The Fat Angel Sings

It had been more than seven years since Bob Dylan had toured, when he mounted his memorable return to the stage in 1974. Joining him were his friends and previous touring partners, The Band Robbie Robertson, Levon Helm, Rick Danko, Garth Hudson and Richard Manuel who had backed the Bard on the just-released album, “Planet Waves”. Though the arena tour lasted less than two months, from early January through mid February , it spanned 40 concerts in 21 cities, with many dates offering an afternoon show followed by an evening performance. The outing was documented later that year with a 2-LP set, “Before the Flood“. But now the legendary run is now being presented as a massive 27-CD box set, “Bob Dylan and the Band: The 1974 Live Recordings”.

The new set offers 431 live Dylan tracks, with 417 previously unreleased–including 133 recordings newly mixed from 16-track tape, and every single surviving soundboard recording–along with new liner notes by journalist and critic Elizabeth Nelson. It represents the first release from Dylan’s vast archives since 2023’s “The Complete Budokan 1978“. His last studio album was 2020’s acclaimed “Rough and Rowdy Ways”. 

“Bob Dylan and the Band: The 1974 Live Recordings” includes performances of such classic rock favourites as “Like a Rolling Stone,” “Mr. Tambourine Man,” “All Along the Watchtower,” “Rainy Day Women #12 & 35” and “Knockin’ on Heaven’s Door”. The massive collection, however, does not include The Band’s own sets during those concerts. Lets Hope that collection is to come later.

 “As the tour launched, Dylan and The Band road-tested their sets, tweaking song choices and sequences. By the time they reached L.A., only ‘Forever Young’ survived from “Planet Waves”.

Though they might not have known it at the time, Bob Dylan and The Band were at the vanguard of a new era. Tour ‘74 would help create the template for the major rock tour, and codify many of its shared experiences – from the sight of audiences holding up lighters en masse (as captured in the iconic cover image for “Before the Flood“), to the bright flash of the house lights during a show’s signal moment, in this case their performance of “Like a Rolling Stone.” Likewise many songs performed live for the first time on Tour ‘74–“All Along The Watchtower,” “Forever Young” and the show’s eventual opener-and-closer “Most Likely You Go Your Way (and I’ll Go Mine)”–would take on a life of their own.

At the outset, the 1974 Tour was captured on a stereo soundboard mix, on both 1⁄4” tape and cassette. By tour’s end, Asylum Records’ David Geffen had commissioned recordings on multitrack tape, the standard at the time, for eventual release on “Before the Flood”. “The 1974 Live Recordings” includes it all: the cassettes and 1⁄4” tapes, and the shows that were recorded on 16-track tape, newly-mixed for this collection.

Dylan, who turned 83, on May 24th, is currently co-headlining the 2024 edition of the Outlaw Music Festival with Willie Nelson. The collection, via Legacy Recordings, arrives September 20th, 2024. 

In this documentary, interviews and rare archive footage weave together performances from a landmark multi-artist concert at the Royal Festival Hall in London, celebrating the songs and artistry of the great folk-blues troubadour Bert Jansch. Ralph McTell, Robert Plant, Donovan, members of Pentangle, Bernard Butler, Martin Carthy, Martin Simpson, Lisa Knapp and more pay tribute to Jansch, who died in 2011.

Bert Jansch was one of the most important figures in British folk, both for his solo recordings and his work with seminal British folk group, The Pentangle.

Born in Scotland, he was steeped in American blues and jazz, North African music, and folk early in his career, and by the beginning of the ’60s he was playing the British folk clubs, extending his musical education. Artists like Martin Carthy and Anne Briggs turned him on to songs in the British folk tradition. By the mid-’60s Jansch had set up residence in London where he began and playing live shows, and by making the studio recordings that would come to influence a generation of songwriters, singers, and guitar players. Classic artists like Jimmy Page of Led Zeppelin, Neil Young, Paul Simon, Donovan, Elton John, and Nick Drake, all the way up to present artists like Fleet Foxes and Devendra Banhart, have acknowledged Jansch as a major influence and innovator of acoustic guitar playing.

His debut, Bert Jansch, sold a reported 150,000 copies after it came out in 1965 — pretty impressive for a new talent recording on a home tape machine, just him and his guitar and a voice that had a nasal quality perfectly suited to his songs.

By his second album, Jansch was collaborating with John Renbourn, another seminal British folk guitar giant. Together in 1967, they formed The Pentangle, one of the most important British folk groups of the ’60s. Bert Jansch is listed as one of Rolling Stone magazine’s “Top 100 Guitar Players Of All Time.”

His guitar playing could be both gentle and percussively ear-grabbing. A year after his debut, Jansch recorded a mostly instrumental disc with his then-flatmate, John Renbourn, that remains a favourite to this day. “Bert and John” is one of those records that just makes you smile. A super Bert Jansch solo album is “Avocet”, a collection of original compositions inspired by water birds. Jansch plays a variety of instruments on the album, from guitar to cittern even piano. 

David Coverdale, the powerful voice behind Whitesnake and former Deep Purple frontman, sees his solo work shine brightly in a new collection featuring remixed, remastered, and revisited versions of his solo albums, Rediscovering the Roots of Whitesnake: David Coverdale’s “NorthWinds“, Whitesnake, “Into The Light” All  Albums have been Remixed. As fans of rock history know, David Coverdale’s journey from Deep Purple to forming Whitesnake is legendary. But nestled between those two iconic chapters are two solo albums that played a pivotal role in shaping the sound and identity of what would become Whitesnake. With the release of the new boxed set “Into The Light: The Solo Albums“, these early works, Whitesnake (1977) and “NorthWinds” (1978), are getting the spotlight they deserve, alongside Coverdale’s later solo effort, “Into the Light” (2000).

When David Coverdale left Deep Purple in 1976, he was at a crossroads. Having spent years as the frontman of one of rock’s biggest bands, the question was, what next? The answer came in the form of his solo debut, Whitesnake—a title that would later become synonymous with the band that defined his career.

The collection also unearths several unreleased demos from Coverdale’s archives, including songs destined for future Whitesnake albums. “Lay Your Love On Me” would later appear as “Lay Down Your Love” on 2008’s “Good To Be Bad”, while “Crazy ’Bout Cha” evolved into “Whipping Boy Blues” on 2011’s “Forevermore“. The set even goes back to 1968 with demos Coverdale recorded as a teenager, including an early version of “Sunny Days,” a track that would appear on his solo debut, “WhiteSnake”.

Whitesnake was a bold step away from the heavy, blues-infused rock of Deep Purple. Instead, Coverdale explored a more soulful and introspective sound, blending rock with blues and even touches of R&B. The album featured tracks like “Lady” and “Blindman,” which hinted at the sound that would later characterize Whitesnake but with a more subdued, reflective tone.

Following Whitesnake, Coverdale released “NorthWinds” in 1978. This album continued his exploration of varied musical styles, with tracks like “Keep On Giving Me Love” and “Only My Soul” showcasing a more mature and confident songwriter. “NorthWinds” was where Coverdale began to embrace the fuller, more anthemic sound that would come to define Whitesnake in the years to come.

With “Into The Light: The Solo Albums”, both “Whitesnake” and “NorthWinds” have both been remixed and remastered, breathing new life into these classic records. Coverdale has used cutting-edge audio technology to revisit these tracks, addressing the “technical issues” that had bothered him for decades. The result is a more dynamic and polished sound that aligns these solo efforts within Whitesnake catalogue.

One of the most exciting aspects of this reissue is the use of advanced AI sound separation software, which has allowed for new arrangements and elements that were previously impossible. On “NorthWinds”, for example, the track “Time & Again” now features new string and piano arrangements that Coverdale had envisioned since the album’s original recording sessions.

The remixed versions of these albums aren’t just about polishing old tracks—they represent a reimagining of Coverdale’s early solo work, bringing it closer to the sound that would define the band Whitesnake. As Coverdale himself puts it, “They’re all Whitesnake albums to me…we’ve remixed them to stand proudly alongside any Whitesnake album.”

In addition to the remixed and remastered albums, “Into The Light: The Solo Albums” also includes previously unreleased demos and tracks from Coverdale’s own archives. These tracks provide a fascinating glimpse into Coverdale’s creative process during this formative period.

“Into The Light: The Solo Albums” will be available from Rhino.com on October 25th as a 6-CD boxed set. It comes packaged in a hardcover box featuring a 60-page book with rare photos, detailed liner notes, and a new interview with Coverdale.

The newly remixed version of “Into the Light” will also be available separately as a double vinyl album presented in a gatefold sleeve. “Into the Light“, Coverdale’s third solo album, boasts an impressive musical lineup that includes guitarists Earl Slick (David Bowie) and Doug Bossi, bassist Marco Mendoza (who later joined Whitesnake), legendary drummer Denny Carmassi (Montrose, Whitesnake), and keyboardist Mike Finningan (Jimi Hendrix). The remixed version of the album expands the original with songs like “Let’s Talk It Over” and “All The Time In The World.” The collection also offers additional remixes, demos, and outtakes from the album, including “With All Of My Heart.” Coverdale wrote the song for his wife and considers it one of the best he’s ever written.

Honeyglaze’s second album, “Real Deal”, and their first for Fat Possum Records, feels like their coming of age moment. The band have taken the foundations laid on their debut and focused it into a mammoth record filled with crashing riffs, devastating vocal performances, and nuanced breakdowns, resulting in a mature, complex record grappling with negative relationships, the mundanity of adult life, and identity.

Honeyglaze’s new single, “Pretty Girls,” is out now, off of their upcoming album “Real Deal“, out on Fat Possum Records September 20th.

Velocity Girl formed in 1989 or so at the University of Maryland outside Washington DC, and shortly thereafter settled on the lasting lineup of guitarist Archie Moore (Black Tambourine), guitarist Brian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist Kelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The Not Its). The band combined English-inspired noisy shoegaze fuzz with scrappy US indie rock and classic ‘60s-style pop songwriting. A killer single on Slumberland and non-stop touring grabbed the attention of the indie-rock cognoscenti of the day, and, following a heated courtship involving both dinner AND dessert, Velocity Girl signed a contract on a car hood in Hoboken, New Jersey, making Sub Pop their home.

In 1992 the band began work on their debut album, “Copacetic”, at Easley Studios – once home base to the Bar-Kays and other classic soul bands – in Memphis with Bob Weston (Volcano Suns, Shellac) at the helm, and then mixed the album with Weston in Chicago. While the album had strong songs – pop tunes like “Audrey’s Eyes,” “Pop Loser,” and “Living Well” alongside ambitious explorations like “Pretty Sister” and “Here Comes” – the band had little experience with production and lacked the skills to “drive the boat” in the studio. As a result, the album turned out to be a rather stripped-down affair, lacking the lushness of their prior recordings.

To the band’s ear it was jarring, and they soon realized this wasn’t the record they hoped to make. Bob Weston had done exactly what was asked of him and captured the sounds, but the band didn’t do its part to articulate a clear vision. But the band’s slot in the studio was over, and Polvo had just showed up to work on their album, so off Velocity Girl went to shoot the video for “Audrey’s Eyes.” “Copacetic” came out in 1993 and people seemed to like it just fine, but within the band there was a sense of disappointment to the point where most members couldn’t stand to hear the record.

Between then and now, the band learned a lot about recording, and Archie Moore developed a career in audio work, and the band finally decided to revisit “Copacetic“. After extensive digging, the 2” tape reels appeared in Jim’s ex-wife’s mother’s house, and in the spring of 2023 Archie began working on a remix.

Song by song the new mixes emerged just as the band envisioned them. Soaring vocals from Sarah (who studied opera in college), chiming lead guitar, juicy fuzzed out rhythm guitars and clear pounding drums. The pop songs are much poppier. The sonic blasts are more powerful, and the record hangs together as a cohesive document that flows from song to song. The approach was not to make a 2024 sounding record but rather to go back to the 1992 mindset and create the record the band should have made then. The result, “UltraCopacetic” (Copacetic Remixed and Expanded), is an exciting alternate history of “Copacetic”.

And, while they were at it, the band dug up and refreshed the rest of their studio material from the era: “Ultracopacetic” includes “Warm/Crawl” from the Velocity Girl/Tsunami split 7”, “Creepy” from the Crazy Town 7”, “Stupid Thing” from the “Audrey’s Eyes 7”, and the unreleased album outtake “Even Die.” Topping it all off is the band’s complete five-song 1993 John Peel session, including two tracks that haven’t been heard since the original broadcast. “UltraCopacetic” is truly the definitive version of Velocity Girl’s first record. 

released August 16th, 2024 through Sub Pop Records

Captured live during an opening set for Adrianne Lenker of Big Thief, Palehound’s new live album, “Live at First Congregational Church“, is a beautiful time capsule, highlighting songwriter El Kempner’s unique power as a storyteller and musician. Recorded by Andrew Sarlo live on December 11th, 2021 at First Congregational Church in Los Angeles, the album features songs that would later appear on Palehound’s critically acclaimed album, “Eye on the Bat” (“Fadin’”), as well as classic songs like the title track to 2015’s “Dry Food” as well as “Aaron,” a standout from 2019’s “Black Friday”.

In addition to Kempner’s latest Palehound album, “Eye on the Bat”, and their work with Bachelor (a collaborative project with Jay Som’s Melina Duterte), Palehound has earned widespread critical acclaim in outlets such as The New York Times, Pitchfork, and NPR, which praised their unique sound and fearless artistic direction.

Palehound’s long and storied touring history has seen them play shows around the world alongside some of the biggest names in indie rock, including Big Thief, Sylvan Esso, Lucy Dacus, PUP and more. And it’s not just other artists who have been inspired by their music – Kempner’s passionate and introspective songwriting has struck a chord with fans around the world, cementing Palehound’s status as a deeply admired and widely influential artist.

released August 16, 2024

All songs written and performed by El Kempner

55 years and two days from now Jefferson Airplane took the stage at the muddy miracle that was Woodstock. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish. 

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.”

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.  

Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the “Volunteers” album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package.

Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!

Brabanthallen in ‘s-Hertogenbosch, On Saturday 9th and Sunday 10th November 2024, the Mega Record & CD Fair will take place in the Brabanthallen in ‘s-Hertogenbosch This fair, which is being held for the 59th time, brings together music lovers from all over the world to buy records, attend book presentations, see live performances and visit exhibitions.

This Impression of the 58th Mega Record & CD Fair as it was also organised in April 2024 at the Brabanthallen in ‘s-Hertogenbosch in the Netherlands. This focuses primarily on the experiences and stories of exhibitors and visitors who attended this show. This edition took place in Halls 1, 2 and 3 of the Brabanthallen which together have a floor space of more than 16,000 m2.

A total of 552 stalls with hundreds of exhibitors from more than 32 countries, two stages, performances, signing sessions, DJs, an auction, thousands of visitors, and not to mention millions of records and CDs. If you have not been there yourself make sure you attend the next edition.

The fair is held twice a year in April and November. We are RecordPlanet the biggest Vinyl Show on earth