The Fat Angel Sings

Little Feat’s classic 4th album released in 1974 and produced by frontman Lowell George was a near perfect distillation of the bands influences from blues, country, funk brewed into an irresistible mix.

Little Feat’s fourth album, “Feats Don’t Fail Me Now“, arguably ranks just a notch below the earlier “Dixie Chicken” and “Sailin’ Shoes“, but that doesn’t mean it isn’t loaded with fine examples of the group’s boundary-bending R&B-Southern rock. The last Little Feat  LP where cofounder and original lead vocalist Lowell George plays a big role, this 1974 LP is also the first to feature major contributions from the group’s other members. Highlight’s keyboardist Bill Payne’s funky “Oh Atlanta.” Another is George’s “Spanish Moon,” a brassy, jazzy gem that sounds like something the late New Orleans R&B master Allen Toussaint—an apparent major influence—might have created.

Both configurations feature a rarities disc of previously unreleased studio outtakes that were once thought to be lost when the recording studio located on a boat in Maryland sank in the late 70’s. While it is true that some did sink, this is what remains from those sessions.

Like “Dixie Chicken” and “Sailin’ Shoes“, this album is now available in a multi-disc edition. Its first CD presents a remaster of the original record while a second adds seven alternate versions, four outtakes, and the single edit of “Spanish Moon.” A third and final CD delivers a consistently entertaining nearly hour-long 1975 Paris live concert that features several numbers from “Feats Don’t Fail Me Now” plus Toussaint’s “On Your Way Down” and George’s best-known song, “Willin’,” which first appeared on “Sailin’ Shoes”.

The expanded “Feats Don’t Fail Me Now“, released on June 14th, 2024, is available on 3-CD and 2-LP in the U.S. here and in the U.K. here. Both versions include the studio album newly remastered from the original multi-track and two-track stereo tapes.

On May 17th, Little Feat also issued their first new studio album in 12 years, “Sam’s Place”.

“After nearly thirty years since my brother Rory’s passing, I now believe it’s time for other people to cherish Rory’s ‘orphaned’ 1961 Fender Stratocaster and the rest of his incredible instrument collection.

Since 1995, I have always felt that there was a mission to be fulfilled to cement Rory’s legacy and further widen the knowledge of his music.

So, following much deliberation and reviewing of all options, in what is one of the most difficult and sensitive decisions to reach, I have decided to facilitate the release of his instruments for sale, so that these emblems of his legacy can be enjoyed by others.

It is difficult to separate or even begin to quantify the depth of relationship Rory had with his instruments, this decision is one I recognise as challenging for some, however, with the proceeds raised from this instrument sale we will continue to do further good for Rory’s name and legacy, as well as assisting good causes, that my brother would have supported.” Dónal Gallagher

Bonhams Press Release:

THE WORLD’S MOST RECOGNISABLE FENDER STRATOCASTER OWNED BY RORY GALLAGHER COMES TO BONHAMS THIS OCTOBER

London – Known for his legendary live performances, the Irish musician and songwriter Rory Gallagher (1948-1995) was an inspiration to many and is one of the most revered guitarists of all time. Now the collection of Rory Gallagher will come to auction at Bonhams on 17th October in New Bond Street, London. The sale will consist of guitars, amps and accessories from Rory Gallagher’s life and career. The sale will include Rory Gallagher’s iconic 1961 Fender Stratocaster.

Rory Gallagher bought the guitar for £100 on credit from the owner of Crowley’s Music Store in Cork, Ireland in 1963. According to legend, it may have been the first Stratocaster to ever reach Ireland. It became synonymous with Gallagher and its wear and worn finish have made it one of the world’s most iconic electric guitars. It has featured in a number of landmark exhibitions, appeared on the cover of countless guitar magazines, and has been played by the likes of Johnny Marr and Joe Bonamassa. Since 2004, Fender has created and sold replica models of the guitar as part of their artist signature series.

Claire Tole-Moir, Head of Bonhams Popular Culture department, commented: “Rory Gallagher’s 1961 Fender Stratocaster is one of the world’s most recognisable guitars. It was an enormous part of Rory Gallagher’s life and was with him from the very start of his career right until the end. It could be said that it was on this guitar that he carved out his legacy of being one of the greatest guitarists of all time. It has been treasured by Dónal Gallagher, Rory’s brother and former manager, and the Gallagher family ever since Rory’s passing in 1995. Bonhams is honoured to be entrusted with bringing this iconic Stratocaster to auction and is excited to announce the landmark sale of Rory Gallagher’s extensive collection.”

Speaking of Rory Gallagher’s Stratocaster Sir Brian May commented, “He was one of a very few people at that time, who could make his guitar do anything it seemed, it just seemed to be magic…I remember looking at this battered Stratocaster and thinking “how does that come out of there?”. Brian May has also said that “One of the reasons I do what I do is because of Rory.”

The American band Sour Widows debuts this week with “Revival Of A Friend”. The band from California worked on the album for seven years and had to deal with the loss of loved ones and the corona pandemic during this period. Luckily the album was released, because “Revival Of A Friend” is an excellent album.

It’s an album that initially took me back to the 90s. After all, Sour Widows’ debut album contains quite a few influences from indie rock and slowcore from this decade. For example, “Revival Of A Friend” mainly contains songs that mainly move at a slow pace, but that can explode just like that. It provides the album with the dynamics that were common in the indie rock of the 90s.

The guitar work on the album also reminds me of rock music from a few decades ago. The guitar work on “Revival Of A Friend” is melodic and spacious, but can also sound quite gritty. The guitar work on the album is responsible for the dynamics in the music of Sour Widows, while the rhythm section mainly plays supportively, although the drummer of the band certainly deserves the necessary credit.

The beautiful guitar work on the debut album of the Californian band is combined with soft and often almost sweet vocals and that is also an important ingredient of the indie rock from the 90s. Where many 90s bands had one female figurehead, Sour Widows has two.

Susanna Thomson and Maia Sinaiko both account for both the guitar work and vocals on the album and this double line-up enriches both the instrumentation and vocals on “Revival Of A Friend”. You can also hear that the two have been playing together for years, because both the guitar parts and the vocals of Susanna Thomson and Maia Sinaiko flow together beautifully and know how to reinforce each other again and again.  Eventually enlisting drummer Max Edelman to flesh out their sound

Especially in the longer tracks on the album, the band makes a lot of use of repetitive chords, so that the music of Sour Widows has a special or even almost hypnotic effect on the listener. Especially in the subdued passages, which dominate the album, it is striking with how much care is played and that care is reflected in the vocals. The music of Sour Widows can sound rough at the same time and that’s great.

It’s all beautifully captured by Maryam Qudus, who produced the album together with the band and who added some atmospheric synths to the sound on “Revival Of A Friend”.

“Revival Of A Friend” contains over fifty minutes of music, which is a long time for a debut album. Due to the slow tempo and a number of longer tracks, the album seems to last longer, but the debut album of Sour Widows never gets boring. “Revival Of A Friend” can easily ripple along in the background, but the songs of Susanna Thomson and Maia Sinaiko become even more beautiful when you listen to them with full attention and considerable volume.

The latest single from London trio Honeyglaze, “Cold Caller,” can be summed up in one word: pretty. It’s a rock tune shepherded by a sinuous riff that explodes into an elegant measure of part-math rock, part-jangle pop goodness before nose-diving back down into the throbbing rhythms of the band’s controlled chaos. Vocalist Anouska Sokolow unravels atop Tim Curtis’s bassline, singing “I can hear your voice at night, bathed in warmth from my phone light. Stay with me, oh, love of mine.” There’s a delicacy in Sokolow’s phrasings, as “Cold Caller” is a delight from start to finish.

“It’s funny, because it’s a complete dynamic reversal: the last person you’d usually want attention from is a cold caller,” the band shared in a statement. “Can you imagine how lonely someone must feel if you aren’t getting enough from them? Wishful thinking and delusion determine your reality more than you’d think.”

Honeyglaze have an ace up their sleeves, and it’s Curtis’s foundational, timeless harmonics paired with Yuri Shibuichi’s snare-forward drumming and Sokolow’s lyrics of desperation and isolation. “Don’t let me get away,” Sokolow lets out. Lucky for the rest of us, “Cold Caller” will keep Honeyglaze around for a long while.

Mercury Rev have released a new single, ‘Ancient Love’. It’s taken from their upcoming release “Born Horses”, the band’s first new album of original material in nine years. Check out the six-minute track below.

“What we are today comes from our thoughts and perceptions of yesterday, and our present thoughts build our life for tomorrow,” the band shared in a statement about the new song. “Our life is the creation of our mind which originates from ancient love.”

“Since our beginning in the mid 80’s with David Baker through to the recording of “Born Horses” with new permanent members, Woodstock native (pianist) Jesse Chandler and Austrian born (keyboardist) Marion Genser,

“When I opened my voice to sing on this record, this was the bird that sang: a lower, whiskery voice, which surprised me as much as it may others. I don’t know where the bird came from, but it’s there now, and I don’t question it. It’s just the bird that wants to sing.” – Jonathan

“Born Horses” arrives September 6th via Bella Union Records.

For your pleasure! Introducing The Ultimate Genre Guide to Glam Rock. Eno, Roxy, Bowie and beyond!

Your ultimate Glam guide, with artist reviews and classic archive features, including the 40 greatest glam singles.

The new EP from Audrey Pearl, “Long Term Plans”, melds enthralling folk and pop songwriting amidst lyrical depictions of life’s unique aspects from the warm nostalgia of the past to the daunting yet exciting prospects of a hopeful future. “I settled where it’s warmer,” Pearl lets out on the opening track “Never Go Back,” which celebrates a refusal to “go back” and linger in the past, instead opting for warmer waters and hoping that another does the same; it’s an apt, inviting opener to an EP that consistently compels in its emotionally consuming song writing.

The more rock-ready bounce of “She’s Holding My Hand” expresses a fear of growing older and the risks of “diving into the deep end,” enthralling in its anthemic depiction of growing up and facing life’s challenges. The title-touting refrain proves especially infectious as twangy guitars adorn alongside. The subsequent “Dustbunnies” furthers an increasing sense of self-assurance and personal growth, set against an introspective folk appeal with calming acoustics and occasional guitar jangles.

“Pale Yellow Moon” is also exemplary of Pearl’s talent for tonal escalations: the track rouses in its swell from folk-ready intimacy into an emotively cathartic rise, aesthetically reminiscent of Japanese Breakfast and Adrianne Lenker. The gorgeous vocal work and plucky guitar solemnness on the closing “Roommate Song” is a lovely send-off to the EP. “It’s hard to believe that we were ever strangers,” Pearl admits alongside gentle piano pulses and tender acoustics, emphasizing the beauty of connection and enduring friendships. “Long Term Plans” is a fantastic showcase of song writing and heartfelt emotion from Audrey Pearl.

“Every One of Us” was the second of three albums released by the band in the United States in that year (the album was not released in the United Kingdom). The single from the album was “White Houses”, which charted in the United States and Canada. The album combines several styles such as blues, folk rock, and raga rock, while the track “Year of the Guru” is notable for its early use of rapping vocals.

At the time of the release of the album in August 1968, both Danny McCulloch and Vic Briggs had been fired from the band earlier that summer, and Eric Burdon was seeking replacement musicians. Unlike the previous two albums, involving shared songwriting credits with band members, “Every One of Us” is primarily compositions solely credited to Eric Burdon.

When they recorded “Every One of Us” in May of 1968, just after the release of their second album, “The Twain Shall Meet”. The group had seen some success, especially in America, with the singles “When I Was Young,” “San Franciscan Nights” and “Sky Pilot” over the previous 18 months, but had done considerably less well with their albums. “Every One of Us” lacked a hit single to help drive its sales, but it was still a good psychedelic blues album, filled with excellent musicianship by Burdon (lead vocals), Vic Briggs (guitar, bass), John Weider (guitar, celeste), Danny McCulloch (bass,12-string, vocals), and Barry Jenkins (drums, percussion), with new member Zoot Money (credited, for contractual reasons, as George Bruno) on keyboards and vocals. Opening with the surprisingly lyrical “White Houses” — a piece of piercing social commentary about America in early 1968 — the record slid past the brief bridge “Uppers and Downers” and into the extended, John Weider-authored psychedelic mood piece “Serenade to a Sweet Lady,” highlighted by Briggs’ superb lead acoustic guitar playing and Weider’s subdued electric accompaniment. This is followed by the acoustic folk piece “The Immigrant Lad,” a conceptual work that closes with a dialogue. “Year of the Guru” is another in a string of Jimi Hendrix-influenced pieces by this version of the Animals, showing the entire band at the peak of their musical prowess, and Burdon –– taking on virtually the role of a modern rapper — generating some real power on some surprisingly cynical lyrics concerning the search for spiritual fulfillment and leaders. “St. James Infirmary” recalls “House of the Rising Sun,” as both a song and an arrangement, and is worthwhile just for the experience of hearing this version of the group going full-tilt as a rock band. And then there is “New York 1963 — America 1968,” an 18-minute conceptual track with a center spoken word section featuring not a group member, but a black engineer named Cliff, who recalls his experience as a fighter pilot during World War II, and tells of poverty then and now.

This album would be one of the last times that this line up of the group would appear on record —Briggs and McCulloch would leave later in the year, both to be replaced by Andy Somers (aka Andy Summers), and the group as a whole would pack it in with the waning of 1968.

Billboard described this album as “Another fine album by Eric Burdon, and the Animals.“ Allmusic described it as “a good psychedelic blues album, filled with excellent musicianship.

It’s funny, not funny how often we come across artists or bands in passing, but sadly not pay close enough attention at the time for things to fully register. Though he’s been making music for more than a decade, first as a member of contemporary R&B and soul revival group Durand Jones & The Indications, and also more recently as a solo artist, I didn’t become fully cognizant of the immensely talented falsetto-voiced Mr. Frazer until seeing “Payback” moving up the chart, as well as reading about him in a post by fellow blogger’s .

In doing a bit of searching about Durand Jones & The Indications, I saw they were the ones who sang the wonderful song “Witchoo”, which reached #22 on the AAA chart in 2021. I’ve always loved male singers with tenor and falsetto voices, so Frazer’s vocal style is right up my alley. “Payback”, from his terrific second album “Into The Blue”, has an irresistible retro 60s soul vibe that calls to mind some of the great soul acts like Marvin Gaye, the Temptations and The Capitols (who had a hit with “Cool Jerk”), but with a modern edge.

Elton’s first live LP, “17-11-70”. On November 17th, 1970 Elton John made his American concert debut in the summer of 1970, and in October he released his third album in less than two years, “Tumbleweed Connection“. By the year’s end, he was back in the States for more shows, one of which would be the setting for his first live LP, “17-11-70”.

On November 17th, 1970. John gave a performance with drummer Nigel Olsson and bassist Dee Murray at A&R Recording Studios in New York City. The show was set up as a promotion for his new LP, and was broadcast live on WABC-FM.

Elton John gave one of his most definitive early performances on “17-11-70”. In addition to original material like “Take Me to the Pilot,” “Burn Down the Mission” and “Sixty Years On,” John and the band take on songs by the Rolling Stones (“Honky Tonk Women”) and a medley that includes nods to both Elvis Presley and the Beatles.

Did you know: John cut his hand at some point during the performance, and by the end of the show, the piano keys were covered with blood. John has stated in several interviews that he believes that this recording is his best live performance.

According to John, a live album was never planned as a release at that time. Recordings of the broadcast, however, were so popular among bootleggers it prompted the record label to release it as an album in April 1971. John also had released 2 full studio albums “Elton John” and “Tumbleweed Connection” and a movie soundtrack “Friends” when the live LP was issued.

The legendary live radio session concert has been hailed as one of the greatest live albums of all time… and it’s not hard to see why. Elton and his band are on fire here, across a host of early classics and a storming cover of the Rolling Stones’ ‘Honky Tonk Women’. Re-mastered in 2016 from the original tapes by Bob Ludwig at Gateway Mastering in Portland, Maine and the vinyl was cut by Sean Magee at Abbey Road