HAYLEY WILLIAMS – ” Roses/Lotus/Violet/Iris ” (feat. boygenius)

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Soon, Paramore leader Hayley Williams will let her first-ever solo album Petals For Armor. She has already shared a whopping five tracks from the LP. Today, she shares a sixth, and it’s easily the most anticipated song on the album.Baker, Bridgers, and Dacus all sing on “Roses/Lotus/Violet/Iris,” the new single that Williams has shared today. It’s the first time we’ve heard all three members of boygenius together since they finished touring behind their truly great 2018 EP. But this isn’t a boygenius song with Williams on it; it’s the opposite. “Roses/Lotus/Violet/Iris” is a skittering, personal pop song, and it sounds a whole lot like the other solo songs that Williams has released. Like most of those songs, it’s really good, too. It carries serious 1996 modern-rock-radio vibes. And those harmonies really are something.

Williams co-wrote “Roses/Lotus/Violet/Iris” with her Paramore bandmate Taylor York, who produced Petals For Armor, and with pop songwriter and producer Daniel James. It has some seriously busy strings, and the bridge goes hard.

Hayley Williams has shared a new solo single with boygenius, “Roses/Lotus/Violet/Iris,” taken from her forthcoming album Petals for Armor, out on May 8th via Atlantic Records. “Roses/Lotus/Violet/Iris” is a floral-themed, sultry tune with background vocals from boygenius—the beloved indie supergroup of Phoebe Bridgers, Lucy Dacus and Julien Baker. The string arrangements and subtle guitar lines give it a distinctly yearning quality and an underlying sadness.

RUSTIN MAN – ” Clockdust “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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“Clockdust”, will be the third album from Rustin Man, the moniker of former Talk Talk bassist Paul Webb, comes along as a bit of a surprise. It took six years following the last full-length by his previous band .O.rang in 1996 for him to settle into a solo career, with the release of 2002’s Out of Season, a haunted folk album recorded with Portishead vocalist Beth Gibbons. And it wasn’t until 17 years later when its follow-up, Webb’s first proper solo release Drift Code, finally hit the streets. Buoyed by the same swell of inspiration that helped create Drift Code, this new collection arrives less than a year later. But it also appears coloured by the death of Mark Hollis, Webb’s bandmate in legendary post-rock group Talk Talk, last February.

There doesn’t seem to be a direct correlation between that momentous passing and the music and lyrics found on Clockdust—at least none that Webb has owned up to in the press material for this album. But what hovers over this lovely, late-night listen is the unavoidable passing of time: a nostalgic filter through which each groggy gem should be viewed. I’m also happy to be sharing a new single ‘Jackie’s Room’, with an accompanying video directed by Edwin Burdis. This can be viewed on YouTube, or in the ‘short film’ page on my website.

And this announcement does not end there, because I can also confirm there will be live Rustin Man shows in November, including a night at London’s Union Chapel. You can go to the ‘news’ and ‘live shows’ section at http://www.rustinman.com to find out more information about the new record and live dates.

Rustin Man – “Jackie’s Room”, taken from ‘Clockdust‘, out now on Domino Record Co.

RORY GALLAGHER – ” Cleveland Calling ” Record Store Day 2020

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Rory gallagher cleveland calling

This is a Record Store Day 2020 item. It will be available to purchase 20th June. Recovered from the depths of the Rory Gallagher archive comes “Cleveland Calling” a previously unreleased acoustic radio session by Rory Gallagher, recorded at WNCR in Cleveland on August 7th 1972. This intimate 45 minute, 8 song acoustic session and interview with DJ Carolyn Thomas and was found on a small 7” reel and is released for the first time specially for Record Store Day 2020.

Johnny Marr “The man who changed my musical life was Rory Gallagher, I picked up a guitar because of him.“Slash “Rory didn’t sound like anybody else…He had a very individual, independent kind of tone and approach and everything.He’s always been a big hero to me.” Brian May “He was just a magician, he’s one of the very few people of that time who could make his guitar do anything it seemed.It just seemed to be magic.I remember looking at that battered Stratocaster and thinking “how does that come out of there?” Ritchie Blackmore “Rory was probably the most natural player I’ve ever seen.In all the gigs we did together I don’t think I ever heard him play the same thing twice…He was the ultimate performer.” Ed Sheeran “‘A Million Miles Away’ was the first song I learned on guitar. The story goes that when Jimi Hendrix was asked how it felt to be the greatest guitarist in the world, he answered, “I don’t know.Go ask Rory Gallagher.” Eric Clapton “The man who got me back into the blues.” Jimmy Page “I really liked Rory, he was fine guitarist and singer and lovely man” Peter Frampton “When I was with Humble Pie and we were all just beginning to feel like we were getting it together, Rory was the one to measure yourself against. To be able to play like that with such intensity was awesome and really the only other guitarist that had that ability was Hendrix. I could never get a sound like that from my Strat no matter how hard I tried.He was a real credit to music and pushed it to another level altogether.”  Alex Lifeson “It is truly remarkable how many guitarists over the years have cited Rory Gallagher as an influence. I was introduced to his playing during the Taste years but it was during one of Rush’s early tours opening for Rory in the fall of 1974 that left the greatest impression. He oozed passion in his playing and I envied his ability to transcend the moment. I learned a lot from him as a guitarist but it was his character that touched me most.” Ace Frehley (Kiss) “Rory Gallagher he was a great player. I’ve seen him perform several times he just used to use a little Fender amp and that beat-up old Strat, but boy, he could make that guitar talk.

He was another guitar player who never got the credit he deserved, it’s incredible.” Joe Bonamassa “As soon as I heard Cradle Rock, I was hooked. I thought, ‘This is what I want to be when I grow up.'” Bill Wyman “There’s very few true blues people. Rory stood out because he did it all the way through his life, that’s what he did. Who else is there? I can’t think of anyone that stands out as a real true honest follower of the blues and singer of the blues as Rory was.” Larry Coryell “I see a strong similarity between the approach to improvising over the blues between Rory and Jimi Hendrix. They were both virtuosos who were able to manipulate even the minutest aspect of the blues and do things that had never been played before.” Bob Geldof “It’s not too much to say that what like Hendrix did for the electric blues, Rory did in an Irish context. You know Hendrix was the great originator, he sought of did field hollers for the pace age you know. But Rory absolutely injected some Irish thing into it.”

SIDE A
1. Pistol Slapper Blues
2. Don’t Know Where I’m Going
3. Gypsy Woman
4. Out Of My Mind

SIDE B
5. The Cuckoo
6. Bankers Blues
7. Should’ve Learned My Lesson
8. Blow Wind Blow

recordstore day

ALLISON MOORER – ” Blood “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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First solo album in four years from the Academy, Grammy, Americana and Academy of Country Music award nominated artist. “Blood” is not only Moorer’s most personal and revealing work to date, but also her finest and most important. Blood stands on its own as a complete work, but the album serves as a companion piece to her anticipated autobiography, Blood: A Memoir, being released on October 29th through Da Capo Press, an imprint of Hachette Books.

Blood: A Memoir is a detailed account of Moorer and her sister’s (Grammy Award winner Shelby Lynne) childhood growing up in a troubled home in Southern Alabama, which ended with the well-documented murder-suicide of her parents in 1986. Much of what the public has known about the tragic event begins and ends there. For years Moorer had avoided going into the traumatic details of the abuse, alcoholism, intimidation, poverty and neglect, that existed prior to the deaths, and for good reasons which she addresses in the memoir. Moorer also addresses the fact that there was so much more to her family than tragedy, darkness and what people thought they knew. There was love, there was a protective mother, there was the bond of sisterhood and there was music. There was always music.

Moorer first gained recognition in the pop music world with her 1998 debut single “A Soft Place To Fall,” a song she wrote with Gwil Owen and which actor-director Robert Redford heard, instantly loved and incorporated into his film “The Horse Whisperer,” earning her an early-career Oscar nomination for best original song.

DREAM SYNDICATE – ” The Universe Inside “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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When one thinks of the Dream Syndicate, it’s not just the wild abandon with which singer/guitarist Steve Wynn, drummer Dennis Duck, bassist Mark Walton, and lead guitarist Jason Victor perform – it’s the carefully constructed songwriting of Wynn that comes to mind.

By now every rock critic in the country has predetermined who he or she feels Wynn reminds them of and what they think of that style of songs. This time, don’t! Which brings us to The Universe Inside. Every article or review ever written will claim “this is new and different”- well, it is! Just look at the song lengths: 20:27, 7:36, 8:56, 9:55 and 10:53. Ok, sure – the Syndicate have occasionally committed a long song to vinyl, “John Coltrane Stereo Blues” was 9 minutes with live versions over the ten-minute mark.

For the first time, every song is a group songwriting effort. What seeps in are Dennis Duck’s knowledge of European avant-garde music, Jason Victor’s passion for 70s prog, Mark Walton’s experience in Southern-fried music collectives and Wynn’s love of vintage electric jazz.

Special guests: Stephen McCarthy (electric sitar, guitar, six-string bass, pedal steel, backing vocals)

FREDDIE KING – ” Blues Journey “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Over 3 hours of prime Freddie King in concert from the ’70s. “I was interested in the white rock ‘n’ rollers until I heard Freddie King – and then I was over the moon. I knew that was where I belonged – finally. That was serious, proper guitar playing and I haven’t changed my mind ever since. I still listen to him and I get the same boost now that I did then.” Eric Clapton.

In a 1985 interview, Eric Clapton cited Freddy King’s 1961 B side “I Love the Woman” as “the first time I heard that electric lead-guitar style, with the bent notes… [it] started me on my path.” Clapton shared his love of King with fellow British guitar heroes Peter Green, Jeff Beck and Mick Taylor, all of whom were profoundly influenced by King’s sharpened-treble tone and curt melodic hooks on iconic singles such as “The Stumble,” “I’m Tore Down” and “Someday, After Awhile.”

Nicknamed “The Texas Cannonball” for his imposing build and incendiary live shows, King had a unique guitar attack. “Steel on steel is an unforgettable sound,” says Derek Trucks, referring to King’s use of metal banjo picks. “But it’s gotta be in the right hands. The way he used it – man, you were going to hear that guitar.” Trucks can still hear King’s huge impact on Clapton. “When I played with Eric,” Trucks said recently, “there were times when he would take solos and I would get that Freddy vibe.” King’s blues style was fluid, but with biting power that was arguably more forceful than that of many other bluesmen of his day. King used thumb and finger picks and would just dig into his Gibson 355 — hung precariously over just his right shoulder — creating what are now classic, deeply influential and riveting solos.

Blues Journey Vol. 1 (Live) Released on: 2020-03-20

RAMONES – ” Brain Drain ” Released March 23rd 1989

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Brain Drain is the eleventh studio album by the Ramones, released on March 23rd, 1989.
It is the last release to feature bassist/lyricist/vocalist Dee Dee Ramone, the first release to feature Marky Ramone since his firing after Subterranean Jungle, and the last studio album on Sire Records.

Though their glory days appeared to have concluded along with the ’70s, punk rock’s founding heroes the Ramones continued to churn out album after album with almost religious dependability throughout the ’80s. It culminated in their 11th LP, Brain Drain.

Brain Drain’s recording was not a happy time for the group, which by this time had become almost irreparably damaged by the wear and grindof touring, assorted personal demons and substance abuse, not to mention the sheer frustration of a life lived in the rock and roll trenches with little hope of improvement.

And yet, hope still sprung eternal in the Ramones’ almost child-like state of suspended animation — as evidenced by Brain Drain’s impossibly optimistic opener, “I Believe in Miracles,” its conciliatory closer “Merry Christmas (I Don’t Want to Fight Tonight)” and the notable return of beloved drummer Marky Ramone, after a five-year absence.

Sandwiched in between were a dozen stabs of typically unpretentious punk rock in the lauded Ramones tradition like “Zero Zero UFO,” “All Screwed Up” and the almost hardcore-intense “Ignorance is Bliss” — but to say they were any more distinctive than recent efforts would be a stretch (plus, there was a new, suspiciously metallic tone to Johnny’s guitar to match a foreign hardcore bite about some of Joey’s vocals).

To be fair, some tunes were indeed a cut above the rest, including the prickly “Don’t Bust My Chops,” the anthemic “Punishment Fits the Crime” and Joey’s innocently obsessed “Can’t Get You Out of My Mind.” But Brain Drain’s singular standout was the unusually melodic “Pet Sematary.”

A song inspired by, and composed-to-order, at the bequest of bestselling horror author Stephen King (a self-professed Ramones mega-fan) for the soundtrack to his movie by the same title, “Pet Sematary” greatly benefited from this mainstream association and went on to become one of the band’s most successful radio and video hits, but it still couldn’t push Brain Drain’s sales to unusual heights.

And of course the punk rock gods giveth and taketh away: Now that Marky was back in the “happy” family, it was bassist (and chief songwriter) Dee Dee’s turn to take his leave, in order to embark on an ill-fated, much-derided (and thankfully short-lived) rap career under the name of Dee Dee King.

Luckily, Dee Dee would carry on contributing songs (usually the best ones!) to “da brudders'” next few studio albums (while letting his mini-me replacement, C.J., tour in his place), but things would never really be the same for the Ramones and, by 1996, they were history – albeit rock and roll history.

The ASTRALS – ” Disappearing “

Posted: March 23, 2020 in MUSIC
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Five-minutes-plus of dream-pop delight comes on The Astrals’ ‘Disappearing’.

The project of Sydney artist Claire Simpson, she fuses a delicious blend of dream-pop and rock-gaze via fuzzy layers of captivating vocals and droning guitars.

“‘Disappearing’ is a song about attention,” she shares. “Attention can function as an umbilical cord to the universe, in that the more attention you pay; the more you get coaxed out of yourself and into the moment you’re occupying. It’s a means of feeling felt, like a form of analgesic for disappearing from time after you’ve lived it.”

Band Members
Clarie (guitar/vocals), Jasper (guitar), Tom (bass), Leon (drums), Monique (synth),

“Disappearing” written by Claire Simpson Released on: 2020-03-19

GIRLATONES – ” Horn If You’re Honky “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Girlatones play their own brand of garage-pop injected with unique lyrical humour and sincerity, drawing you into their upbeat and inclusive world. Swoonsome Melbourne four-piece Girlatones are set to release their new album “Horn if You’re Honky”, out March 20th.

Following the unabashed garage pop of first album Fitting in Well (2017), Jesse Williams and crew have refined their DiY production chops and crafted an album that is rich in sonic layers and emotional depth, whilst remaining loose at the edges like all the best pop music.

First single, the piano-led ballad ‘Get to the End’, displayed a more melancholic, introspective side to Girlatones but the band struck back for second single, ‘We Respond to Love’ a one-minute-fifty-second slice of pop bliss that was described by blog Austin Town Hall as “shimmering like some of the best power-pop you’re likely to hear this day, or ever”.

Impending third single ‘Bingo Level Humour’ takes an altogether different path – one perhaps led by Paul McCartney and a parade of marching drummers, spouting quirky one-liners.

Elsewhere on the album, we hear some baroque strings on Jesse’s ode to solitary creativity ‘To Sing’, while instrumentation gets stripped back to a 12-string acoustic on the tender ‘2 Young 2 Forget’. But the big bubblegum feels are never far away, as heard on songs like ‘One Chord Too Many’, ‘Pop Stars’ and ‘The Saddest Synth’.

Regular gig-goers in Melbourne will have been hard-pressed to miss a Girlatones show in the past few years, the band playing regularly at pubs, clubs and small festivals, with band members also doing the rounds in other outfits like Traffik Island, Way Dynamic and Baby Blue. Not to mention one quarter of the band is Leah Senior whose beguiling folk tunes have been winning hearts all over Australia and overseas.

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Jesse Williams – Vocals, Guitar,
Leah Senior – Vocals, Guitar,
Tam Matlakowski – Bass,
Fabian Hunter Shaw – Drums

“Horn if You’re Honky” by Girlatones is out March 20th on Lost And Lonesome in Australia and Meritorio Records of Spain.

THICK – ” 5 Years Behind “

Posted: March 23, 2020 in CLASSIC ALBUMS, MUSIC
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Album of the Week: THICK – ‘5 Years Behind’

When I call Brooklyn’s punk trio Thick, I have no clue that their YouTube video for their new single, “Mansplain”, is going viral, in part, It’s not necessarily unexpected for people to get offended by Thick; men, especially in punk, tend to take it personally when powerful, unapologetic women have a platform. This is nothing new for Thick. The band’s 2019 self-titled EP was full of fast-paced tracks with abrasive yells and confrontational lyrics, including a song titled “Your Mom”.

“I knew the comments were gonna go in this direction, and I had been emotionally preparing myself for quite some time,” Nikki Sisti (guitar, vocals) says of the “Mansplain” video, “but it definitely exceeded my expectations.” Her bandmates — Kate Black (bass, vocals, guitar) and Shari Page (drums, vocals) — agree, and they repeatedly make the disclaimer that they don’t give that much and they laugh. It’s very much this complex sisterhood that is encapsulated in their music — a reckoning with serious turmoils, but against a playful backdrop of catchy riffs and fun wordplay (“Fake news/ Send nudes!”). They adeptly mix up styles across the 11 tracks and evoke bands like The Breeders and Cayetana. Comment sections aside, you get the sense that each song acts as a cathartic outlet for the band.

t all comes together to form an imperfect portrait of hope on their debut album, 5 Years Behind. Things are messy, but Thick are here to show us the light that persists through the darkness and to remind us that we still have community and solidarity.

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