Mark “Moogy” Klingman might have been best known as an early member of Todd Rundgren’s Utopia, or as the co-writer of Bette Midler’s joyful hit “Friends” which took on new poignancy in the era of AIDS. But Moogy also recorded as a solo artist and as part of the band Glitterhouse, played onstage with such luminaries as Lou Reed, and served as Midler’s producer and musical director. In January 2011, the Utopia line-up of Todd Rundgren, Kevin Ellman, John Siegler, Ralph Schuckett, and Klingman reunited onstage at New York’s Highline Ballroom for benefit shows to help defer expenses of Klingman’s cancer treatment. (Guitarist Jesse Gress and later Utopia bassist Kasim Sulton rounded out the band that night.) Sadly, Moogy died later that year on November 15th at the age of 61.
On May 15th, Cleopatra Records’ Purple Pyramid imprint will remember the late keyboardist with Utopia’s release of Benefit for Moogy Klingman. This 4-CD/2-DVD set includes the Highline Ballroom set of January 29th, 2011, a Utopia performance from November 18th (three days after Moogy’s passing) in Peekskill, New York in his honor, and DVDs of both evenings.
The Highland Ballroom reunion show with Moogy showcased early, progressive Utopia favorites (“Freak Parade,”“The Ikon,” “Utopia Theme,” “Another Life,” “The Wheel”), covers from Utopia and Rundgren’s repertoire (The Move/Electric Light Orchestra’s “Do Ya,” Peter Pan‘s “Never Never Land”) and Rundgren classics like “Just One Victory,” “Heavy Metal Kids,” “The Last Ride,” and “Sons of 1984.” There were surprises like “Crying in the Sunshine” from Klingman’s 1972 solo debut “Moogy”, and even an encore, appropriately enough, of “(You Got to Have) Friends.”
The shorter setlist from Utopia’s performance shortly after Moogy’s death at Peekskill, New York’s Performing Arts Center likewise concentrated on the band’s earliest years. Its unique tracks include renditions of “The Seven Rays,” “Freedom Fighters,” and the Bernstein/Sondheim West Side Story classic “Something’s Coming.”
This expansive set also includes a 12-page booklet with photos and liner notes. Digital download/streaming services will have the audio content available, as well. Look for Todd Rundgren’s Utopia’s Benefit for Moogy Klingman on May 15th from Cleopatra/Purple Pyramid at the links below!
Dark and dizzying, hard-edged and sophisticated, “Why Not” is the fast-paced and magnetic brand-new single from Unloved. The track is out right now through the courtesy of the legendary Heavenly Recordings.You can find sundry streaming and download links for it , and it also appears in the Season 3 premiere of Killing Eve out now as well.
We’re delighted that Killing Eve are airing the first episode of Season 3 on Sunday in the US and Monday in the UK – a real treat to entertain us during the lockdown! This is especially exciting as we’re also going to release our brand new single ‘Why Not’ which features in the episode . You can pre-save it already and familiarise yourself with the tracks from season 1 and 2 to get yourself ready for the new season by clicking the link. We can’t wait for you to hear it.
if the shangri las got locked in a studio with Lee Hazzlewood, Nancy Sinatra and Raymond Scott and Ennio Morricone it could possibly sound like unloved
“Do You Wonder About Me?” Is the follow-up to 2017’s Swear I’m Good At This. The new record marks a more intentional, self-assured Diet Cig; not only in Luciano’s radically intimate, acerbic lyrics, but in the duo’s sound as well. Luciano and Bowman moved to Richmond, VA in the summer of 2017 as a place to “hide out and make music,” and it was there that they wrote Do You Wonder About Me?,Diet Cig’s ode to growing up.
“We spent a lot of time after the first record growing as people, being humans outside of tour for a little bit, and trying to shed the imposter syndrome.” Luciano says. Spending the time to make the kind of music they really wanted to make and making sure they felt good about it was crucial to the success of tracks like Night Terrors. It’s a slower-paced song than Diet Cig’s usual, but just as biting; a song about reckoning with all the past versions of yourself. As Luciano puts it, “Am I still these people, or have I shapeshifted?” It’s essentially the thesis of Do You Wonder About Me?, considering and accepting the embarrassing aspects of your identity, and how they’re just as much a part of you as the good stuff.
New York City’sDiet Cig have a new album entitled Do You Wonder About Me? on the way, and you can hear its thundering, lucent “Who Are You?” as of today. The LP is out through French kiss Records on May 1st. You can pre-order glow-in-the-dark-green-vinyl, CD, cobalt-blue-cassette and digital editions of it either from the band’s webstore or from their Bandcamp page now.
Band Members
Alex Luciano-vox/guitar
Noah Bowman-drums
From the album, ‘Do You Wonder About Me?’ out May 1, 2020 on Frenchkiss Records.
This is a Record Store Day 2020 item. It will be available to purchase from 8am 20th June.
From Kevin…Paris was the first city to really get behind my career as a solo artist. From the first time I played there in 2014 til now, it’s always had an extra spark of magic to it. It’s always the stop I look forward to the most on my European tours as the audience comes with a very unique and kinetic energy, and because of this, so does the band. I had wanted to document this reciprocating fever between us and the crowd for some time now and saw our sold out show at the beautiful Cabaret Sauvage as the perfect time to do so. I also knew I needed to document a night with my new band, the Oh My God Band, which is made up of some of the most talented and tasteful musicians on the planet. And so here and now, in this recording, I have captured the best band I’ve ever played with as well as one of the best crowds I’ve ever played for – all together on a very sweaty night beneath a carnival tent in Paris. xo km
With his four acclaimed solo albums and myriad records of various collaboration, Kevin Morby has become a true musical auteur. Each record possesses its own unique persona and explores intriguing themes and fertile terrain through shifting, focused textures and dexterous, dedicated skill. And now, with the lavish, resplendent, career-best double LP Oh My God , Morby delivers a grandiose director’s cut of his biggest statement to date, epic in scope as well as sound
Jenn Grant is a multi-award-winning Canadian artist. Consequence of Sound called out Grant’s “majestic vocals” on her latest release “Love, Inevitable.” Stereogum noted she created “something that’s both a bit familiar and a little otherworldly. “Music is the connector that binds us all”, says Grant. “To be able to create music, and share the power it can hold is one of life’s greatest gifts.” This is the very essence behind the voice and songs of Jenn Grant.
A heralded singer and songwriter from Prince Edward Island, in Canada’s Maritimes, Grant has four albums and one EP under her belt; she is about to embark on a brand new journey with her best collection of songs to date.“The time is here and now, I’m over the moon.”
Now living in Lake Echo, Nova Scotia with her husband and producer Daniel Ledwell, the wilderness of the forest and eastern seas helped them to settle into creating a new body of work based on time, courage, healing, wonder, and of course love. Jenn has has numerous Juno Award nominations and is widely regarded as one of the finest songwriters to come out of Canada.
Brave is a sword song. Writing it made me feel armed to face my lesser self. Because becoming a better version of myself requires taking account of the painful missteps along the way and fighting the anguish of facing them. And to ultimately (and hopefully) come out better than who I was before. Taller and stronger. This is the highest achievement a human being can hope for, everything else is secondary.
In conjunction with the song, Kelly will release a new “Brave” t-shirt today with a design featuring his handwritten lyrics. All proceeds from t-shirt sales will be donated to MusiCares.
The new song adds to a breakthrough series of years for Kelly, whose most recent project, Dirt Emo Vol. 1, was released this past fall via Rounder Records (stream/purchase here). Co-produced by Kelly and Jarrad K, the eight-song release consists of Kelly’s favorite songs including a rendition of Dashboard Confessional’s “Screaming Infidelities” featuring the band’s lead singer Chris Carrabba, a live cover of Wheatus’ “Teenage Dirtbag” and new versions of The Carter Family’s “Weeping Willow” and Taylor Swift’s “All Too Well.” Kelly’s version of “All Too Well” was released to widespread critical praise and garnered attention from Swift herself. Billboard declared, “Kelly puts his own haunting spin on the track with yearning vocals, delicate percussion and soaring instrumentation,” while UPROXX praised, “his rendition is a beautiful tribute to the raw emotionality of the original. He makes the song his own with atmospheric instrumentals, replacing Swift’s driving percussion with drums that sound more soft and searching.”
The EP follows the release of Kelly’s critically acclaimed, full-length debut album, Dying Star, in the fall of 2018 . Co-produced by Kelly and Jarrad K, Dying Star landed on several “Best of 2018” lists including Rolling Stone, Paste, UPROXX, American Songwriter and NPR Music, which declared, “Kelly digs down deep on Dying Star to fearlessly put forth a set of songs steeped in emotional twists, turns and complications…This here is powerful stuff.”
The Muffs’ debut hit the scene in 1993, and was an instant smash. Any fear that they could follow it up successfully was answered when Blonder And Blonder arrived two years later. The Muffs burst onto the California music scene at the beginning of the ’90s, and after a few independent singles and EPs, they were quickly snapped up by Warner Bros Records. Entering the studio with David Katznelson and Rob Cavallo (who would go on the helm records from Green Day, Goo Goo Dolls, and more), The Muffs roared from speakers across the country in 1993. According to renowned critic Jim DeRogatis, “You’d have to reach all the way back to Blondie’s Plastic Letters to find punkish power pop this endearing.
If you’re curious why so many sing the praises of the late, great Kim Shattuck, “Blonder And Blonder” is the perfect place to start. The Muffs’ second album sees the screamer-guitarist joined by bassist Ronnie Barnett and drummer Roy McDonald, and the trio bash out these 14 Shattuck originals with spirit and skill. Green Day producer Rob Cavallo knows more than a little about punk-pop, and together with the Los Angeles band helms this collection, whose catchy hooks, droll lyrics and instrumental fury shine on such highlights as “Agony,” “Oh Nina” and single “Sad Tomorrow.” The Reprise set turns 25 this weekend, and any alternative rock fan will have more fun with “Blonder And Blonder”.
The band propelled by Shattuck’s material to even greater heights, and Blonder became the band’s biggest selling album. Omnivore Recordings is proud to present this ’90s milestone on CD with 7 bonus tracks (2 U.K. B-sides, and 5 previously unissued Shattuck demos) and on LP for the first time in over two decades.
Like 2015’s reissue ofThe Muffs, debut album the full-color packaging includes photos, drawings, memorabilia, and essays from Barnett and McDonald, as well as, track-by-track commentary from Shattuck. 21 years later, Blonder And Blonder still sounds as vital and visceral as it did upon its original release. Face it, you to have this record in your collection.
Reuniting and issuing their first new release in a decade last year, garnering critical lauds and playing to enthusiastic crowds, it’s time to go back to where it all started. It’s time for The Muffs!
Blind Faith, live set from Hyde Park, London 1969 was THE year of the festival – a stellar year by which all others have been judged. Across North America and the UK there seemed to be a festival happening somewhere, almost every weekend of the summer. The Blind Faith concert was the first of four concerts scheduled for 1969. Opening the show was the Third Ear Band along with Richie Havens, Donovan and the Edgar Broughton Band (no UK festival seemed to be complete without them). The stage they all played on was somewhat makeshift in appearance and was only about a meter or so high.
Blind Faith’s debut was the most hotly anticipated gig of its time, and took place in front of 100,000 people on a sweltering Saturday afternoon. Although they were nervous and under-prepared, they turned in a frequently superb set spanning originals and covers. London Calling presents the incredible performance at Hyde Park, London on June 7th 1969, broadcast by BBC2. It is presented in its entirety here, together with background notes and rare images.
It was on Saturday 7th June that Blind Faith headlined the free concert that was organized by Blackhill Enterprises. Peter Jenner and Andrew King who were stalwarts of the London underground scene, having helped start the UFO club in Tottenham Court Road, ran Blackhill. Jenner had been a lecturer at the London school of Economics, and Blackhill ran their five-person business out of a converted shop just off Ladbroke Grove. Blackhill were principally agents, and it was their acts that gained most from the Hyde Park concerts, which gave them a higher profile than they would have expected from gigging around Britain laying low-key gigs. During 1968, when Blackhill first approached the UK’s Ministry of Public Building and Works about the possibility of staging concerts in Hyde Park they were met with a resounding ‘no’. However, their persistence paid off, and on 29th June 1968 Pink Floyd headlined, supported by Tyrannosaurus Rex, Jethro Tull and Roy Harper. Among the crowd were Mick Jagger and his girlfriend Marianne Faithfull. Having watched Blind Faith perform, soaked in the vibe and seen how many people there were watching, Mick decided that a free concert in Hyde Park to promote The Rolling Stones’ new single and get them back in the public eye would be just the thing for the band that had been through something of a low period. As a nod to Mick, who stood watching from the side stage, Blind Faith played ‘Under My Thumb’.
Blind Faith took to the stage about 5pm and began their set with ‘Well All Right’ before going on to perform most of their debut album. It was a more bluesy set, closer to the kind of thingsTraffic had been playing than toCream. According to Ginger Baker, “Eric had been doing amazing stuff, but at Hyde Park I kept on wondering when he was going to start playing. ” According to Clapton, “I came off stage shaking like a leaf because I felt that, once again, I’d let people down.”
Blind Faith’s first show, a free one in Hyde Park! , Steve Winwood, Eric Clapton, Ginger Baker and Ric Grech.
Tracklisting: SIDE ONE:
1. Intro 1:25,2. Well Alright 6:27, 3. Sea Of Joy 6:13, 4. Under My Thumb 6:06, 5. Can’t Find My Way Home 6:13 SIDE TWO:
1. I’d Rather See You Sleeping In The Ground 4:41, 2. Do What You Like 5:30, 3. Presence Of The Lord 6:28, 4. Means To An End 4:21, 5. Had To Cry Today 6:56, 6. Outro 0:43
Marillion released its studio album debut, “Script for a Jester’s Tear”, in March 1983. The record was certified platinum in the band’s native U.K. where it reached number seven on the Albums Chart and spawned two Top 40 singles: “He Knows You Know” (#35) and “Garden Party” (#16).
Rhino Records will shine a spotlight on this neo-progressive favourite with a 4LP/CD/Blu-ray set of “Script for a Jester’s Tear” Deluxe Edition.
Originally produced by Nick Tauber, “Script for a Jester’s Tear” is the only Marillion album to feature Fish (vocals), Steve Rothery (guitar), Pete Trewavas (bass), Mark Kelly (keyboards) and Mick Pointer (drums).
The new five-piece line-up of Marillion wasted no time in getting down to business, and kicked off an intense 10-week rehearsal at Leyland Farm Studios in Buckinghamshire before playing their debut gig, at Bicester’s Red Lion Pub on March 14th, 1981, in front of an audience of 65. In July, with four months of serious gigging under their belt, they entered Roxon Studios in Oxfordshire, with local musician Les Payne producing, where they recorded a new demo featuring the more recognisably titled “He Knows YouKnow, Garden Party” and “Charting The Single”, which they’d sell at gigs for the princely sum of £1.25.
With such an imposing frontman as Fish, Marillion were slowly carving out a reputation as a band you needed to take notice of. At almost six-feet-five he struck a dominant figure, whose choice of face paint, initially to mask his own on-stage insecurities, helped make Marillion stand out yet further, and the band opted for stage effects and early costumes to strengthen their identity.
The band finally got the nod from the BBC to record a session for The Friday Rock Show, which at the time was about the only outlet for rock music on national radio and television. It was recorded with producer Tony Wilson at the BBC’s Maida Vale Studios on January 29th, 1982.”
“The Friday Rock Show session was a real boost for us,” states Kelly. “I think that came about because we had opened for a band called Spider. Spider’s manager was a woman called Maggi Farran, and she was married to Tony Wilson, who was there at that gig and invited us to come and do some songs. That must have tripled or quadrupled our audience. They recorded two sets of demos for EMI in July and September, the latter seeing them hooked up with, ironically, former Genesis producer David Hitchcock. It was also Hitchcock with whom they would record their debut single, “Market Square Heroes”, at Park Gate Studios in Battle, East Sussex that September. Which is somewhat ironic, seeing as it had been decided that the B-side of the 12-inch version would be the 17-minute epic “Grendel” – a song many had quickly pointed out bore a striking resemblance to Genesis’ 1972 epic Supper’s Ready,
Marillion’s first single was released on October 25th, 1982. It captured both sides of the band’s character, with the catchy, up-tempo “Market Square Heroes” and “Three Boats Down From The Candy” showing a more immediate side to the band, the lengthy take of “Grendel” a startlingly mature take on classic prog. It was housed in stunning artwork from a young artist called Mark Wilkinson, whose jester character went a long way to establishing a visual identity for Marillion, which would last for Fish’s entire tenure with the band.
Recorded between December 1982 and February 1983, debut album “Script For A Jester’s Tear” was released on March 14th. Two weeks later it was nestled at number seven in the UK album chart, a phenomenal result for a progressive rock band in the early 80s. In the space of three years, Marillion had gone from a local pub band to – which they would do at the end of the Script UK tour – headlining two nights at Hammersmith Odeon.
The Deluxe Edition opens with a newly remixed stereo version of Script for a Jester’s Tear by Andy Bradfield and Avril Mackintosh. In addition, the collection also features new stereo remixes for the b-side “Charting The Single” that was released in January 1982, as well as the “Market Square Heroes” EP that followed in October that same year.
It also include the debut of a previously unreleased concert that captures Marillion performing in London at the Marquee Club on December 29th, 1982. Recorded a few months before “Script for a Jester’s Tear” was released, the show features live versions of all six album tracks: “He Knows You Know,” “The Web,” “Garden Party,” “Chelsea Monday,” “Forgotten Sons” and the title track.
The concert also features performances of non-album tracks like “Three Boats Down From The Candy” and the 19-minute epic “Grendel” from the “Market Square Heroes” EP. A live version of “Margaret” is also included. A different version of that song appeared in June 1983 as the b-side for the “Garden Party” single.
The Blu-ray features 96k/24-bit versions of the new stereo remixes for “Script for a Jester’s Tear” and the “Market Square Heroes” EP, as well as the Live at the Marquee Club concert. The disc also includes a 5.1 Surround Remix of Script for a Jester’s Tear. Rounding out the collection is a new documentary with band interviews that covers the 1979 formation of Marillion in Aylesbury through the release of “Script for a Jester’s Tear” in 1983.
Marillion’s line-up remained solid for a further five years. They released three more studio albums, hitting the top spot with “Misplaced Childhood” in 1985 (they also reached number two in the UK Top 40 with Kayleigh) and following it with the number two album “Clutching At Straws” in 1987.
Legendary drummer, Mick Fleetwood enlisted an all-star cast for a one-of-a-kind concert honouring the early years of Fleetwood Mac and its founder, Peter Green which was held on 25th February 2020 at the London, Palladium.
The bill included Billy Gibbons, David Gilmour, Jonny Lang, Andy Fairweather Low, John Mayall, Christine McVie, Zak Starkey, Steven Tyler, Bill Wyman, Noel Gallagher, Pete Townshend, Neil Finn, Kirk Hammett and many more. Legendary producer Glyn Johns joined as the executive sound producer and the house band featured Fleetwood himself along with Andy Fairweather Low, Dave Bronze and Ricky Peterson.
Fleetwood, who curated the list of artists performing, said: “The concert is a celebration of those early blues days where we all began, and it’s important to recognize the profound impact Peter and the early Fleetwood Mac had on the world of music.
Peter was my greatest mentor and it gives me such joy to pay tribute to his incredible talent. I am honoured to be sharing the stage with some of the many artists Peter has inspired over the years and who share my great respect for this remarkable musician. ‘Then Play On’…”
