OLDERMOST – ” Same To Me “

Posted: July 8, 2018 in CLASSIC ALBUMS, MUSIC
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Same To Me is the second single Philadelphia’s Oldermost have shared ahead of the release of their new album How Could You Ever Be The Same? (out 13th July).

It follows the rollicking lead single The Danger of Belief, . This introspective new song was one of the first written for their new album, and is a gorgeous, hazy stand-out, highlighting the bands’ penchant for creating era-blending Americana-infused rock & roll with a more indie rock vibe in the vein of The War On Drugs (their Philly contemporaries!) or Wilco.

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Released by: AntiFragile Music

CASH SAVAGE & The LAST DRINKS – ” Pack Animals “

Posted: July 8, 2018 in CLASSIC ALBUMS, MUSIC
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Pack Animals’ is the second single from Cash Savage and the Last Drinks’ forthcoming album Good Citizens, out September 21st on Mistletone Records.  The lyrics paint a dismal picture of an all-too-familiar scenario for female musicians being mansplained after the show.

“Pack Animals” is dedicated to all the men that have offered me unsolicited advice over the years”, Cash Savage says with a wry grin. Over the past 6 years, the phenomenon of men approaching the women of the Last Drinks with advice prefaced by “The gig was great, but…” has become a running joke that’s not funny anymore for Cash Savage and her bandmates.

“I’ve been told the dumbest shit”, Cash recalls. Examples: “You play guitar too rhythmically, let the drums do the work” .  Dumb, yes but not harmless. “The givers of the opinions will eventually become offended and sometimes aggressive”, ‘Pack Animals’ calls out this behaviour as a manifestation of toxic masculinity and how it affects everyone, regardless of gender.

“We have all had moments in our lives where we’ve had to placate a man who is on the verge of becoming aggressive,” Cash notes. “It’s not fun for anyone. I look forward to a time when shit behaviour is called out before it gets to that point.”

The song’s refrain “Everything’s fine, everything’s gonna be great” carries a heartfelt belief that a new day is dawning. “Some people are resisting this undercurrent of change because they feel threatened by it”, Cash observes, “but I mean it when I say that the change is going to be for the better. I hope we’re on our way there.”

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‘Pack Animals’ follows searing single ‘Better Than That’, the first single from the forthcoming Cash Savage & The Last Drinks album Good Citizens, she tells us how. And she does it with such strength and vulnerability that it’ll take a cold heart not to appreciate it…. It’s stark, simple and something that everyone should hear, regardless of your politics.”

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MUNCIE GIRLS – ” Falling Down “

Posted: July 8, 2018 in CLASSIC ALBUMS, MUSIC
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The Exeter, UK, punk band remain political and critical—on their sophomore record ‘Fixed Ideals’ while showing us what personally makes them tick. It is no secret that the Exeter, UK, punk band, which includes Hekt, Dean McMullen, and Luke Ellis, often draws inspiration from the American poet and novelist Sylvia Plath’s works and then craft eardrum-shaking rock songs from them. “Gas Mark 4” from their stunning debut, From Caplan to Belsize, is a referential of The Bell Jar, Plath’s first and most famous novel. The group is readying the release of their sophomore, Fixed Ideals, out August 31st via Buzz Records. At 13 tracks in length (cut down from a hefty recorded 19, Hekt says) it doesn’t feel long or linger too much.

“Falling Down,” Hekt wrote more personally about drinking, which she hasn’t done for almost a year. “‘Falling Down’ is funnily enough… I didn’t know what it was about,” she says with a laugh. “This happens a bit where I’ll write a song and not know what it’s about until, like, months later. But it turns out to be about is drinking. It’s about a hangover, which I didn’t realize. There’s a line in it: “Go to bed / Wake up smart.” So it’s kind of like talking about having a hangover and waking up the next day and knowing not to do it again.” The track is surprisingly tender, while at the same a bit biting about some dumb shit we usually do to get through our youth. The song sounds fuller, largely due to the three-piece trying their hand at a four-piece without any additional person. Hekt learned guitar in addition to playing bass. It’s a smart, pop punk tune—jaunty and cheeky, almost, with an earnest and infectious chorus that is absolutely sure to get stuck in your head.
Band Members
Lande, Dean and Luke

“Falling Down” is from Muncie Girls’ “Fixed Ideals” LP out August 31 via Buzz Records (US/CAN) and Specialist Subject Records (UK/EU).

The WOOLEN MEN – ” Post “

Posted: July 8, 2018 in CLASSIC ALBUMS, MUSIC
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One of Portland’s finest, Woolen Men are back with a new record, and a reminder that their blend of dusty indie rock and post-punk is as good as it gets. It’s been three years since the trio released the spectacular Temporary Monument and the subsequentOptions EP(as well as last year’s tour tape collection Lucky Box), and the return is more than welcome. Post, due out September 1st via Dogs Table Records, is a reflection of a post-everything mentality, and judging by the first single, one of our most anticipated album’s this year .

“Brick Horizon,” the album’s opener is built on a krautrock rhythm, grooving with razor sharp propulsion. The band continue to blend motorik rigidness with twangy fuzz, an offsetting feeling that they’ve mastered over the years. The vocals add a casually human element to their rumbling onslaught, singing “there’s no escaping the rust, surrender to it” void of emotion, but not without feeling. The pulse never shifts, but Woolen Men colour it with melodic nuances, pulling elements from garage and folk in equal measure, reshaping their influences into their own widescreen punk. Woolen Men are a national treasure, and with an upcoming European tour this September together with Honey Bucket, they are soon to be an international treasure.

Attention European bookers, the band are coming over… now it’s just a matter of bringing them to your town, get in touch at jorge@wearehellyeah.com.

I haven’t been this excited about an album in a long time. “Brick Horizon” is a perfect song. Can’t wait to hear the rest!

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The Band:
Raf Spielman – Drums
Alex Geddes – Bass
Lawton Browning – Guitar
New Woolen Men Record from on Dog’s Table. 
Releases September 1st, 2018

MODERATE REBELS – ” Beyond Hidden Words “

Posted: July 8, 2018 in CLASSIC ALBUMS, MUSIC
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Moderate Rebels, the London-based “Anti-Music collective”, they released both an EP and an album that year to some acclaim. So wasting no time, the band are already plotting a second album for later this year, and have this week shared the first taste of it, in the shape of new single, “Beyond Hidden Words”.

Discussing the track, the always intriguing Moderate Rebels have described it as an, “un-song”, the sound of “a repeating half hallucination set to building noise, an invocation of strong communal power and hope, through the confronting of the uncomfortable, and the taking of some personal responsibility for being part of that conversation.” Somewhat counter-intuitively, Beyond Hidden Words might actually be Moderate Rebels most accessible offering to date. Atop the repeated, multi-voiced, lyrical chant, “shine you white lights on the black sites, I’m beginning to see the lights”, the musical backing swells and dips. A steady, almost hand-clap like drum beat, holds the song in rhythmic focus, as rumbling bass, burbling keys (with a slight touch of The Who’s Teenage Wasteland) and what sounds like an e-bowed guitar, play off against one another, fighting for the musical attention. It’s a track that despite it’s somewhat minimal, repetitive nature, draws you in more and more with each listen; it slowly becomes important, moving and without ever feeling the need to explain why, stirs a multitude of emotions inside. They might call it Anti-Music, yet with each release they’re getting closer and closer to the primal elements of sound, a place where music began and where music still thrives to this day.

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Beyond Hidden Words is out now via Everyday Life Recordings.

J.D SOUTHER – ” John David Souther / Black Rose / Home By Dawn ” Vinyl Reissues

Posted: July 8, 2018 in CLASSIC ALBUMS, MUSIC
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Last February, Omnivore Recordings released singer-songwriter JD Souther’s three efforts for Asylum Records on CD, remastered with extra bonus tracks and new liner notes informed by interviews with Souther. No Depressioncalled them: “A worthy upgrade and a good introduction for those who haven’t yet dug into JD Souther.” Relixpredicted the reissues would “bring belated appreciation” to the albums. “Kudos to Omnivore for re-introducing Souther and his work to a brand new audience.”
On September 21st, 2018, Omnivore Recordings will release the trio of classic albums  John David Souther, Black Rose and Home by Dawn on high-quality vinyl. All three have been cut from the original analog masters by Kevin Gray at Cohearent, overseen by Souther himself and Omnivore’s Cheryl Pawelski and pressed atRTI on 180-gram vinyl. These new reissues also feature a little bit of updated art on the Black Rosealbum — no longer featuring the artist name and title, as was originally intended. In every other way, they are presented as they were originally released.
Before he was co-writing Eagles hits like “Best of My Love,” “New Kid in Town,” and “Heartache Tonight” with Glenn Frey and Don Henley, Souther formed Longbranch/Pennywhistle with Frey when they were roommates. Their downstairs neighbour was a fellow by the name of Jackson Browne, who took Souther to audition for his boss, David Geffen, who’d recently formed the Asylum Records label. After hearing two songs, Geffen told Souther to “go make a record.” And, that’s exactly what he did. 
John David Souther (Expanded Edition)
John David Souther released in 1971, and was immediately a critical success and established Souther as a, if not the songwriter to watch. (He would be inducted into the Songwriters Hall of Fame 42 years later.) 
Co-produced by Souther and Fred Catero (who had recently finished Santana’s Abraxas), John David Southerfeatured 10 originals — all stunning, and many of which would be covered by artists like Bonnie Raitt (“Run Like a Thief”) and Souther’s old friends The Eagles, who released “How Long” as the first single from their 2007 comeback and multi-platinum smash, Long Road Out of Eden.
John David Souther was, and is, the perfect introduction to the singer and performer behind the songs. Still relevant over four decades later, the recording shows the emergence of one of music’s most influential artists. 
After his impressive debut, Souther worked with Chris Hillman (Byrds, Flying Burrito Brothers) and Richie Furay (Buffalo Springfield, Poco) in the short-lived Souther/Hillman/Furay Band. But, at that same time, his songwriting reputation grew, as friends and colleagues took his material to commercial heights. 
Black Rose

Five years after John David Souther, Black Rose appeared. Beautifully helmed by Peter Asher, the album was not only full of incredible songs, but a who’s who of musicians including Lowell George (Little Feat), Joe Walsh, Waddy Wachtel, Jim Keltner, Andrew Gold, Russ Kunkel, Donald Byrd, and Stanley Clarke — with David Crosby, Art Garfunkel, Don Henley and Glenn Frey adding their voices. In addition to the lush production and instrumentation, Souther’s ten songs were again exceptional. Linda Ronstadt had previously recorded “Faithless Love” on her breakthrough Heart Like a Wheel album, and would tackle “Simple Man, Simple Dream” in 1977 — even basing that year’s album title on the song. (For the record, Ronstadt has recorded 10 Souther tracks, a relationship that began with his production on her 1973 album Don’t Cry Now, also named for a Souther composition.)

“Black Rose” was an ambitious undertaking, and it took a long time,” Souther states in the liners. “I wanted to use all the musical influences I had, and I really had to dig deep. But when we were finished, I was almost as pleased with it as if it had sold a million copies. Almost.” 
After hitting the Top 10 twice with “You’re Only Lonely” and his duet with James Taylor, “Her Town Too,” 
Home By Dawn

Souther released his only 1980s album  Home by Dawn, produced by David Malloy (Eddie Rabbit, Kenny Rogers, Reba McEntire).Souther took distinctive creative turns with each release, Home by Dawn emerged at the beginning of the new wave of country music. In fact, legendary producer/engineer, and David’s father,Jim Malloy (Townes Van Zandt, Eddy Arnold, Sammi Smith), told Souther, “You were about 15 minutes ahead of your time!” That timing was confirmed when Dixie Chicks covered “I’ll Take Care of You” on their platinum album Wide Open Spaces. 

The album has steadily earned a reputation as the groundbreaking and influential statement it was, and continues to be. From rock to roots-rock to rockabilly, Home by Dawn took Souther in a direction reflecting his Texas upbringing. Now is the perfect time to discover — or rediscover the songs of John David Souther. 

KIRAN LEONARD – ” Paralysed Force “

Posted: July 8, 2018 in CLASSIC ALBUMS, MUSIC
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He’s already achieved so much that it can be hard to remember Kiran Leonard is still only 22-years-old. The Saddleworth songwriter released his debut album back in 2014, took a giant leap forward with 2016’s Grapefruit and then proceeded to write,“a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice”,a move as inspired as it was ludicrously ambitious. This week Kiran has shared details of his upcoming third album, Western Culture, as well as sharing the first single from it, Paralysed Force.

Kiran Leonard: “”Paralysed Force” is about how insecurities you should settle within yourself often get transplanted onto other people you know. Projecting the question towards another allows you to shirk responsibility for your own well being, but all this does is suspend the issue at hand, and prolong an inevitable falling back. “There’s also a sort of compulsiveness, a wanting to be suspended, that’s involved in it all, because sometimes it feels good not to have to think about yourself. I suppose the song’s about being caught between those two points — basically, that even if you know you’re being irresponsible (and possibly daft), there’s still a desire to give yourself up.”

Western Culture is the first album Kiran has ever recorded in a professional studio, as well as his first recorded with the involvement of his live band, and he has suggested it is, “both more accessible and more peculiar than my other records” – on the evidence of Paralysed Force you can certainly see where he’s coming from. Discussing the track, in his usual inimitable fashion, Kiran has suggested it is about, “how insecurities you should settle within yourself often get transplanted onto other people you know.” Musically it is as close as Kiran ever gets to a straight up indie-rock song, it’s still angular and awkward sure, however in the melodies and rhythms at times there’s an unquestionably hooky and approachable quality. With a title like Western Culture, it’s inevitable that this is a record that glances out to society, Kiran has suggested it looks to the power of words to shape the discourse, how, in his own carefully chosen comment, “the words we use have a funny sort of position, both as a feeble opponent to real-life violence, and as the critical foundation for that very violence.” With our own words, we’d strongly urge you to explore the fascinating work of quite possibly this countries most intriguing new musical voice.

Kiran Leonard releases brand new album Western Culture on 19th October 2018 on Moshi Moshi Records:

WOBURN MUSIC FESTIVAL 6th-7th July 1968

Posted: July 8, 2018 in FESTIVALS, MUSIC
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Woburnwas one of the first rock festivals including the inexpressibly wonderful Jimi Hendrix.. At the time the British blues bands such as John Mayall and Fleetwood Mac were riding high. Organised by the UK music magazine the Woburn bash advertised in the Melody Maker with Mayall, Fleetwood Mac , Hendrix , over two days.The Woburn Music Festival was one of Britain’s first large scale, open-air rock music events. Staged by brothers Richard “Rik” and John Gunnell, who were well respected individuals in the burgeoning London music scene where they were heavily involved in many aspects including band managed, show promoters and club owners. Rik in particular, who owned three fashionable 1960’s London nightspots—the Ram Jam Club, Flamingo, and Bag O’ Nails presented authentic, first generation American icons like John Lee Hooker and Otis Redding and some of the brightest examples of a swelling wave of emerging British talent such as The Rolling Stones, Jack Bruce and Georgie Fame.

People standing in their gardens two miles away from Woburn Abbey could hear strains of pop music floating on the air… As dusk fell along with the temperature, the Festival attendance reached a peak of over 14,000. Emperor Rosko compered the evening session and swung things along with records and tapes in between sets from Little Women, New Formula, Geno Washington, Tyrannosaurus Rex, the Family, and Jimi Hendrix Experience blasting his way into the midnight hour. Already fires were being built and lit all over the field. With [the] end of Jimi’s set everybody headed for homes, temporary or permanent. On the Sunday morning many of the fans had spread out into the sur*rounding district in search of food and drink. At the Swan Hold. Woburn Sands, landlord Chris Collier dished out pints like there was no tomorrow and the regular customers stood looking amused and bemused by the inrush of long-haired customers….

The line-up for the Saturday afternoon session was as follows. Alexis Korner, Shirley and Dolly Collins, Al Stewart, Roy Harper and Pentangle. It was a very pleasant sunny day, the area was not particularly full. Roy Harper – who in those days was relatively smooth looking , minus most of his hair and facial adornments, He ambled through most of the tunes from his album. Folkjokeopus – Sgt Sunshine, She’s the One ,Exercising Some Control , all great songs. Unfortunately he then decided to finish the set with the very lengthy McGoohans Blues, which although a good song, is 18 minutes long and was just not up-tempo enough for a festival setting. 

Pentangle were the last band of the afternoon session the crowd were knocked out by their on-stage act. They really were not the ideal sort of band for a large festival. For a start, folk bands were often not really amplified loudly enough in those days. All it needed was a reasonable breeze and the wind blew the sound away  and Pentangle’s rather soft sound suffered badly at an outdoor venue. The individual members, each in their own ways masters of their craft Bert Jansch and John Renbourn were just too quiet to capture the attention in this least intimate of settings.I’d love to hear their set again just to pick up on Danny Thompson bass. I wasn’t aware of how good this guy can be until I heard him on John Martyn’s Solid Air a few years later, pure  genius .

New Formula were a bleeding awful sweet soul group and NOBODY liked them. You have to feel sorry for this band , they were given an awful reception . Slow hand clap, whistles, shouts of piss off  I have a vivid memory of some tousle haired Marc Bolan clones down the front throwing toilet rolls at the lead singer, and after a while the band retired hurt. So much for the generation of love. 

The next band on were Family and they were phenomenal they were something out of this world.  Frontman Roger Chapman was so frigging MANIC on-stage, grabbing the mic stand so tightly that he might have been strangling it, cords on the neck strained so tight that it was a wonder he didn’t burst a blood vessel, the sounds issuing forth floored the crowd Chappo was unique.

And the rest of the band! Jim King blowing his brains out on sax, John Whitney on searing lead and steel guitar, Ric Grech on bass and occasional violin and the excellent Rob Townsend on drums , simultaneously elegant and threatening. This was the best line up of Family, and they had a great range of songs, most from their first highly under rated albumMusic from a Dolls House, songs like – Hey Mr Policeman, Me My Friend,  Old Songs New Songs – they were BRILLIANT and many in the audience thought so too.

Tyrannosaurus Rex were fun, if slight. Bolan strummed and churned out his fey little songs with predictable charm and Steve Took provided nice little edges with his bongos. Tyrannosaurus Rex were the staple of many festivals at the time , archetypal hippies, they enjoyed a certain sort of vogue . Bolan and Took went down very well with the audience, so I am probably  in the minority here – but after the concentrated madness of Family it seemed anticlimactic. 

The bill was a pretty eclectic one, veering wildly into the realms of pseudo soul , far out psychedelic rock, psychedelic folksy rock and back to genuine, get down and dance-to-the -music SOUL – in the form of Geno Washington and the Ram Jam Band.

  • Geno Washington – vocals
  • Pete Gage – guitar
  • Lionel Kingham – saxophone
  • Buddy Beadle – saxophone
  • Jeff Wright – organ
  • John Roberts- bass guitar
  • Herb Prestidge – drums

These guys laid it down in the alley and, in contrast to the ill fated Little Women, the crowd loved every note of their act  . This was the real thing , but above all , it was dance music and it meant that the crowd could get loose and enjoy themselves.  The use of a good gutsy horn section to punctuate vocal chorus’s  also really pushed the music out there and the fact that Geno was a damn good front man also helped more than somewhat. The band were all gussied up in over the top stage clothes – this was an ACT in every sense of the word and it set the stage more than nicely for the top of the bill,Mr James Marshall Hendrix. Now almost everything that can be said about Jimi’s performance has been said on the excellent Univibes pages on the Woburn festival, Whether the inclusion of Geno Washington on the bill was a deliberate act by the promoters to give the crowd an idea of the sort of bands that Jimi used to play with , I don’t know, but whether it was or not, it certainly put  the audience into a great mood and they were more than enthusiastic about the Hendrix set , which was the only Hendrix concert in the UK in 1968. 

Although the Univibes site rates the show as average ,they are not able to see what went down on-stage , which was pretty outrageous, with Jimi playing the guitar with his teeth , grinding his axe between his legs and generally doing all the things that got the girls horny for him . Given all of that it was a fantastic visual experience and the music certainly seemed great too ,there was rapturous applause as he left the stage and as the crowd streamed off into the night. 

At Woburn, Jimi skipped songs from Axis: Bold As Love altogether, electing instead to ‘jam’ as he called it—kicking off his set with a spirited “Sgt. Pepper’s Lonely Hearts Club Band.” The trio followed with “Fire,” and despite beset with buzzing, crackles and otherwise unwanted noises throughout their set, The Experience continued to persevere doing their best to surmount the technical problems that hampered an otherwise animated set.

Although opting to bypass music from Axis: Bold As Love, Hendrix did foreshadow his next album at Woburn, stretching out a marvelous 10+ minute version of “Tax Free;” an early contender for Electric Ladyland and a favorite Experience vehicle for improvisation. Hendrix followed up with another extended improvisational rendition of “Red House” before closing the show with a trio of live concert stalwarts “Foxy Lady,” “Voodoo Child (Slight Return)” and “Purple Haze.”

In launching into “Purple Haze,” Jimi kicked off a boisterous feedback opening, buttressed by Mitchell and Redding and complete with tremolo bar swoops, wah-wah pedal shadings and soaring dive bomb styled bursts that transitioned seamlessly into the song’s unmistakable opening notes. At its conclusion, the audience roared with approval. While no microphones were positioned to fully capture the intensity of their reaction, their enthusiasm and calls for more can be easily heard through Jimi and Noel’s stage microphones.

The Experience’s performance at Woburn Music Festival would mark the trio’s last performance in England until the two celebrated concerts in February 1969 at the Royal Albert Hall.

Jimi Hendrix July 6th & 7th 1968, Woburn Music Festival, Woburn Abbey, Bedfordshire.

Apparently Fleetwood Mac did not turn up, due to other commitments, and the whole Sunday show was wet and badly attended,Apparently there is a sound board recording of the Hendrix, Family and Geno Washingtonsets from the Saturday which may be released as a CD sometime.It is even rumoured that theHendrix show was filmed using three cameras. Who knows ,perhaps both of these precious artefacts will be released one day. 

The soundboard recordings have been SOLD ! A rare 1⁄4 inch reel-to-reel master soundboard tape recording of the Jimi Hendrix Experience and others performing at the Woburn Music Festival, Woburn Abbey, Bedfordshire, England, 6-7 July, 1968, was offered for sale at Christies. The price realise was £48,050, which probably means that either the music will disappear into a collection or be eventually offered for sale commercially . However since apparently the Hendrix estate were not previously keen to release the Hendrix set (and this may be why the owners have decided to sell the recordings) there would have to be a policy change before this happened.

Recordings and Setlists Woburn Music Festival, 6th July, 1968

Family (29:13 minutes)

  • Me My Friend
  • Old Songs New Songs > How Many More Years (You Gonna Wreck My Life)
  • Good Morning Little Schoolgirl
  • Hey Mr. Policeman
  • Observations (incomplete)

Geno Washington (18:05 minutes)

  • Mony Mony
  • Funk Broadway
  • Rock Me, Baby
  • I Get So Excited
  • Holding On Baby (With Both Hands)
  • Baby Come Back
  • Jumping Jack Flash


The Jimi Hendrix Experience (48:22 minutes)

  • Sgt. Pepper’s Lonely Hearts Club Band (0:42)
  • Fire (3:18)
  • Tax Free (10:10)
  • Red House (10:17)
  • .Foxy Lady (4:12)
  • Voodoo Child (6:05)
  • .Purple Haze (8:00)

 Woburn Music Festival, 7th July, 1968 

Taste (23:21 minutes)

  • Summertime
  • Blister On The Moon
  • I Got My Brand On You
  • Rock Me,>Baby Bye Bye Bird >Baby Please Don’t Go >You Shook Me Baby

This is the earliest professional live recording of this Taste line-up known to exist. After finishing the first song of his set, Rory Gallagher says Thank You 16 times!

Tim Rose (8:57 minutes)

  • I Got A Loneliness
  • Long Time Man (incomplete)

The Jimi Hendrix Experience show at Woburn was professionally recorded on a 7.5 ips, 2-track, mono, reel-to-reel tape. It is not known who actually recorded this tape but the master tape was stored in a small studio in London, where it sat on the shelves among a wall of tapes. In the early 1970s, the studio went bust and an employee rescued some of the tapes before they were destroyed. Additionally, a film crew was present to record the event. Nothing is known of the whereabouts of this footage, but if such footage were to surface it would be an incredible find and a wonderful companion to the recording.

So. the festival come [sic] to an end. unfortunately rather a damp one. How ever a bright note was struck by a message from the Abbey saying that the Duke thought the Festival had been very well organised and he would be happy to see it happen again. A sigh of relief was given all round…. [ attendance of] nearly 8,000 people [on the Sunday for Donovan’s set and more rolled in for the final blues session played in pouring rain.”

VISIONS FESTIVAL Saturday 4th August 2018

Posted: July 8, 2018 in FESTIVALS, MUSIC
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The final artists for Visions 2018 have been announced! This year’s line-up already features the likes of IDLES, HMLTD, Marika Hackman, Yak, Nilufer Yanya, Rival Consoles, No Age and more.

Visions have also announced an array of activities at their yearly Visions Market in Space Studios Courtyard and Carpark. There will be a beer garden where DJs Thris Tian, Charlie Bones (NTS), Fran Lobo & more will be spinning away, screen print sessions with The Positive Press, a pop-up from House of Vintage who will be curating a classic band t-shirt collection… You can also have your palm or tarot cards read or choose your new Old Habits tattoo by rolling the dice. And look out for hidden treats from This Must Be For You.

Festivities start early in London Fields with a special Visions presents event with FUCKED UP on Friday 3rd August at Hangar. Support comes from Bad Breeding and Sauna Youth.
We are selling a limited batch of Final Tier tickets in-store. Come get yours before they’re all gone!

SAM SAMUDIO feat DUANE ALLMAN – ” Going Upstairs “

Posted: July 7, 2018 in CLASSIC ALBUMS, MUSIC
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Image result for Sam Samudio ‎– Sam, Hard And Heavy

Best known as front man and lead singer for Sam the Sham and the Pharaohs, following the band’s late-1960s collapse, Domingo “Sam” Samudio signed a solo deal with Atlantic Records. Released in 1971, in case you couldn’t figure it out from the cover photo with a somewhat ragged Samudio striking a standard born-to-be-wild poise on a nice lookin’ chopper, “Sam Hard and Heavy” was a clear attempt to update and modernize his sound and image. Teamed with famed producers Jerry Wexler and Tom Dowd, the set was quite different from his Sam the Sham garage moves. Fairly diverse listen, the ten track album offered up a mixture of Samudio originals and interesting covers. Musically the LP bounced all over the spectrum. ‘Lonely Avenue’ opting for a conventional hard rock sound, while the Tex-Mex ‘Don’t Put Me On’ and bluesy ‘Key To The Highway’ harkened back to his frat boy roots. Elsewhere the collection featured support from guitarist Duane Allman (‘Going Upstairs‘ and ‘Relativity’), Also featured The Dixie Flyers and The Memphis Horns.

Covering John Lee Hooker’s ‘Going’ Upstairs’ as an acoustic blues number wasn’t the most original decision, but having Duane Allman provide Dobro was a great choice. The result was to turn what would have been a mundane cover into a snarling, threatening slice of the blues.

This was recorded during the Layla sessions at Criteria Studios in Miami~Sam was recording in Studio B~We were recording in Studio A~ Duane Allman is backing Sam Samudio…you know Sam the Sham and “Woolly Boolly?” This is actually real nice. Sam should have continued doing this type of material with other greats like Duane. The voice is excellent. released on his album Sam Hard and Heavy in 1971

The Dixie Flyers consisting of: Jim Dickinson, Mike Utley, Charlie Freeman, Tommy McClure & Sammy Creason
The Memphis Horns consisting of: Wayne Jackson, Andrew Love, Ed Logan, James Mitchell, Roger Hopps & Jack Hale. 

By the early-1980s Samudio was completely out of the business, working in the Gulf of Mexico as a deck hand on boats running supplies to drilling rigs. He didn’t reappear until 1982 when Ry Cooder sought him out as a collaborator on the soundtrack to the film “The Border”. Samudio reluctantly agreed to participate, playing organ and contributing a pair of songs to the package (‘No Quiero’ and ‘Palomita’).

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