind to yourself, love yourself, forgive yourself

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Great mix of gorgeous songs!
Well done to all for this brilliant project and hope it raises lots of money for the Trussel Trust.

Released May 15th, 2020

Tom Compagnoni’s film The Forgotten Sydney Of AC/DC is launched online – features archive footage and interview clips with band’s early members,

A new documentary exploring AC/DC’s early days in Sydney has been launched online. The project was helmed by Tom Compagnoni and features archive footage along with interviews with early band members Dave Evans, Mark Evans, Noel Taylor, Rob Bailey and Tony Currenti. The Forgotten Sydney of AC/DC sees them sharing their recollections from the mid-70s, including rehearsals, filming their first video at Cronulla’s The Last Picture Show, and the moment Angus Young first appeared in his famous schoolboy uniform at Victoria Park Pool.

A statement on the film reads: “AC/DC was indisputably born and bred in Sydney but there aren’t the statues, plaques and laneways that other cities have to show the origins of one of the biggest rock bands of all time.

“Take a high-voltage trip through Sydney and learn about the forgotten haunts and the story that shaped AC/DC.”
The film also has footage from after Malcolm Young’s funeral in the city, while the guys lament the decline of Sydney’s live music scene.

The story of AC/DC’s formative years in Sydney is told through the recollections of early members Mark Evans (bass player 1975-77), Noel Taylor (drummer 1974) and Rob Bailey (bass player 1975-75). They recall band rehearsals and social events at the Young family home in Burwood, seeing Angus first don his schoolboy outfit at Victoria Park Pool, filming the first video clip in The Last Picture Show in Cronulla and recording their first album at Albert Studios on King St in the heart of Sydney.

Meanwhile in Penshurst, Tony Currenti, an Italian immigrant and owner of Tonino’s Penshurst Pizzeria, tells the story of how he unexpectedly became the drummer on AC/DC’s debut album, High Voltage. After completing work on the album, Tony declined an offer to formally join the band – and then watched as they became one of the biggest groups in the world. Tony still works in the pizza shop, its walls lovingly adorned with AC/DC posters, records and photos from his brief time in the band.

All members reflect on Sydney’s role in shaping AC/DC and more generally on the decline of Sydney as a live music hub.

Earlier this month, Vocalist Brian Johnson sent a message to AC/DC fans during the online Bonfest celebrations.
There’s been much speculation about his return to the fold after he was forced to stop touring with AC/DC back in 2016.

He appeared to confirm his return to the band back in January last year after being spotted outside a Vancouver studio with drummer Phil Rudd in August 2018.

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The Pretty Things have released two tracks in memory of their late singer Phil May. May died at the age of 75 on May 15 at the Queen Elizabeth Hospital, Kings Lynn, Norfolk, after being admitted earlier that week following a fall from his bike. The singer had undergone emergency hip surgery, after which complications set in.

The Pretty Things had been working on new material following their retirement from live touring in December 2018, with the two tracks unveiled today covers of Will Varley’s “To Build A Wall” and Gillian Welch’s “Devil Had A Hold On Me”.

A statement reads: “These recordings are taken from the work that the band had been doing, following lengthy discussions about whether they could actually create meaningful new music in a stripped back, acoustic-driven format.

“It seems that they could, and Phil May and Dick Taylor – together with manager and producer Mark St. John – began work on a new album, in an entirely acoustic format.
“Featuring strong, intuitive arrangements from Taylor, who reminds us of his well-earned place as one of Britain’s finest guitarists, these recordings set the scene for some of the most vulnerable, intimate and achingly moving vocals that we have ever heard from Phil May.

“This is the sound of authenticity, experience and deep pain and longing. The sound of two long, long lives in art and music that have always been at the cutting edge, and that have always worked as they did at the very start, in their teenage years, with absolute honesty. “Both of these new recordings are taken from a stripped back new album due for release later this year.”

The Pretty Things played their last show, The Final Bow, at London’s Indigo at the O2 in December 2018, where they were joined onstage by David Gilmour and Van Morrison.

Snapper Music Ltd