The Fat Angel Sings

Fleetwood Mac will release a live album from their 1982 tour to support the album “Mirage” later this year. “Mirage Tour ’82” features 22 songs collected from a pair of sold-out shows at the Los Angeles Forum from that year. As Rhino notes in a press release announcing the set, “In September 1982, Fleetwood Mac embarked on a 31-city U.S. tour in support of “Mirage” the band’s fourth consecutive multiplatinum album and third No. 1 in America.

Fleetwood Mac’s “Mirage Tour ’82”, features live recordings from Fleetwood Mac’s Mirage Tour, Includes the classic Mirage singles “Gypsy,” & “Hold Me,” along with six previously unreleased tracks including “Don’t Stop,” “Dreams,” “Oh Well,” “Landslide,” “Never Going Back Again” & “Sara”.

“Both shows at the Forum were recorded, and “Mirage Tour ‘82” combines songs from both into a single concert experience.” You can hear a previously unreleased live version of “Don’t Stop”.

The set will be available on September 20th in 3LP, 2CD and digital configurations. Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham, and Stevie Nicks were at the height of their collective power at these shows, delivering a hyper-charged setlist filled with hits new and old. Standouts include “Songbird,” “Oh Well,” “Love In Store,” “Go Your Own Way,” and a version of “Landside” for the ages.

In the set’s liner notes, music journalist and songwriter Bill DeMain calls the collection “a riveting listen” and a reminder of a time when rock shows “were platforms to expand and reinvent songs for the stage, to let them breathe, to unleash different, wilder sides of a band.”

The arrival of the set is some good news for fans who were recently told by Stevie Nicks that “there’s no chance of putting Fleetwood Mac back together” following Christine McVie’s death in 2022.

We miss The Maccabees, but in their wake come 86TVs, who blew minds at Concorde 2 last month. 

White explained that the single showcased an “introspective and melancholic” side of the band’s self-titled debut album (out August 2nd). “When we started getting closer to actually playing and singing together, it felt like the most natural, instinctive thing was to make outreaching, positive, and high-dynamic guitar music,” he said, adding that their new song sees the group move somewhat out of their “comfort zone”.

Felix and Hugo have created a beast in this new band with their brother Will & drummer Jamie, don’t miss the birth of a future classic..Following on from ‘Tambourine’ and ‘Someone Else’s Dream’, 86TV’s latest offering finds them in a calmer, more reflective mood. ‘Komorebi’, however, gradually builds to grander heights akin to The National and Arcade Fire.

86TVs have spoken about working with US tennis legend John McEnroe – who stars as the band’s rage-filled therapist in the video for their latest single, ‘Komorebi’. Felix White spoke about his “left field friendship” with the tennis icon, tackling shared grief on the band’s debut album, trading tunes with Noel Gallagher, and whether a Maccabees reunion is on the cards

The song marks a stylistic shift for the group – which is completed by White’s brothers and former Maccabees bandmates, Hugo White and Will White, alongside drummer Jamie Morrison (Noisettes and Stereophonics). 

86TVs brand new single ‘Komorebi’ is OUT NOW via Parlophone Records:

Crystal Chandelier hailed from Rhode Island. Originally known as Those Unknown, the band consisted of Arnie Micarelli (vocals, lead guitar), Frank Giammarco (rhythm guitar), Kenny Beck (bass), and Anthony Jackvony (drums). Jackvony was soon replaced by  Vin Vento (drums).

The band’s first single was released on the United Artists label in 1968. The A-side is the incredible ‘The Setting Of Despair’ b/w ‘It’s Only You.’ Their second single was released on Buddah’s affiliate Cobblestone label and contains the lovely ‘Your Land Of Love’ b/w the fuzztastic ‘Suicidal Flowers.’ The band’s name was misspelled “Chandlier” on this single with the song lengths written in Roman numerals. ‘Your Land Of Love’ was chosen as the A-side, but it was ‘Suicidal Flowers’ that most radio stations played, helping propel the record into the Top 10 in the Ohio area.

Arnie Micarelli said the following about the band back in 2011: “The band was trying to do an album on Revelations but no one knew what it all meant. We actually had meetings with church priests and ministers but no one could help us. We did not want to be wrong in translating the rich symbolism in the Book of Revelation. It was so amazing that none of these so called priests could explain the last book of the Bible.

Since no one could explain the verses I figured that I should pray for an answer and I did get on the floor. Two days later and older grandma aged woman found me on the street outside the studio in Providence and she tried to explain things to me but I did not understand and she could not speak good English so she invited me to the Kingdom Hall of Jehovah’s Witnesses. She said that they could explain Revelation.

So off I went in my long hair and musical attitude. To my amazement they did explain the book to us and they were the only ones that could and had a reasonable common sense scriptural explanation.

There were three of us associated with the band that started studying with Jehovah’s Witnesses and all three of us started attending meetings.

After this I left the band and recorded more blues for an album with different musicians. However these songs and the album were never recorded professionally or released.”

60’s Garage Psych from Providence, Rhode Island (1969)

Mark Lanegan‘s 2004 album “Bubblegum” is getting reissued for its 20th anniversary. Beggars Arkive and Mark Lanegan’s estate collaborated on “Bubblegum XX“, which will be out August 23rd as a remastered double-LP. It’ll also be available as a four-LP box set that includes two bonus LPs featuring rarities, outtakes and demos, including 12 previously unreleased tracks.

“Bubblegum” was remastered by Geoff Pesche at Abbey Road Studios, and this is its first release as a double LP (the original 2004 vinyl edition squeezed the 50-minute album onto a single disc). The box set’s bonus discs include a remastered edition of “Here Comes That Weird Chill (Methamphetamine Blues, Extras & Oddities)”, now with three extra songs

The last LP is “Demos & Unreleased Songs”, which includes four songs that were produced and mixed by Troy Van Leeuwen and recorded “in various hotel rooms,” with Mark singing and Troy playing all the instruments. There’s also “Union Tombstone” where Mark shares vocals with Beck.

“These hotel demo sessions were basically forgotten,” says Van Leeuwen. “When I heard the news of Mark’s passing, these memories started rushing back to me. I searched through my archive of drives and somehow magically was able to open up these sessions. I thought to myself, ‘That NEVER happens.’ These ideas couldn’t be more fresh out of the tap. The original rough mixes are a real time capsule that stands up to the 20 years that have passed. It’s a true gift from Mark to those of us who love him and his unvarnished expression of beauty. With every listen, I am humbled and honored to share his gift with you.”

The “Bubblegum XX” box set also contains a a 64-page hardcover book with essays by Troy Van Leewuen, Josh Homme, Chris Goss, Alain Johannes, David Catching, Greg Dulli, Duff McKagan, and Brett Netson, along with studio notes and previously unseen photographs by Steve Gullick. “When he told me: ‘I’m calling it Bubblegum’, I was like you’re a sick fuck, because I knew him so that’s funny to me, ‘cause Lanegan wanted to be a new piece of bubblegum on a sunny happy day,” Josh Homme writes in the liner notes. “But he was the gum underneath the desk. He was the bubblegum underneath the table. He was the dark Lord.”

Beggars Arkive in conjunction with the Estate of Mark Lanegan, are honoured to celebrate the 20th Anniversary of Mark Lanegan’s acclaimed 2004 album “Bubblegum”. released 23rd August.

“Bubblegum XX” – a set of releases that include a remastered double LP edition of the original album and a 4XLP/3XCD release containing 40 remastered tracks, 12 of which are previously unreleased. The limited-edition “Bubblegum XX” 4XLP box contains a 64-page hardcover book with essays by Troy Van Leewuen, Josh Homme, Chris Goss, Alain Johannes, David Catching, Greg Dulli, Duff McKagan, and Brett Netson along with studio notes and previously unseen photographs by Steve Gullick.

The complete uncollected Noise New York studio recordings of Galaxie 500. A twenty-four track chronological journey through rarities and outtakes including never-before-heard songs, from the start of their incendiary career to their final studio session. “Uncollected Noise New York ’88-’90″ marks Galaxie 500’s first release of new archival material in nearly thirty years and their most comprehensive collection of unreleased and rare material ever.

conic late-’80s indie rock trio Galaxie 500 recorded a lot of non-album material during their short run, including singles, b-sides, radio sessions, compilation/tribute album songs and more. Many of those have been gathered up for new compilation “Uncollected Noise New York ’88​-​’​90”. Here are two that have never been released before.

“Uncollected Noise New York ’88-’90” is Galaxie 500’s first release of new archival material in nearly 30 years and is their most comprehensive collection of unreleased and rare archival material ever. Its 24 tracks make up the complete Noise New York studio recordings of the band’s outtakes and non-album tracks. Compiled by the band it traces their career from among their earliest recorded moments in the studio to their last. Including eight never-before-heard studio tracks culled from all the sessions throughout Galaxie’s career, chronologically sequenced along with previously released but rare and long out of print studio material. Uncollected Noise New York ’88-’90 plays like a secret history of the band following the arc of their growth and creative expansion from their career’s beginning to end.

Produced and Engineered by Kramer at Noise New York 1988-1990.

Packaging includes archival images and historical liner notes by the band.

Uncollected Noise New York ’88-’90 releases September 20, 2024 on 2xLP, 2xCD and 2xTape on Silver Current Records and digital on 20/20/20. releases September 20, 2024

Dean Wareham: guitar, vocals
Damon Krukowski: drums, percussion, vocals
Naomi Yang: bass, vocals

Drive-By Truckers are an American institution “Southern Rock Opera” is the third studio album by the American rock band Drive-By Truckers, released in 2001. Originally released as a double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, “Southern Rock Opera” either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd.

The band documented in This Band Can Be Your Life, and a crucible of world-class song writing talent that includes ex-Trucker Jason Isbell and founding fathers Patterson Hood and Mike Cooley. Over the course of 14 studio albums and almost three decades of hardscrabble touring, the group has honed a sound and sensibility that’s ragged, steaming, sentimental, political, smartass, heartfelt and heartbreaking, with hollered harmonies and white-knuckle guitar jams owing more to Lynyrd Skynyrd than the Allman Brothers, while also invoking Neil Young & Crazy Horse

New West Records is proud to present a remixed and remastered deluxe edition LP featuring a re-sequenced record as well as a third disc with multiple bonus tracks including a song “Mystery Song” that was recorded one night in Birmingham. tLead Singer, Patterson Hood explains, “Birmingham” and “Moved” were originally part of Act I on original CD release.

This is the first vinyl version to feature “Moved” and we felt that “Birmingham” would be the best other song to move without messing up the story element of Betamax Guillotine. We moved them here to keep the vinyl sides within time of maximum high fidelity. (Under 23 minutes per mastering guidelines). In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.”

By today’s standards, Act 1 should perhaps begin with a trigger warning. It opens with “Days Of Graduation”, Hood’s explicit narration of a bloody car wreck delivered in a distorted voice suggesting a police radio dispatcher. That’s the introduction to “Ronnie And Neil”, a song unpacking a famous songwriter beef that, in 1970s American rock’n’roll terms, was no less seismic than this year’s Kendrick Lamar vs Drake dust-up. Lynyrd Skynyrd’s “Sweet Home Alabama”, of course, was an answer record to Young’s “Southern Man” and “Alabama,” songs confronting the uglier legacies of the American South. Hood’s offering is no less bold, invoking the 1963 Birmingham church bombings that killed four black girls (a turning point in the Civil Rights movement) alongside an image of Aretha Franklin coming to Alabama “to record that sweet soul music / to get that Muscle Shoals sound.” If some verses are less than factually accurate – it’s maybe a stretch to say Van Zant and Young became “good friends,” or that “Neil helped carry Ronnie in his casket to the ground” – the song still amply supports Hood’s narrative argument that “Us Southern men need both of them around.”

Songs like “Women Without Whiskey”, a boozy fist-pumper that conjures a losing battle with problem drinking; closely followed by “Zip City”, an affectingly frank jam about adolescent male sexual frustration, questionable as some of its verses might be by current standards. 

This 3-disc, Indie Exclusive clear vinyl deluxe edition comes packed in a foil stamped rigid slipcase with the original album packaged as a 2xLP set in gatefold. The 3rd LP is packaged in a separate jacket. Each record comes with a 28-page book that is given the spot gloss treatment throughout (also available on standard black vinyl) .

Rainwater ripples across the surface of the spacey first notes of “In a Dream,” the opener of Trace Mountains’ forthcoming album, “Into the Burning Blue“, produced by Craig Hendrix of Japanese Breakfast. The atmospheric synth lines and drum machine loops pool around minimal, largely monosyllabic lyrics about going about business as usual as the world burns and existence within it becomes more and more surreal. Dave Benton’s minute observations turn the ordinary existential and cast an outwardly reflective shadow from moments of solitude: “The naked sun like a stone sinks low and you wonder / Where it goes will there be thunder? / Where it shines will the people suffer? / Do you have faith in it then? / The way you always pretend? / Can a country be good? / Can a person learn?”

“From the start of the record-making process, Craig and I envisioned “In a Dream” as the opening track on “Into the Burning Blue,” Benton says of the album and the single. “On an album that is largely auto-biographical and very personal in nature, it felt vital to begin in a place with a bit of worldview. Especially now, in an election year in the US, I think it’s meaningful to acknowledge the state-inflicted suffering and denial of life that happens here and all over the world. There are so many kinds of Dreams, some are nightmares, some are fantasies, some are very real hopes for one’s future. With “In A Dream” I wanted to explore the universal idea of Dreams—the ones that come at night and the day, what they mean, and who gets to have them.”

“In a Dream” floats between the conscious and the subconscious, the personal and the universal, expanding to hold multiple realities as they unfold simultaneously. Flames can destroy, but they can also cleanse—“like a loving fire / a burning desire.” A dream can obscure or clarify, be an escapist distraction or a vision of a better future. 

Trace Mountains from the album ‘Into The Burning Blue,’ out September 27th 2024.

Our new album “Clouds In The Sky They Will Always Be There For Me” is out October 18th! “Sick Of The Blues” is out today with a live video from our performance at Le Centre Pompidou in April 2024

Dana reflects on “Clouds In The Sky They Will Always Be There For Me” with the enthusiasm of a real creative breakthrough. “It feels like the first time we’ve made something,” she explains, “it captured something about our friendship as a band and the way that we have learnt to play together. I love the songs, I love playing them, they haven’t gotten old to me and it feels like it’s a very singular thing.” A pause. “It’s taught me so much. Following your gut to the nth point, trusting your friends and their loyalty, trusting yourself to be able to fight with people properly and still come back together. How I want to live is how I want to make records, because making records is my life because my work is my play is my job is my life. It all ties together in this thing, and there are ways to do this that might not kill me.”

Porridge Radio formed in Brighton in 2015. They are fronted by vocalist, songwriter and lead guitarist Dana Margolin. The other members are keyboardist Georgie Stott, bass guitarist Maddie Ryall and drummer Sam Yardley. They were listed them among their top 40 new artists of 2018

“Clouds In The Sky They Will Always Be There For You” is released by Secretly Canadian on 18th October, 2024

EU/UK/US tour on sale Friday4

“Greatish Hits: I Followed My Dreams and My Dreams Said to Crawl” is the singer-songwriter’s career-spanning collection of songs taken from his five widely acclaimed albums, including “Fear Fun” (2012), “I Love You, Honeybear” (2015), the Grammy-nominated “Pure Comedy” (2017), “God’s Favorite Customer (2018), and “Chloë and The Next 20th Century” (2022). “Greatish Hits” marks the first appearance of fan favourite “Real Love Baby” on an album release. It also includes the brand new, previously unreleased song “I Guess Time Just Makes Fools of Us All.”

Father John Misty has sold over 1.1 million copies in the US and has amassed over 11.7 million monthly listeners to date. He’s earned accolades from the likes of The Guardian, The Sunday Times, Rolling Stone, and has performed on Saturday Night Live, Austin City Limits, the Late Show with Stephen Colbert, and The Tonight Show.

Father John Misty and his incredible nine piece live band have headlined The Hollywood Bowl, Red Rocks, and Radio City Music Hall as well as appearances at renowned International festivals including Coachella, Glastonbury, Roskilde, and Fuji Rock.

“From Here to Eternity: Live” is a live album by punk rock band The Clash, originally released in October 1999 through the bands label Epic Records. The album’s songs were selected from various Clash concerts recorded between 1977 and 1982. Some of the recordings featured also appear in the film Rude Boy (1980). “London’s Burning”, “What’s My Name” and “I Fought the Law” were instrumentally overdubbed to repair some technical deficiencies of the original live recording.

Years after the Clash disintegrated, their live performances remained legendary, partially because most things concerning the band entered rock legend. Bootlegs offered proof of those great performances, but only hardcore collectors would seek those out, which is why “From Here to Eternity: Live”, the Clash’s first official live album, is a welcome addition to their catalogue, it confirms that the legend is deserved. Sequenced as “the ultimate live concert,” as so many compiled live albums are, this is one time the trick actually works.

The album comprises 17 songs, with a further 2 songs released as iTunes bonus tracks.

All the performances were recorded between 1978 and 1982, but they’re sequenced according to the date of the song, not the date of the performance. Consequently, the album divides roughly in half, as the first nine songs are devoted to The Clash and “Give ‘Em Enough Rope“, with the rest of the record comprised of songs from “London Calling” and its successors. That doesn’t necessarily mean that the performance is taken from the same era as the song, however. The amazing thing is that the performances all sound like they’re taken from the same show.

“From Here to Eternity” has genuine momentum, rushing through its 17 songs at a furious pace — things don’t slow down until “Armagideon Time,” the 11th song in. Only after the album is finished does it sink in that it is indeed sequenced chronologically, since it has the feel of a set list. More importantly, it’s impossible to tell when each song was recorded. “Career Opportunities” sounds as if it were recorded at a packed, sweaty London club, but it was taken from tapes of the band’s opening set for the Who at Shea Stadium in the fall of 1982. That’s not the only incident of such historical sleight of hand, either. Throughout the first portion of the album, early and latter-day performances blend seamlessly, creating the illusion that everything on the record was from one dynamic, relentlessly exciting show. By doing so, “From Here to Eternity: Live” offers undeniable proof of the Clash’s greatness — this was a band that sounded every bit as good in its final days as it did in its first. (This, of course, is discounting the post-Mick Jones Clash.) But the best thing about the album is that it never sounds like a historical project or an archival release, because it is such a captivating listen. From the opening chords of “Complete Control” to the closing notes of “Straight to Hell,” “From Here to Eternity” is an invigorating record, teeming with life and energy. It’s a live album worthy of a band as legendary as the Clash.