BOB DYLAN – ” The Hollywood Bowl ” 1965
Posted: July 1, 2019 in CLASSIC ALBUMS, MUSICTags: Bob Dylan, Hollywood Bowl
Bob Dylan, live from the Hollywood Bowl, California on 3rd September 1965. Following the release of the album “Highway 61 Revisited” just days earlier, this historically vital concert captures Bob Dylan at a point of no return. For the first part of the set he holds the audience rapt on his own, without performing any protest material, then brings on his band to play iconoclastic, ragged rockânâroll. Originally broadcast on WNBC, itâs presented here together with background notes and images.
A favorite show of Dylan’s. His voice was more powerful, controlled and crisp than in any other concert of his career, in my opinion. Every track is punchy and flawless, but a few of the favorites are “Desolation Row” (incredible pronunciation), “Love Minus Zero/No Limit” (unique guitar strumming compared to other versions of this period and tear-jerking singing), “It Ain’t Me, Babe” (super performance of the tune–his voice on “no, no, no” is just divine, and the electric piano and drums are grooving) , and finally “Ballad Of A Thin Man” the organ is hypnotic and again, Dylan’s voice is just spot-on). The Hollywood Bowl concert was an absolutely wild show. This was only a month after Dylan went electric at Newport Folk Festival, and the crowds were hostile. “Fans” were rushing towards the stage, heckling the band, and throwing things. That isn’t to say it wasn’t lively and fun.
Here are a few highlights: – Dylan hilariously responds to the piercing sound an airhorn coming from the audience. -At the conclusion of the Dylan epic “Desolation Row” (the second time he performed it in concert), a few girls shout at the top of their lungs, “IT’S SO GROOVY!”, before “Like A Rolling Stone,” Dylan pulls a 1965 Newport and asks the audience for a C harmonica (This was back when people just carry harmonicas around). The airhorn joke makes yet another appearance.
After the concert, Dylan hosted a massive party with over 300 guests and got to meet one of his idols Marlon Brando.
the Band Bob Dylan (vocal & electric guitar) Robbie Robertson (guitar) Al Kooper (organ) Harvey Brooks (bass) Levon Helm (drums)
Setlist:  She Belongs To Me – To Ramona [CUT OUT FOR COPYRIGHT] – Gates Of Eden – Itâs All Over Now, Baby Blue – Desolation Row – Love Minus Zero/No Limit – Mr. Tambourine Man [CUT OUT FOR COPYRIGHT] – Tombstone Blues – I Don’t Believe You (She Acts Like We Never Have Met) – From A Buick 6 – Just Like Tom Thumb’s Blues – Maggieâs Farm [CUT OUT FOR COPYRIGHT]  – It Ainât Me, Babe – Ballad Of A Thin Man – Like A Rolling Stone
The TALLEST MAN ON EARTH – ” I Love You. It’s a Fever Dream “
Posted: June 30, 2019 in CLASSIC ALBUMS, MUSICTags: I Love You. It's A Fever Dream, Kristian Matsson, Swedenn, The Tallest Man on Earth. Singer Songwriter
Kristian Matsson is a singer-songwriter from Dalarna, Sweden, who performs under the stage name of The Tallest Man on Earth. Matsson grew up in Leksand, and began his solo career in 2006, having previously been the lead singer of the indie band Montezumas. His music has often drawn comparisonsto the music of Bob Dylan.
âLast summer, Kristian Matsson lamented that steady touring had slowed the arrival of “I Love You. Itâs a Fever Dream”., his fifth album as the Tallest Man on Earth. âI canât write good stuff on tour,â he complained. âI canât write about life on a tour bus.â Ironically, Fever Dream arrives as a focused and frequently lovely rumination on life lived on a tour bus. Songs unfold in hotel bars, on open roads, beneath vast blue bowls of rural sky. The rhythms of perpetual travel pulse beneath acoustic melodies that lie somewhere between Dylan and Sufjanâa few gentle, a few forceful. With depth and delicacy, Matsson explores the banalities and oddities of tour, like the phenomenon of performing for an adoring audience to whom you are a stranger.
Matssonâs music mirrors his lyrical themes. Though he remains devoted to sparse arrangements of guitar, banjo, and harmonica, these songs begin toveer into more adventurous territory. âHotel Barâ introduces a horn section, and âThe Running Styles of New Yorkâ is bookended by momentary blips of electronics. These new elements are deployed sparingly and selectively, a sprinkle of salt to draw new favourite from familiar sound. Tempos vary, too, from raucous stomping to slow, plaintive fingerpickingâas if heâs stretching, sprinting, growing fatigued, slowing down. As in his words, he wrestles with the quesstion of where to go, and how quickly.â
The Tallest Man On Earth’s album ‘I Love You. It’s A Fever Dream.’
BONNIESONGS – ” Ice Cream “
Posted: June 30, 2019 in MUSICTags: Australia, Bonnie Stewart, Bonniesongs, singer songwriter, Small Pond Records, Sydney
Small Pond Records are delighted to announce that they have signed Sydney, Australia-based art-folk virtuoso Bonniesongs, aka Bonnie Stewart, and will release her debut album “Energetic Mind” in the UK on 6th September 2019.
Bonniesongs the project of Sydney, based art-folk musician Bonnie Stewart, who will release her debut album on September 6th earlier this month she shared the albumâs first single Ice Cream and today we hit back with her new single, âBarbara.â
Stewart shows a different side to her songwriting craft her, with a dark brooding atmospheric beginning that paves the way for her haunting folk vocals. This atmosphere makes sense when you learn a bit about the mindset she was in when writing the track as described by her below:
This track was inspired by re-watching the original 1968 Night of the Living Dead at a household movie night. I love zombie movies. I noticed how the main womanâs character was a weak crumbling mess that was almost completely useless in the chaos that was happening. Meanwhile, the men were pulling it together and saving everyone. This sort of inequality is typical of this era I guess, but is still annoying! Anyway, the song is mostly told from Barbaraâs perspectiveâŚâ
CHRISTELLE BOFALE – ” Swim Team “
Posted: June 30, 2019 in CLASSIC ALBUMS, MUSICTags: Austin, Christelle Bofale, Texas
Austin, Texas-based songwriter Christelle Bofale will be the first to tell you the importance of family roots and mental health, considering how much those things aided her own self-discovery. Being the first American born in her family, the rich heritage of the Congo is deeply rooted in her upbringing and relationship with sounds.From singing and dancing with her mother as a child, to praying to Congolese music with her grandmother, to her father, a soukous guitar player and musical director for the Congregation at his church, Bofaleâs journey as a musician has been defined in tiny intervals throughout the course of her life. As a songwriter, she infuses hints of the Congo into various aspects of her music,
Christelle Bofaleâs “Swim Team” is a sumptuous introduction to Bofaleâs unparalleled sound. The Austin Texas based singer brings multiple influences to Swim TeamâBofale counts Joni Mitchell and Alex G as inspirationsâincluding jazz, rock, soul, and the musical traditions of her familyâs native Congo. âMoving On, Getting On,â the albumâs opening song, pairs Bofaleâs resonant voice with sweeping guitar riffs. On the soulful âOrigami Dreams,â Bofale sings, âMake up your mind, I donât have the time to wait on you.â Album standout, âU Oucheaâ is a seven-minute narrative that merges Bofaleâs steady voice, melancholy lyrics, and an expansive guitar melody. At its core, “Swim Team” is an album about mental health and serves as a keyhole opening to Bofaleâs inner life and a primer for her unique voice.
This album is just stellar. Christelle Bofale has given us a big piece of her heart. released May 31st, 2019
ROXY MUSIC – ” Roxy Music ” Released 16th June 1972
Posted: June 30, 2019 in CLASSIC ALBUMS, MUSICTags: Andy Mackay, Brian Eno, Bryan Ferry, Graham Simpson, Paul Thompson, Phil Manzanera, Roxy music
Back in 1972, âpostmodernismâ was a rarely used term, much less âretroâ or âvintageâ â words now almost fetishised in their description of everything from fashion to music, gaming to boutique coffee shops. Without describing themselves in such terms, however, Roxy Music embodied postmodernism a full decade before the thought of cycling through styles and genres entered the mainstream.
Released on 16th June 1972, the same day as Bowieâs breakthrough The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, Roxy Music was a true raid on pop musicâs past⌠and present⌠and a signpost towards its genre-blind, boundary-breaking future.
Roxy Musicâs opener, âRe-Make/Re-Modelâ, blares out of the speakers as a perfect declaration of intent: a manifesto for the groupâs assault on the pop world, reconfiguring and recontextualising old tropes, while presenting them as something utterly unique â futuristic, even. âEno was always pushing the boundaries,â Manzanera recalled. âI know it sounds ridiculous, but there was a point where we used to be DIed [direct injection] into, through his synths, a mixing desk, and heâd be out in the audience mixing.â
Not that music was Roxy Musicâs sole concern. As a song title such as âLadytronâ suggests, with its hint of glamour welded to futuristic possibilities, Bryan Ferry (vocals, keyboards), Brian Eno (vocals, synths, tape effects), Phil Manzanera (guitar), Andy Mackay (vocals, oboe, saxophone), Graham Simpson (bass) and Paul Thompson (drums) were juxtaposing disparate elements from all over the pop culture spectrum.
Roxy Music themselves werenât the only ones entering history with âVirginia Plainâ: âMake me a deal and make it straight/All signed and sealed, Iâll take it/To Robert E Lee Iâll show it,â Ferry sings at the start, directly name-checking his lawyer. As with â2HBâ â and almost everything Roxy Music did â the reference is doubled: “The Bob” took its title from Battle of Britain (1968) and included a passage simulating the sound of gunfire.
Discussing the music, Andy Mackay later said “we certainly didn’t invent eclecticism but we did say and prove that rock ‘n’ roll could accommodate â well, anything really”
Still astoundingly modern today, Roxy Music remains not only one of the finest debut albums in history, but rock musicâs first true postmodern masterpiece. What follows is an attempt to trace the influences and pop culture references in an album that continues to go beyond all expectations â not only of what a rock group can do, but what a true work of art can accomplish. The band’s penchant for glamour was showcased both in the lyrics and in the 1950s-style album cover. The photographer Karl Stoecker shot the cover, featuring model Kari-Ann Muller, who later married Chris Jagger, brother of Mick Jagger
Phil Manzanera recalls âsitting down with Bryan at the first audition and talking about Humphrey Bogart and all the films we lovedâ. For later solo albums and Roxy Music appearances, Ferry would adopt the image of Bogart as Rick Blaine in Casablanca, suave in a white dinner jacket. On Roxy Music, Bogart is homaged in â2HBâ, the lyrics directly quoting his Casablanca catchphrase: âHereâs looking at you, kid.â
âThe great thing is that we had friends who were great fashion designers, who were just beginning to make their mark,â guitarist Phil Manzanera recalled to this writer in 2009. Among them were painter Nick de Ville, who acted as the groupâs art director; designer Anthony Price, who advised on clothing and make-up; and hairdresser Keith Wainwright. Each band member conferred with them individually, ânever as a coherent, co-ordinated thingâ, Manzanera recalled. The first time the band would see each otherâs costumes was âliterally just before going on the first gig of the new tour⌠and weâd go, âMy god! Where did that come from?ââ
Thatâs how you create a group that looks as though each member is performing in a different band â or on a different planet, as Brian Eno noted when he described some of the Roxy Music costumes as the sort of thing the president of the Galactic Parliament might have worn in a sci-fi movie. It was, as Manzanera recalls, a âwonderful coming together of random elements â but behind those random elements were people with a lot of learningâ.
IGGY POP – ” Zombie Birdhouse “
Posted: June 30, 2019 in CLASSIC ALBUMS, MUSICTags: Animal Records, Chris Stein, Clem Burke, Debbie Harry, Iggy Pop, Rob duPrey, Zombie Birdhouse
Originally released on Animal Records in 1982 and produced by Chris Stein of Blondie, “Zombie Birdhouse” is something of a lost classic. This album may just be Iggyâs Morrison Hotel; like that Doors classic, Zombie Birdhouse takes an almost novelistic look at the character of America that is by turns funny and angry, reverential and irreverent. Itâs filled, too, with an almost mystical primitivism that brings out the shaman in Iggyâs soul. Throughout, Iggyâs collaborator, guitarist-keyboardist Rob duPrey, manages to produce some fascinating noise by altering, filtering and treating his instruments. A heady concoction of drones, Afrobeats and freeform lyrics, the album was Iggyâs 6th solo studio album and represents him at his freewheeling best.Chris Stein and Clem Burke of Blondie provide the exotic rhythmic spice that seasons this record to perfection. The sleeve notes have been written by long time Iggy fan Irvine Welsh.
A visual for lead single âThe Villagersâ is unveiled as a taster of the album,
The reissue of Zombie Birdhouse has been remastered by Paschal Byrne at The Audio Archive, London. It features the singles âRun Like A Villainâ and âThe Villagersâ along with rare photographs from the original photo-shoot by Esther Friedman.
The CD edition is Expanded with the addition of a Bonus Track in the form of the original version of Pain and Suffering, which features fellow Blondie band member Debbie Harry on backing vocals. The song was originally recorded for the ground-breaking animated feature film, Rock and Rule (Iggy provided the voice of the Monster From Another Dimension and Debbie Harry the voice for the character, Angel) but the OST was never released.
SLOTHRUST , SONS OF AN ILLUSTRIOUS FATHER – ” U.S. Gay / Horseshoe Crab “
Posted: June 30, 2019 in MUSICTags: Dangerbird Records, Leah Wellbaum, Lilah Larson, Slothrust, Sons Of An Illustrious Father
Slothrust and Sons of an Illustrious Father have teamed up to cover each otherâs songs, and theyâll be donating the proceeds of the project to the Trevor Project. Have a listen to Slothrustâs cover of âU.S. Gayâ and the Sonsâ cover of âHorseshoe Crab,â and read thoughts on the project from both bands,
I wrote âHorseshoe Crabâ at a time when I was struggling with dissociative depressive episodes while living in Brooklyn. The song itself is a reflection of the duality that exists inside of all of us, and the maladaptive complexities that come with being human. In short, itâs an exploration of feeling disconnected from your true self.
This experience is one familiar to many gay people, especially those who struggle with mental health issues. I have spent a lot of time hiding my mind and my body from the world, and even from myself. For many of us, it takes a lot of work to be at ease in a world where we do not fulfill the expectations society has educated us to believe are desirable. It wasnât easy to gain the confidence to do this internal work, but I am happy to say it has been worth it.
Part of that work, is noticing and surrounding yourself with the type of people who make you feel seen and who encourage you to be yourself. Sons of An Illustrious Father have embodied this love since the moment we met at our first show together in Boise. Each member is so unique and their show is no less individual. There is a raw creativity and earnestness about their show that evokes a timeless performance experience. The three of them are not afraid to be weird, loud, theatrical, or vulnerable and these qualities inspire me to take more risks in my own work.
While the Slothrust version of this song feels like it holds a lot of fire and frustration, the Sons version swims in cool and unfamiliar water. It is almost as if they are the seahorse and we are the horseshoe crab. One is soft and rarely seen, swimming freely in the ocean, leaving gender norms to surface dwellers. The other washes ashore on many coasts, its thick brown leathery shell hiding the surprisingly opaque blue blood within.
Knowing that the lyrics of this song were inspired by feelings of alienation and solitude, itâs a beautiful choice that Josh, Lilah, and Ezra all sing this song together as opposed to one of them taking the lead. As the songwriter in our band, it can feeling isolating and exposing at times to come in with songs like this one. Having three totally unique voices reinterpret it brings about the feeling of unity and sameness that I hoped to convey in the lyric âI donât have anything in common with myself, except that I came from the sea like everyone else did.â It is as though three people are having parallel experiences at the same time, and itâs a humbling moment to have the song become a source of healing reflected back at me.
Leah Wellbaum, Slothrust
Listening to Slothrustâs cover of âU.S. Gayâ makes me feel sick, the way that falling in love does that dull, heavy stomachache. I feel so overwhelmed with love and gratitude for Leah, Will, and Kyle for showing me what this song that I started could become. In writing âU.S. Gayâ I attempted perhaps for the first time to write something genuinely pop-y.
The Pulse night club shooting filled me, like many others, with abject horror and grief; it felt to me that in order to make anything from that experience that might help myself and others process, it had to be somehow palatably packaged ,we needed some sort of spoon full of sugar to be able to even attempt to get it all down. For the most part, I think we succeeded in creating something that is fun to listen to despite its decidedly un-fun content. But as a band, weâve always been fairly helpless vehicles in our expression, melding the message as best we can while largely flailing in surrender. This, I think, is part of our charm and I wouldnât change it, but it means that our âpopâ song is still a bit ragged and off-kilter. Leah, on the other hand, is a veritable pop fucking genius fronting the greatest rock band alive, so hearing the Slothrust version of âU.S. Gayâ is like hearing the song in its ultimate form. I truly feel like our version was a first draft. This is the smooth, skillful rendering of my dreams. A spoon full of sugar dripped right in your ear, the even more devastating weight that Slothrust lends even more appealingly applied.
The song was never meant to be the proprietary property of any band â it was our offering to the community in a time of tragedy. For it to be sung by another queer person makes me feel like itâs being further absorbed into that broader community, where it was always meant to live. Itâs made me realize that I yearn to hear the song sung by so many more people. But Iâm fairly certain that no one will ever outdo the Slothrust version.
Lilah Larson, Sons of an Illustrious Father
You can buy the tracks digitally vinyl 7-inch will be released on August 9th.
thanks to http://www.talkhouse.com
18 year-old Oscar Lang this rising British singer-songwriter, begins the real start of his music career: he finishes college forever, plays his debut sold-out solo show and reveals himself as the new signing to The 1975âs label Dirty Hit Records with a new EP to boot.
âIâm soooo gassed to do music full time now,â Lang tells us. âItâs always been my heart and soul and itâs crazy that I can do it for a career, especially as Iâm so hyped for my first release on Dirty Hit to be full of bangerz.â
The effervescent and incredibly productive 18 year-old Lang has been writing music since he hit double digits and has carved out respect among his lo-fi peers as a writer and producer. Heâs worked with the likes of Bea Kristi (better known as fellow Dirty Hitter Beabadoobee) and rising Norweigan indie-pop star Marie Ulven (aka Girl in Red). This new project comes after a time making music under the âPigâ moniker, which birthed two self-produced albums: Teenage Hurt and Silk.this rising British singer-songwriter.
Oscar Lang’s new EP “Bops Etc.” is out now via Dirty Hit Records.
HORSE JUMPER OF LOVE – ” So Divine “
Posted: June 30, 2019 in CLASSIC ALBUMS, MUSICTags: Boston, Dimitri Giannopoulos, Horse Jumper of Love, Jamie Vadala- Doran, John Margaris, Run For Cover Records, So Divine
On their second album and first for Run For Cover Records, Horse Jumper of Love perfect their driving slowcore while discarding some of the moping that characterized their self-titled debut. This time around, the Boston trioâs desolation is mostly confined to the dejected guitars, which exude as much angst as a pop-punk chord progression, as much muscle as a metal riff and as much sonic weight as a shoegaze solo.
Memory looms large on Horse Jumper of Loveâs hypnotic sophomore album, âSo Divine,â but it remains elusive. Throughout the record, tiny snapshots from the past float to the surface, baring themselves for brief moments before diving back into the ether. Like abstract collages, the Boston-based three-pieceâs songs jumble richly detailed scenes and vivid imagery, papering over one moment with the next until each string of seemingly unrelated thoughts coalesces into a breathtaking work of art, one that reveals deep truths about ourselves and our psyches.
âA lot of these songs are about making small things into huge deals,â says guitarist/singer Dimitri Giannopoulos. âThey all start with these very specific little memories that, for some reason or another, have stuck in my mind. Memories morph and change over time, though, and they become freighted with all these different meanings. Weâre constantly adding to them.â Giannopoulos officially launched the group with bassist John Margaris and drummer Jamie Vadala-Doran in 2013, taking their moniker from a Latin phrase that had gotten more than a little lost in translation. The band would spend the next three years refining their studio craft and live show, garnering a devoted following playing DIY gigs around New England as they climbed their way into what Pitchfork described as âthe top tier of the Boston house show scene.â In 2016, they released their self-titled debut to rave reviews, with NPR praising the bandâs âslow, syrupy rock songsâ as âcautiously measured and patiently curiousâ and Audiotree hailing the âsoft spoken, contemplative trioâ for their âunique sonic palette and precise compositions.â In 2017, the group released a vinyl and digital re-issue of the album along with a limited edition demo anthology.
“Nature” by Horse Jumper of Love from the upcoming album ‘So Divine’ out June 28th via Run For Cover Records
