Last December Wilco issued a deluxe 4 CD edition of their classic 1996 album “Being There”. Among the treats of this version were discs 4 and 5: the first official release of their November 12th, 1996 performance at Los Angeles iconic Troubadour, previously held in common consensus as one of Wilco’s shortlist essential live recordings circulating among fans. Now Wilco is issuing Live At The Troubadour 11/12/96 on its own as a 2 LP set April 21, 2018 for Record Store Day. Rhino/Reprise will press 5000 copies in the US, 8500 worldwide, marking the first time it’ll be available on vinyl (and as a self-contained set on any format).
It includes the following tracks:
Tracklist : Sunken Treasure, Red-Eyed And Blue, I Got You (At The End Of The Century), Someone Else’s Song, Someday Soon,
Forget The Flowers, New Madrid, I Must Be High, Passenger Side (Punk Version), Passenger Side, Hotel Arizona,
Monday, Say You Miss Me, Outtasite (Outta Mind), The Long Cut, Kingpin, Misunderstood, Far, Far Away,
Give Back The Key To My Heart,Gun,
The new single ‘Eat Me Whole’ is keenly anticipated by a lot of people, a key component to their concert power finally laid down in the studio. Crunching indie rock with a UK slant, ‘Eat Me Whole’ is dominated by that crunching chorus, a real anthem-in-waiting for fans.
The band’s Henry Camamile says…“It’s a story about the moment at a party when it’s just about to kick off over someone being rude and one guy thinking he’s the man, but in reality they’re just killing the vibe. It was written the same day we recorded it, so it has that exciting and impulsive energy of a brand new jam, so we thought let’s do something in the moment to reflect the story of the song and see what happens. The music and the lyrics all came together and we love how it sounds.”
Catch Sea Girls at the following shows: October4th Nottingham Bodega Social Club
Earlier this year, Seattle band La Luz made a solid cassette EP that came out via Burger Records (which included the great track “Sure as Spring”). It was full of surf-tinged garage pop, which is what they offer once again with “Brainwash” (their forthcoming single out July 17 via Suicide Squeeze). The track achieves a more mellow vibe, but that’s not to say the track is devoid of power. Though they apply a soft touch with their “oooh” vocals and paced, minimal intro, they also scream and play their instruments really loud in a few concentrated, raucous bursts. But at the core here is a sweet jangling melody– the perfect thing to support the simple organ solo that comes in just before the outro. Yes, right at the point where most bands pegged with the word “garage” would opt for a blaring guitar solo, La Luz go for something softer and more tonally appropriate.
La Luz is a band in Seattle, WA, started in the summer of 2012 by Shana Cleveland (guitar), Marian Li Pino (drums), Alice Sandahl (keyboard) and Lena Simon (bass). Everyone sings. Songs by Shana and La Luz.
Record Store Day 2018 will sweep America’s record shops, bringing with it performances, parties, and plenty of drool-worthy new and exclusives releases. Uncle Tupelo (the band that predated and eventually morphed into Wilco) will release No Depression – Demos on Record Store Day. Previously released as disc two of the 2014 deluxe reissue of the landmark 1990 album, this marks the first time these tracks will be available on vinyl. Legacy will press 3000 copies.
One release we’re particularly excited about is Uncle Tupelo’s No Depression (Demos). the site and publication No Depression originally got its name from that 1990 album from Uncle Tupelo, a history former ND editor Kim Ruehl outlined in a recent piece for the Columbia Journalism Review.
Referencing ND founding editor Peter Blackstock, Ruehl writes, “Blackstock occasionally participated in an online message board called NoDepression.AltCountry, named for the 1993 debut album of Midwest alt-country group Uncle Tupelo (who had, in turn, named their inaugural recording, No Depression, for a song The Carter Family had recorded a half-century earlier, during the Great Depression).”
Jay Farrar, Jeff Tweedy, and Mike Heidorn formed the group Uncle Tupelo after the lead singer of their previous band, The Primitives, left to attend college. The trio recorded three albums for Rockville Records, before signing with Sire Records and expanding to a five-piece. Shortly after the release of the band’s major label debut album Anodyne, Farrar announced his decision to leave the band due to a soured relationship with his co-songwriter Tweedy. Uncle Tupelo split on May 1, 1994, after completing a farewell tour. Following the breakup, Farrar formed Son Volt with Heidorn, while the remaining members continued as Wilco. Although Uncle Tupelo broke up before it achieved commercial success, the band is renowned for its impact on the alternative country music scene. The group’s first album, No Depression, became a byword for the genre and was widely influential. Uncle Tupelo’s sound was unlike popular country music of the time, drawing inspiration from styles as diverse as the hardcore punk of The Minutemen and the country instrumentation and harmony of the Carter Family and Hank Williams. Farrar and Tweedy lyrics frequently referred to Middle America and the working class of Belleville.
This Record Store Day release features a handful of exclusives, including a 1988 demo of the title track, which has never before been released on vinyl. Check out more details and a track list for No Depression (Demos)here.
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 earlier.
Side A 1. Outdone [1989 Demo] 2. That Year [1989 Demo] 3. Whiskey Bottle [1989 Demo] 4. Flatness [1989 Demo] 5. I Got Drunk [1989 Demo] Side B 1. Before I Break [1989 Demo] 2. Life Worth Living [1989 Demo] 3. Train [1989 Demo] 4. Graveyard Shift [1989 Demo] 5. Screen Door [1989 Demo] 6. No Depression [1988 Demo]
Bringing you more fun than a fun thing that’s very fun indeed, new signings Gender Roles have recently been making waves everywhere they go and now they’re here to make even more with their new EP Lazer Rush dueout 13th April.
To get you in the mood, why not watch video for new single Gills? Created by the very talented Jared from the band, it’s ridiculously awesome!. Gender Roles have just released their incredible animated video for new single Gills! Created by the very talented Jared from the band, it’s ridiculously awesome and probably one of the best videos we’ve ever seen at BSM!
You can also check out the previous single Plastic and About Her.
If you like what you hear, you can pre-order the brand new EP on a lovely frosted with pink splatter 7″. Just do it a be a legend. via Big Scary Monsters
After you’ve done that, catch the band on an entirely FREE (£0, nada, nothing) UK tour this April. Take in a show near you!
Legendary artist Graham Nash is a two-time Rock and Roll Hall of Fame inductee – with Crosby, Stills, and Nash and also with the Hollies. He was also inducted twice into the Songwriter’s Hall of Fame, as a solo artist and with CSN, and he is a GRAMMY Award winner.
Towering above virtually everything that Graham Nash has accomplished in his first seventy-five years on this planet, stands the litany of songs that he has written and introduced to the soundtrack of the past half-century. His remarkable body of work, beginning with his contributions to the Hollies opus from 1964 to ’68, including “Stop Stop Stop,” “Pay You Back With Interest,” “On A Carousel,” “Carrie Anne,” “King Midas In Reverse,” and “Jennifer Eccles,” continues all the way to This Path Tonight (2016), his most recent solo album.
The original classic union of Crosby, Stills & Nash (& Young) lasted but twenty months. Yet their songs are lightning rods embedded in our DNA, starting with Nash’s “Marrakesh Express,” “Pre-Road Downs” (written for then-girlfriend Joni Mitchell), and “Lady Of the Island,” from the first Crosby, Stills & Nash LP (1969). On CSNY’s Déjà Vu (1970), Nash’s “Teach Your Children” and “Our House” beseeched us to hold love tightly, to fend off the madness that was on its way.
Overlapping CSNY, Nash’s solo career debuted with Songs For Beginners (1971), whose “Chicago/We Can Change the World” and “Military Madness” were fueled by the Long Hot Summer, the trial of the Chicago Eight, and the ongoing Vietnam war. Songs from that LP stayed in Nash’s concert sets for years including “I Used To Be A King” and “Simple Man”. His next album, Wild Tales (1974), addressed (among other issues) unfair jail terms for minor drug offenses (“Prison Song”), unfair treatment of Vietnam vets (“Oh! Camil”), the unfairness of fame (“You’ll Never Be the Same”), and his muse, Joni (“Another Sleep Song”).
The most resilient, long-lived and productive partnership to emerge from the CSNY camp launched with the eponymously titled Graham Nash/David Crosby (1972), bookended by Nash’s “Southbound Train” as the opening track and “Immigration Man” as the closer. The duo contributed further to the soundtrack of the ’70s on their back-to-back albums, Wind On the Water (1975) and Whistling Down the Wire (1976).
On the CSN reunion studio LP (1977), Nash took top honors with “Just A Song Before I Go” (written in the space of one hour, and a Top 10 hit single). Lightning struck once more on CSN’s Daylight Again (1982), on which Nash penned their second (and final) Top 10 hit, “Wasted On the Way,” lamenting the energy, time and love lost by the group due to years of internecine quarrels.
Nash’s passionate voice continues to be heard in support of peace, and social and environmental justice. The No Nukes/Musicians United for Safe Energy (MUSE) concerts he organized with Jackson Browne and Bonnie Raitt in 1979 remain seminal benefit events. In 2011, Nash was instrumental in bringing MUSE back to the forefront with a concert to benefit Japan disaster relief and groups promoting non-nuclear energy worldwide. That same year, he and Crosby were among the many musicians who made their way to the Occupy Wall Street actions in lower Manhattan.
In September 2013, Nash released his long-awaited autobiography Wild Tales, which delivers an engrossing, no-holds-barred look back at his remarkable career and the music that defined a generation. The book landed him on the New York Times Best Sellers list, and was released in paperback in late 2014.
In recognition for his contributions as a musician and philanthropist, Nash was appointed an Officer of the Order of the British Empire (OBE) by Queen Elizabeth. While continually building his musical legacy, Nash is also an internationally renowned photographer and visual artist. With his photography, Nash has drawn honors including the New York Institute of Technology’s Arts & Technology Medal and Honorary Doctorate of Humane Letters and the Hollywood Film Festival’s inaugural Hollywood Visionary Cyber Award. His work is collected in the book Eye to Eye: Photographs by Graham Nash; he curated others’ work in the volume Taking Aim: Unforgettable Rock ‘n’ Roll Photographs Selected by Graham Nash (2009).
Nash’s work has been shown in galleries and museums worldwide. His company Nash Editions’ original IRIS 3047 digital printer and one of its first published works—Nash’s 1969 portrait of David Crosby— is now housed in the National Museum of American History at the Smithsonian Institution in recognition of his revolutionary accomplishments in the fine arts and digital printing world.
Another one of Perth’s heroes. £Giant Tortoise” is mega, there’s nothing like it really. Pond changed the game for me with Hobo Magic. Going back to Sabbath roots, heavy prog, ’70s metal origins to add their unique flavour of psych to the modern era.
A Perthadelic mind-splurge, that’s what. To simplify matters, let’s start with just two: Kevin Parker and NickAllbrook, Tame Impala’s singer and ex-bassist respectively, and the two biggest heads in the burgeoning Perth psych scene. Whenever Parker was locked away to single-handedly pull Tame’s albums out of God’s nostril, Allbrook was busy with his own astral pop projections.
Jamming randomly with other at-loose-ends Tame members (and occasionally Kevin too, on drums), he built a sprawling collective around Pond, the improvisational art-rock collaboration that was formed on the day of their first house-party gig in 2008, and knocked up their 2009 debut album ‘Psychedelic Mango’ on an eight-track in Nick’s parents’ granny flat. After three more albums (see box, right), and with all the sounds in his head colliding with the fucked-Floyd freak-outs of ‘Lonerism’ on tour, Nick left Tame Impala in May to concentrate on Pond, among other projects. Bizarrely, he was replaced in Tame by Pond drummer Cam Avery, who clearly never got the ‘Leaving Tame Impala To Concentrate On Pond’ memo.
To quit the coolest band in the world to go make a seven-track album of surreal psychedelic blues about spiritualism, giant tortoises, conspiracy theorists and Pegasus. But that’s what Allbrook has done, and with considerable success. Pond’s fifth album, ‘Hobo Rocket’, bristles with unrestrained creativity and sonic exploration, while verging away from pastoral prog towards a harder garage blues slant. Spiritualist acid mania infects ‘Hobo Rocket’ from its first mystical inklings: opener ‘Whatever Happened To The Million Head Collide?’ wafts in on a cloud of MGMT and a distorted Buddy Holly bass riff, Nick emitting psychedelic yowls between references to “the holiest of holies’’ and how “I am, you are Buddha, Krishna, God’’. Then he screams, and the track becomes a White Stripes/Band Of Skulls voodoo rocker, Nick shifting from meditative peacenik to paranoid conspiracy freak: “I’m gonna sleep for a week and not speak at all/Cover myself in oil and tin foil’’. It’s a schizophrenic mash-up, but one hell of a sucker-punch opening.
Heavy as a narwhal’s balls and concerning the crippling emotional effects of psychoactive medication, the brittle blues bluster of ‘Xanman’ provides pop relief in the style of a wormhole ‘Seven Nation Army’, Nick playing the lusty funk squealer with commitment during the blow-out coda. ‘O Dharma’ – by turns The Beatles’ ‘Sun King’, Pink Floyd’s ‘Any Colour You Like’ and Hot Chip getting groovy round the Maharaja’s gaff – is perhaps the sweetest acoustic gospel-hippy swirl ever to centre around the phrase “And if you muthafuckers don’t like it you can all get out’’. It’s a key phrase to Pond’s ethos; reflecting their experimental roots – and perhaps Nick’s wild musical mood swings – this is an album of dichotomies, both thematic and sonic. Lulled into a pleasant dopamine haze by ‘O Dharma’? Now take the ponderous, misanthropic Zep-metal chunder of ‘Aloneaflamaflower’, segueing into ‘Giant Tortoise’ – a tune that imagines Jack White going back in time to guest on ‘Across The Universe’.
Pond’s open-mindedness lifts off towards event status on the title track, in which a guy called Cowboy John – a local legend described in the sleevenotes as “artist, mystic, wanderer, eccentric’’ – rants and mumbles about flying through the universe at “twice the speed of light’’ on a “horse with wings’’ like a dope-fried Lou Reed, then starts asking the band mid-song what drugs they’ve got. It all wraps up with the demonic blues metal of ‘Midnight Mass (At The Market St Payphone)’, complete with a pastoral, Floyd-y, four-minute ‘Dear Prudence’ outro to a record that leaves you mentally a-quiver. When a million heads collide, it seems, it’s a colourstorm.
Similar to Pink Floyd, The Bee Gees really didn’t become megastars until the next decade, though they did have a good deal of success as a psychedelic pop band in the late sixties. It’s not a stretch to say that Bee Gees 1stis the best album effort that the Bee Gees released during their entire career Bee Gees’ 1st was the group’s debut album for the UK Polydor label a psychedelic pop album. The album cover was designed by Klaus Voormann who had previously done the cover for Revolver .
The Gibb Brothers’ perfect harmonies match perfectly with the various psychedelic styles they use without any hiccups; in one album, the Bee Gees play off the Beatles, the Moody Blues, and the British pastoral style of the Kinks to keep your attention, but the BeeGees were mainly focused on creating short, radio ready pop songs that were easily digestible and without any extended jamming or crazy instrumentation (no song on this album is over 3:45). For an album that’s based so strictly in pop, the Bee Gees have a surprising range of songs – from the Revolver-esque “In My Own Time” or the hazy “Please Read Me,” to the straight pop ballad “To Love Somebody,” to the gloomy “New York Mining Disaster 1941” or “Every Christian Lion Hearted Man Will Show You,” the Bee Gees do a great job in altering their sound over the course of just fourteen tracks.
Drummer Colin Petersen and lead guitarist Vince Melouney, both Australians, were hired to make the Bee Gees into a full band. Both played on the first English album and became official members of the group between its completion and release. Petersen had played with the Bee Gees at St. Clair studio in 1966 on the Spicks and Specks sessions and was officially added first,
Released 14th July 1967 (UK).
Reprise Records (sister label to Atco under Warner Music Group) reissued the album with both stereo and mono mixes on one disc and a bonus disc of unreleased songs and alternate takes. (This 2-CD set on Reprise corrected the fluttering on the lead-off stereo track “Turn of the Century”. The mono version never had this problem.)
Bee Gees
Barry Gibb – lead, harmony and backing vocals, rhythm guitar
Robin Gibb – lead, harmony and backing vocals, organ
Maurice Gibb – harmony and backing vocals, bass guitar, piano, organ, harpsichord, mellotron, guitar
