Em Burrows is one of music’s great collaborators, and loves a bit of irony, too. With 70s vibes from the vocals.

Embracing electronic rhythm elements and samples, WA-based pop singer-songwriter Em Burrows has delivered a compelling debut album. The Perth artist was channelling “obscure” Spanish soul bands from the ‘60s while writing most of the songs on Invisible Seams.

“I started writing bass lines really early in the songwriting process for this record actually because I loved how it gave the songs an identity and a feel straight away. “Then I’d carve out the chord structures from that and layer it with other sounds like synths and what not.” It’s a collection of songs that explore who humans make connections.

“It’s sort of me sifting through my life and working out why I attach meaning to some things and not to others and realising that some things may not have a specific purpose but they’re still part of the larger fabric of how we make meaning from life.  It sounds deep but, really, they’re just pop songs.”

A mistress Jedi of the psychedelic movement, this track is as fine an example of 21st Century psychedelia you’ll find this side of, well, anywhere.

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All songs written and arranged by Em Burrows. Chris Young played guitar, Jeremy Segal played bass, Marcus Davidson played drums, Jamie Canny played saxophone and Mark McAndrew played the MS20 on tracks 2 and 7. Em Burrows sang and played keys/synths.

Released March 19th, 2018

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The West Coast Pop Art Experimental Band were an American psychedelic rock band formed in Los Angeles, California in 1965.Their first album for Reprise was the best of the groups career, in large part because it was the most song-oriented. The group created music that possessed an eerie, and at times sinister, atmosphere, and contained material that was bluntly political, childlike, and bizarre. It was still plenty weird, almost to the point of stylistic schizophrenia, but when you got down to it, much of the record was comprised of fairly catchy songs in the neighborhood of two and three minutes long.

At times they sounded like reasonably normal, fairly talented Byrds-like folk-rockers with tracks like “Transparent Day,” P.F. Sloan “Here Where You Belong” and others, a Kinks-like garage band (“If You Want This Love” and at others, a fey Baroque pop outfit (the orchestrated “Will You Walk With Me”). There was an undercurrent of unsettling weirdness and even paranoia, though, in some cuts with otherwise pleasing tunes, like “Shifting Sands,” with its sizzling distorted guitars; “I Won t Hurt You,” with its heartbeat bass and disconnected vocals and “Leiyla,” where a standard teen garage rocker suddenly gets invaded by spoken dialog that seems to have been lifted from a vampire B-movie.

The cover of Frank Zappa’s “Help, I’m a Rock” flung them into freakier pastures, emulated convincingly on the group original “1906,” an apt soundtrack to a bummer acid trip with its constant spoken refrain, “I don’t feel well.”

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Born in New York and raised in Montreal, Common Holly (AKA Brigitte Naggar) puts unpredictable compositional elements into a singer-songwriter/folk framework, packaged in textured, eclectic electro-acoustic production. Playing House contemplates the notion that it is conscious thought and deliberate action that defines and cements maturation from child to adult.

There’s a deceptive simplicity to the album’s sparse arrangements and an ephemeral hue to her voice – all of which add a haunting atmospheric quality to her melancholic, deliciously dark contemporary indie-folk songs. Common Holly brings you to a cabin by the lakeside, a desert, and, of course, internalized emotions.
“I am the lizard slinking through the valley of regret.”

All songs and lyrics written by Brigitte Naggar 
All songs performed by Brigitte Naggar & Devon Bate
Additional Instrumentation: 
Piano on ‘Lullaby’ played by Jean-Michel Blais 
Drums on Track 1, 4 & 7 played by Kyle Hutchins 
Guitar on ‘If After All’ played by Steven Whitely 
Violin played by Amelia Castillo
Cello played by Laurence Gaudreau

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Something American is the debut of an impossibly confident artist and a distinctive new voice. With the powerful impact of a full album and the fine nuance of a novel, these five songs reveal a songwriter who emphasizes melodic craft and emotional subtlety, a singer willing to push her instrument as far as it will go, a personality defined by its contradictions: sharp-witted yet vulnerable, dead-serious yet often drop-dead funny, young but incredibly wise.

The London-based singer-songwriter has been working on Something American for most of her life. When her parents divorced, she settled in South Wales with her mother and grandmother, but she had already absorbed so much of the world, transforming her experiences into lyrics and songs. Barely a teenager, she learned to play guitar and started writing her own lyrics, slowly at first but gradually with more determination, eventually settling into an intense song-a-day pace. Some were good, others better left forgotten, but the process sharpened her chops and shaped her approach to songwriting.

To make her first record, Bird flew across the Atlantic to work with Simone Felice of the Felice Brothers, an admirer of her songwriting

Watch Jade Bird charm SXSW attendees at the PledgeHouse day stage.

British Singer-songwriter Jade Bird follows up her ‘Something American’ EP with new music, including the infectious new song “Lottery.”

Songs performed Cathedral,  Uh huh, Anniversary, What am I Here For, Lottery

Nestled in the middle of latest album Street Safari is “Lost in the Game,” a tongue-in-cheek, poppy dive that has Public Access TV lead John Eatherly lackadaisically singing “So what, who cares, goodbye” so often that you, too, will feel the same way. It’s a carefree, buoyant track driven by an understated bass line and surprise brass, a song fit for a dance hall in any of the last 4 decades

The official video for “Lost in the Game” off Street Safari.

Watch Lucy Dacus perform a few new songs from her new album ‘Historian’ at the PledgeHouse day stage. The extraordinary singer songwriter Lucy Dacus, is one of the most heavily-buzzed acts playing Austin this week. Some artists just have a presence, captivating listeners from the first note, and Lucy Dacus is very much among them. Whether her songs come in a quiet wash or a rocking churn, her powerful and expressive voice cuts like an airplane wing through atmosphere, pulling the music up and up and up. Songs like “Night Shift” — the title track to her new album Historian reward the attention with uneasy, engaging lyrics.

You might not have caught the buzz for Lucy Dacus’s superb released 2016 album ‘No Burden,’ but you’d have to have your head in the sand to miss the wild anticipation for her sophomore LP ‘Historian.’ Her lilting and confessional brand of indie-rock will make for a riveting live set.

Historian is a record that’s great for introspection and Thinking About Your Life™, but it’s also the perfect kind of music for a late afternoon outdoor set in Texas, Lucy Dacus’s music can feel like a bit of a slow burn, but the layered, aching guitars sound like they’re a lost recording session from every influential guitarist from the 90s. It’s great.

Songs performed: 0:57 Historians 4:22 Nonbeliever 12:55 Body to Flame 16:32 I Don’t Wanna Be Funny Anymore

1966: A Quick One

Recorded at IBC Studios, Pye Studios and Regent Sound, London in the autumn of 1966. Pete’s first rock opera contains six separate songs, ‘Her Man’s Gone’, ‘Crying Town’, ‘We Have A Remedy’, ‘Ivor The Engine Driver’, ‘Soon Be Home’, and ‘You Are Forgiven’. Along the way the unnamed heroine pines for her absent lover, selects Ivor as a substitute, regrets her folly when her man returns, confesses her indiscretion and is ultimately forgiven. John:”We wanted to put ‘cellos on the track but Kit Lambert said we couldn’t afford it. That’s why we sing ‘cello, cello, cello, cello,’…where we thought they should be.”

In 1966 The Who’s 2nd Album, A Quick One, marked a change in The Who’s recording approach, and although re-recording songs that had previously been cut with Shel Talmy and discovering stereo as everyone was at the time, the addition of the Mini Opera demonstrated the path the band would eventually be taking.

Songs:

00:00 “Batman” (Neal Hefti) 01:37 “Bucket T” (Dean Torrence, Roger Christian, Donald J. Altfeld) 03:49 “Barbara Ann” (Fred Fassert) 05:47 “Disguises” (Pete Townshend) 08:56 “Doctor, Doctor” (John Entwistle) 11:55 “I’ve Been Away” (Entwistle) 14:03 “In the City” (Entwistle, Moon) 16:23 “Happy Jack” (Townshend) 19:14 “Man With the Money” (Don Everly, Phil Everly) 21:59 “My Generation/Land of Hope and Glory” (Townshend/Edward Elgar)

  • Bass Guitar, Vocals – John Entwistle
  • Drums, Vocals – Keith Moon
  • Guitar, Vocals – Pete Townshend
  • Vocals – Roger Daltrey

THE WHO – “A quick one while he’s away” – 1969 – Live at the London Coliseum

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Another of Perth’s greats. This track has one of the greatest drops in rock History!!!

With a scream, a killer riff and a solid bash on the skins, the band have launched into Australia’s consciousness, serving up two albums and two EPs with a side of singles that have set radios alight. Refusing to follow trends, The Love Junkies are part indie, part punk and part grunge: a mix that has hit a nerve as audiences fall for their frenetic live show.

Hailing from the foothills of Perth, Western Australia, The Love Junkies were founded by singer/songwriter Mitch McDonald and drummer Lewis Walsh at the end of 2009. The duo met many moons prior in high school, by the time the band hit the studio a mere three months later, long time high school friend Robbie Rumble (his real name) had joined on bass.

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Band Members
Mitch Mcdonald – Vocals, Guitar
Harley Barnaby – Bass
Robbie Rumble – Vocal/Guitar
Lewis Walsh – Vocals/Drums

Peter case on the way

Peter Case has always been a pioneer. Genre-tripping through punk with The Nerves (“Hanging On The Telephone”), new wave/power pop with The Plimsouls (“A Million Miles Away”) and Americana with his Grammy®-nominated, self-titled solo debut. It is a career that is still going strong over 40 years later on the strength of his exceptional songwriting..

With 18 previously unissued live performances from 1998 and 2000 originally broadcast on KPFK’s FolkScene. On The Way Downtown: Recorded Live On FolkScene is a snapshot from nearly twenty years ago when Case sat still long enough for the airwaves to catch up to him. This new album captures material from two live performances on the highly influential KPFK (Los Angeles) syndicated radio program in 1998 and 2000. The first half features material from his then, newly released Full Service, No Waiting—an album New York magazine called “stunning.” The latter half contains material from 2000’s Flying Saucer Blues, as well as songs from his earlier releases. Plus, some choice covers appear as well. Both intimate acoustic sets have remained unheard since their original broadcasts.

While he continues to receive accolades for his recorded work (including 2015’s HWY 62), there is a very good reason he continues to pack venues when he plays live. On The Way Downtown: Recorded Live On FolkScene gives the listener a chance to experience his incredible gift of songwriting and performance.

Both intimate acoustic sets have remained unheard since their original broadcasts.

Legacy Recordings Announces Eclectic Assortment Of Collectible 7″, 12″ Vinyl and Cassette Titles For Record Store Day 2018

Legacy Recordings, the catalog arm of Sony Music, has announced the titles its releasing for this year’s Record Store Day, which will take place on April 21st 2018.

A press release notes that it’s the most number of albums the label has issued in the 11 years that Record Store Day has taken place. Among this year’s offerings are limited-edition releases by such artists as AC/DC, Pink Floyd and Bruce Springsteen.

Pink Floyd are reissuing their debut, The Piper at the Gates of Dawn, on mono vinyl for the first time in 50 years. Bruce Springsteen will see his 1995 Greatest Hits compilation issued on individually numbered red vinyl, while AC/DC’s Back in Black will be sold on cassette. The document of the 1987 tour by Bob Dylan and the Grateful Dead, Dylan & the Dead, will be sold on red and blue tie-dye vinyl.

Legacy Recordings also revealed that the Allman Brothers Band’s Live at the Atlanta Pop Festival, July 3 & 5, 1970, one of their most famous concerts prior to their At Fillmore East breakthrough, will be available for the first time on vinyl, with four discs housed in a box set with eight pages of notes and photos. A similar treatment has been given to Jeff Buckley’s Live at Sin-é: Legacy Edition.

Johnny Cash’s legendary At Folsom Prison is coming out in a special five-LP collection that combines the entirety of both sets Cash performed that day, as well as performances by June Carter, Carl Perkins and the Statler Brothers. Included in the package is a 12″ single of rehearsals the band ran through at a Sacramento, Calif., hotel the night before the shows and an eight-page 12″ x 12″ booklet.

Live sets by Living Colour (Live at CBGB’s, 12.19.89), Rage Against the Machine (Democratic National Convention 2000), Elvis Presley (The King in the Ring — the acoustic sets of his 1968 comeback special), Soul Asylum (Live From Liberty Lunch, Austin, TX, December 3, 1992), Hot Tuna (Live at the New Orleans House) and Big Audio Dynamite II(On the Road Live ’92) will also receive their premiere vinyl release.

Legacy is also putting out a pair of 7″ singles for Record Store Day: Jimi Hendrix’s “Mannish Boy” b/w “Trash Man,” both of which come from April 1969 sessions, and a collaboration between Van Morrison and jazz organist Joey DeFrancesco on “Close Enough for Jazz” and “The Things I Used to Do.”

In addition, records by Eurythmics (the 1984 soundtrack), Kenny Loggins (purple vinyl of Return to Pooh Corner) and Uncle Tupelo (No Depression – Demos) will be released.

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The Allman Brothers Band, Live At The Atlanta Pop Festival, July 3th & 5th, 1970 (4LP 12” vinyl – Individually Numbered – First Time on Vinyl)

The Allman Brothers Band was one of Georgia’s top live acts still looking for a national break when they were hired to open the three-day Atlanta International Pop Festival. The band’s Southern blues style, bolstered by jams that stretched to epic lengths, won over audiences—and two days later, after legends like Jimi Hendrix, Johnny Winter and B.B. King took the stage, the Allmans were invited back for a second set. Recorded nearly a year before At Fillmore East established them as one of America’s hottest bands, fans can now discover these landmark nights in Allman Brothers Band history with this individually numbered, limited edition box set, available on vinyl for the first time and packaged in an oversize slipcase with an eight-page booklet of photos and liner notes.

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Big Audio Dynamite II, On The Road Live ’92 (12” Single – First Time on Vinyl)

The Clash’s Mick Jones resurrected Big Audio Dynamite with a new lineup in the early 1990s, releasing The Globe, the band’s best-selling album in America, in 1991. This five-track EP, available for the first time on vinyl, features performances from live dates in Chicago and New York—including a rendition of the band’s U.K. No. 1 single, “Rush.”

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Jeff Buckley, Live At Sin-é: Legacy Edition (4LP 12” vinyl – Individually Numbered – First Time on Vinyl)

In a cramped club on the lower east side of Manhattan, armed with only an electric guitar, Jeff Buckley stunned audiences with his mysterious, emotionally uncompromising live sets, packed with eclectic covers and his own originals. The four-track Live At Sin-é EP, released in 1993, was his debut release for Columbia Records; here, it’s expanded as a numbered, limited edition in a deluxe hard shell slipcase housing four individually designed LP jackets and an eight-page, full-color booklet of photos and liner notes. Live versions of favorites like “Grace,” “Last Goodbye” and Leonard Cohen’s “Hallelujah” appear here on vinyl for the first time.

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Johnny Cash, At Folsom Prison: Legacy Edition (5LP 12” vinyl – Individually Numbered – First Time on Vinyl)

“Hello…I’m Johnny Cash.” With those four words, The Man in Black solidified his legend as outlaw country pioneer with two spirited sets recorded at Folsom State Prison in 1968 and released as At Folsom Prison, one of the most acclaimed live albums of all time. This special box set includes both full concerts available for the first time on vinyl, including performances by June Carter, Carl Perkins and The Statler Brothers. This numbered deluxe package, featuring individually designed LP jackets packaged in a deluxe hard shell slipcase with an eight-page, 12” x 12” booklet, also includes a bonus 12” single featuring previously unreleased audio of Cash and friends rehearsing at the El Rancho Motel in Sacramento, California, the night before the concerts took place.

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Bob Dylan & The Grateful Dead, Dylan & The Dead (LP – Red and Blue Tie-Die Vinyl)

In 1987, two legends joined forces for an unforgettable tour. Now, Dylan & The Dead, featuring The Grateful Dead backing up Bob Dylan on seven of his classic songs, including “All Along The Watchtower,” “Knockin’ On Heaven’s Door” and “Gotta Serve Somebody,” is available on red and blue tie-dye vinyl for a trip unlike any other.

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Jimi Hendrix, Mannish Boy b/w Trash Man (7” Single)

Recorded at New York City’s Record Plant on April 22nd, 1969, this uptempo reworking of Muddy Waters’ “Mannish Boy” marks Jimi Hendrix’s first recording session with bassist Billy Cox and drummer Buddy Miles—the trio who became known as Band of Gypsys, whose work with Hendrix had a significant impact on his remarkable legacy. First released on Both Sides Of The Sky, a new studio album of rare and unissued Hendrix recordings, “Mannish Boy” is issued here as a 45 RPM single backed with “Trash Man,” an April 3, 1969 studio recording made by the original Jimi Hendrix Experience. “Trash Man” is drawn from Hear My Music, a Dagger Records “official bootleg” album not sold in stores and otherwise only available to fans via jimihendrix.com.

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Van Morrison & Joey DeFrancesco, Close Enough for Jazz b/w The Things I Used to Do (7” Single)

This limited edition 7” single is a collaboration between legendary vocalist Van Morrison and jazz organist Joey DeFrancesco, featuring a new version of Morrison’s “Close Enough for Jazz” and a stunning rendition of Guitar Slim’s “The Things I Used to Do.”

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Pink Floyd, The Piper At The Gates Of Dawn (Mono) (LP)

The psychedelic debut album by Pink Floyd was their sole album completed with original vocalist/guitarist Syd Barrett and featured the early classic “Interstellar Overdrive.” The original mono version of Pink Floyd’s first LP, named one of Rolling Stone’s 500 Greatest Albums of All Time, is available on vinyl for the first time in more than 50 years.

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Soul Asylum, Live From Liberty Lunch, Austin, TX, December 3, 1992 (2LP – Previously Unreleased – First Time on Vinyl)

Legacy Recordings’ Live From The Vaults series uncovers rare and unreleased concerts on vinyl, featuring classic bootleg-inspired jacket design with unique, artist-specific outer wraps (OBIs)! This never-before-heard set features Soul Asylum’s hard-driving performance at the legendary Austin venue Liberty Lunch, just months after the release of their breakthrough album Grave Dancers Union.

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Bruce Springsteen, Greatest Hits (2LP – Individually Numbered – Red Vinyl)

Originally released in 1995, Greatest Hits was the first collection of powerful hit singles from the first two decades of Bruce Springsteen’s career—and kicked off an exciting new chapter in his story with three brand-new songs recorded with The E Street Band after nearly a decade apart. Long unavailable on the vinyl format, this individually numbered 2LP set, pressed on red vinyl, is assembled from the brilliant remasters of Springsteen’s discography by Bob Ludwig.

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Uncle Tupelo, No Depression – Demos (LP – First Time on Vinyl)

Released in 1990, Uncle Tupelo’s debut album No Depression was a genuine milestone in American rock and roll, a striking fusion of traditional folk and country with post-punk innovation and hardcore ferocity. For the first time on vinyl, fans can hear Jeff Tweedy, Jay Farrar and Mike Heidorn’s legendary demo tape Not Forever, Just For Now, recorded in 1989, plus a demo of “No Depression” recorded a year prior.

For full details, visit Record Store Day’s website.