An overview of Captain Beefheart’s 1968 studio album “Strictly Personal”, Ultimately a failed attempt at a double album (the partner project released years later under the title, ‘Mirror Man’), this second record from Beefheart and his unwavering Magic Band is a pivotal point in his career whereby it provides a nod to the past (the debut, ‘Safe As Milk’) and prognosticates things to come (‘Trout Mask Replica’). This album comfortably bridges the predictable and “formulaic” nature of the songs on the debut, yet takes the music in unconventional directions; just listen to the song “Son Of Mirror Man – Mere Man” or “Kandy Korn” to illustrate the point. Gone are the traditional Blues song forms, yet the soul and musical vocabulary used is still very rooted deeply in that Delta Blues style.

The songs still have a strong semblance of unity where the instruments largely play in complementary ways while the vocals follow, yet diverge and are clearly becoming more abstract in definition and delivery. Opening with “Ah Feel Like Ahcid,” an a cappella blues workout with its roots in Son House’s “Death Letter,” the brief (barely 35 minutes) album is at the same time simpler and weirder than Safe As Milk had been.  ‘Beatle Bones ’N Smokin’ Stones’ might just be the signature tune of the album to foreshadow what is to come…the breakdown of conventional forms, idioms, expectations and ultimately what could be done in a “Pop/Rock” format was galvanized with this album. It wasn’t until ‘Trout Mask Replica’ that it was completely realized.

The Captain; He frustrated, hurt, abused, rebuked and demoralized more than a handful of musicians in his artistic pursuit of absolute freedom. While I think that he achieved his goal…and created unparalleled music in the process, the result is timeless and “tip my cap” to all of those who bore the weight of his tyranny, persevered and ultimately created this incredibly groundbreaking music.

Producer Bob Krasnow was the owner of Blue Thumb added phasing and reverberation effects to the recordings, which have since been the topic of much discussion among music fans and critics. The original intention was to record the album for Buddah Records entitled “It Comes to You in a Plain Brown Wrapper” (Strictly Personal’s sleeve design is a relic of this initial concept). A considerable amount of material was recorded for the project during the period of October–November 1967 with Krasnow producing. Buddah Records, however, declined to release the album, which appeared in revised form the following year. Strictly Personal features re-recorded versions of songs from the 1967 sessions. Beefheart subsequently condemned the production. He said the effects were added without his knowledge or approval. These comments became public only after sales of the album failed to reach expectations. It has been claimed by other band members that he initially agreed to the use of these sounds. Regardless, Beefheart did release his later recordings with a much more basic and unprocessed sound.  The CD I May Be Hungry But I Sure Ain’t Weird contains all of those ’67 tracks, except Korn Ring Finger recorded for the sessions.

Buddah released some recordings from the earlier sessions, along with an earlier version of “Kandy Korn”, as Mirror Man in 1971. Much other material from the 1967 sessions has since been released: This album has long since been out of print, but all eleven tracks can be found spread across The Mirror Man Sessions and the current version of Safe as Milk. Some of these tracks were also used for a vinyl-only release by the Sundazed label in 2008 bearing the original intended title of It Comes to You in a Plain Brown Wrapper but this release does not duplicate the original album’s concept or sequence.

‘Strictly Personal’ is not only required listening to every Captain Beefheart fan, I think it deserves mention of one of the most Avant-Garde albums in the Pop/Rock genre (is that even possible?!?!) Hopefully, some who visit this page will investigate this landmark recording and comment on my emotions, but this is a Huge milestone in his development as a “musical” artist and what (along with a healthy dose of competition he felt with fellow friend and maverick, Frank Zappa) created the Beefheart aesthetic.

thanks for words by Brent Rusche

Originally released in October 1968 as the first album on the Blue Thumb Records

The Magic Band:

  • Don Van Vliet – vocals, harmonica
  • Alex St. Clair – guitar
  • Jeff Cotton – guitar
  • Jerry Handley – bass
  • John French – drums

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Image  —  Posted: July 3, 2020 in FESTIVALS, MUSIC
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A band from Belfast inspired by sea glass, bleached grass and ghost guitars. Belfast’s finest purveyors of sun-kissed jangle-pop Sea Pinks will mark 10 years in existence with a new EP. Arriving exactly a decade on from the Neil Brogan-fronted band’s debut single, ‘Japanese Knotwood’, it doubles up as an ending – an inexorable line drawn under the sand – for one of the country’s most prolific and consistently on-form bands.

On the heels of its title track, we’re pleased to present a first listen to the release’s new single ‘Running Down The Clock’. Sure enough, even at the eleventh hour, Sea Pinks are a band that sound like no other. Centering on the onward march of time, and our place within it, it’s a stellar six-minute effort from a band who are now officially on an indefinite hiatus.

Have a first listen to the track – and delve into a wonderfully insightful statement from Neil Brogan regarding the past, present and future of Sea Pinks. Ten years ago this week I uploaded the debut Sea Pinks single ‘Japanese Knotweed’ to Bandcamp. It was home-recorded using Garageband, a Vox Valvetronix amp, a Tascam 4 track of dubious origin, a badly detuned snare drum, and a newly acquired and heavily modified 1966 Fender Mustang, stripped of its original sonic blue by a previous owner to a crudely lacquered slab of alder. Something about the patina of that guitar made me want to write songs that recalled the era it came from and evoked the places it might have been to before it came to me. In short order, a clutch of songs sprang forth with very little summoning on my part, and I recorded as I went along, playing everything myself. That first album Youth is Wasted was made in the living room and box room of the house I was then renting off Woodstock road, east Belfast, between April and June 2010.


This EP was recorded mostly live in a single one-day session in January this year, and I finished it during lockdown. I’ve now arrived at the point I always arrive at sooner or later, where I hit up against the familiar limitations of money and ability and CPU on my 2008 Macbook (maxed out to 8GB RAM) and finally admit defeat. The moment of release is always an exercise in damage limitation at some level.

I should acknowledge how totally lucky I’ve been to have this band in my life. I’ve played great shows with rooms full of people singing along, played with a ton of great bands, been to places I never would have been, and been lucky to be supported by amazing people, within the band and outside of it, throughout. There are too many of them to name here, but I hope the principals know who they are.

Maybe, when it’s ok to do so, we’ll play these songs for an audience. The recording date in January was actually the last time we were all in the same room together. All things considered it feels like the right time to put the band on indefinite hiatus. We’ve had a good run and ten years feels like a nice round number to draw a line under. But then again, I’ve tried to draw a line under this band before.

To those who have attended a gig, bought a record, put up wth us on social media etc – thank you all for your support and enjoyment of our music over the past decade. Neil Brogan.

releases July 3rd, 2020

Sea Pinks:
Neil Brogan – Guitar, Vocals, Keyboard
Davey Agnew – Drums
Gary Cummins – Bass

Recorded at Start Together, Belfast, January 2020

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One night in Paris, a perfect moment preserved and documented for posterity. If you have been lucky enough to see The KVB on their 2019 North American tour, then this live album captures that same energy, that same space perfectly. I very much look forward to being able to see them perform again, but for now “Live at La Cigale” offers a reminder of what we all have to look forward to. The visionary film-maker Christopher Brown delivers a love letter to Berlin in a new short film ‘Sehnsucht’, the city where the London based brits lived for a year in 2016 and collaborated with the likes of The Brian Jonestown Massacre, The Underground Youth and Neu!, under the Moniker ‘Browzan’. The film scored by The KVB gives us an insight into the dark, creative and the freak show that is Berlin. In this film-poem Brown illustrates his experience living in Berlin between 2016-17. Brown uses collage, still photography, video and boomerangs to re-imagine this dirty paradise as a throbbing visual mosaic. The evocative imagery is harmonised by a dark music score composed by the illustrious duo: The KVB (Invada Records)

In 2020, feeling nostalgic in UK lockdown, Brown reminisced over his time in Berlin and wanted to make a piece that captured his experience living there. His concept was to make a film-poem using still photography, boomerangs and collage techniques.

A long time admirer of British audio-visual duo The KVB (Nicholas Wood & Kat Day), Brown reached out to the band to make an original score – they had been wanting to collaborate for a while and finally the opportunity came to being. Having lived in Berlin also, Brown thought the UK duo were the prefect act to generate the atmosphere that Brown’s imagery evoked.


‘Live at La Cigale’ LTD Edition silver vinyl available now exclusively via Invada Records UK. Each vinyl purchase guarantees access to our upcoming ‘Dreamspace’ live stream concert.

Recorded on the 29th January 2020 live at La Cigale in Paris.

All songs written and performed by The KVB

A brand new Eagles concert film, Live From the Forum MMXVIII, will debut on ESPN on Sunday.

The 26-song collection, complied from three September 2018 shows at the Los Angeles Arena, will be the band’s first official release since the death of co-founding member Glenn Frey, When Glenn Frey passed away in 2016, many wondered about the future of the Eagles. Happily, the band persevered and celebrated Frey’s legacy

in 2016, and mark the recorded debut of new members Deacon Frey and Vince Gill.

“Music and sports fans have been shut out from live events for more than three months,” said Eagles manager Irving Azoff. “The premiere of Live From the Forum MMXVIII, this July 4th weekend on ESPN, is the Eagles’ gift to their fans. We are honoured to be part of ESPN’s Sunday night programming, the home of such acclaimed shows as 30 for 30 and The Last Dance.”

Director Nick Wickham shot the concert utilizing fourteen 4K cameras. Don Henley, Joe Walsh, Timothy B. Schmit, Deacon Frey, and Vince Gill delivered the goods in a marathon show drawing on every one of their original albums from Eagles (1972) to Long Road Out of Eden (2007) and such indelible hits as “Take It Easy,” “Peaceful Easy Feeling,” “I Can’t Tell You Why,” “Heartache Tonight,” “Life in the Fast Lane,” and “Take it to the Limit.” Album favourites weren’t ignored either, including “Ol’ 55” and “Those Shoes.” Additionally, the concert featured some of the group members’ biggest solo hits including Henley’s “Boys of Summer,” Walsh’s “Rocky Mountain Way” and “Life’s Been Good” (as well as “Funk # 49” and “Walk Away” from his old band The James Gang), and Gill’s “Don’t Let Our Love Start Slippin’ Away.”

Vinyl, CD, Blu-ray and DVD versions of the show will be released on October. 16th. They are available for pre-order now at the Eagles‘ official website.

Lucius will be performing four live-streamed shows on Thursday, July 9th, 16th, 23rd and 30th to promote local engagement and fundraising for small businesses facing financial hardship. A portion of ticket sales will go toward our venue’s fund when you purchase tickets through our unique links here:


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One of the greatest casualties of no-tour 2020 is that Dogleg was just in the process of launching their career as a chaotic live act outside of their native Michigan, their debut album Melee serving as their treatise for world domination in the same way PUP snatched up an enormous following seven years ago by relentlessly introducing their self-titled LP to audiences on an almost-nightly basis for years to come. Fortunately for Dogleg, Melee has plenty of traction regardless of their abandoned tour alongside Microwave—and much like PUP, the record nearly provides the live experience despite listeners’ pandemic-inflicted confinement to their homes.

With “Fox” as an intro—and “Kawasaki Backflip” as confirmation that Dogleg would, in fact, be very much a thing—it was such a joy watching the Detroit punks unveil their record over the course of a few turbulent months. They rapidly became every music publication’s Artist to Watch, legitimizing them as a fully-fledged AOTY contender by mid-year—and, more importantly, legitimizing the anxieties pumped into each of Melee’s ten tracks as near-universal pressure points brought to the surface in the weeks that followed the record’s release.

Dogleg “Fox” from the full length Melee
Band Members
Alex Stoitsiadis – guitar, vocals
Chase Macinski – bass, vocals
Parker Grissom – guitar
Jacob Hanlon – drums

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As she prepares to release her third LP, Oakland’s Madeline Kenney is building a consistent and downright exquisite body of work. The singer and multi-instrumentalist co-produced Sucker’s Lunch with Wye Oak’s Jenn Wasner and Andy Stack, and Kenney has tightened her role in a bicoastal clique that has been spawning intriguing indie pop from Durham, N.C. to the Bay Area. On “Double Hearted,” Kenney’s synths and vocals soar in wavelengths as she sings, “voices get me high…!” on the hook, alongside Stack’s rhythmic percussion and Wasner’s unmistakable bass. Kenney’s first two albums showed skill and promise, but there’s something bolder and lasting building on Sucker’s Lunch. The new song today! ‘Double Hearted’ you can also watch a silly jello-filled lyric video + get some info on how I made the tune

“Double Hearted” is the second single taken from Madeline Kenney’s forthcoming album, “Sucker’s Lunch,” out July 31st.

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Barely a year since their debut Dogrel earned them a spot as one of the most acclaimed new bands of 2019, Dublin’s Fontaines D.C. will return with “A Hero’s Death” on July 31 via Partisan Records. Arriving battered and bruised – albeit beautiful – the album is anything but a re-hash of the swaggering energy from their first record, instead the music is patient, confident, and complex – heady and philosophical takes on the modern world and its great uncertainty. The album serves as a conscious effort to subvert expectations, to challenge themselves and their listeners, and to sacrifice one identity in order to take on another – one that is fully their own.

We’re giving away handwritten lyrics by Grian for ‘I Don’t Belong’ & ‘A Hero’s Death’ and also a signed 7″. Pre-save ‘A Hero’s Death’ and follow us on Spotify by Monday 6th July for a chance to win

Irish rockers Fontaines D.C. came out swinging on their debut album Dogrel—it became one of the years favourite albums of last year thanks to its propulsive rhythms, Grian Chatten’s mesmerizing speak-sing and their satisfying blend of post-punk, garage and surf sounds. After cementing themselves as one of the most exciting new bands of 2019, excitement began to swirl when news started circulating about a quick follow-up album that was recorded in Los Angeles and influenced by The Beach Boys. I figured an album full of surfy tunes like Dogrel highlight “Liberty Belle” and 2017 b-side “Winter in the Sun” was on the way, which I undoubtedly would’ve devoured, but that’s pretty far from what we’ll actually receive at the end of July.

A Hero’s Death is decidedly not perky—it’s full of somber, gothic numbers, slow ballads and a few very on-the-nose nods to Brian Wilson (but this is dejected Pet Sounds era Beach Boys—not the carefree “Surfin’ U.S.A.” Beach Boys). It’s not what many will expect from the group, but it’s a noticeably more mature second chapter that pays dividends with each listen. Sprinkled with ’60s armchair pop and ’80s post-punk references, this is a gloomy outdoor stroll record—but a very special one at that.

Fontaines D.C. perform A Hero’s Death Live at home for Later… with Jools Holland.

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What makes Liza Anne an especially talented songwriter, are the many different ways in which she delivers her messages of empowerment and self-realization amidst clouds of depression. 2018’s Fine But Dying was one of the year’s sneaky best albums, and Bad Vacation sees Anne flowering out of the dark places she found herself in back then. She’s freely electrifying on “Devotion,” keeps her wits about her on the tongue-in-cheek “I Shouldn’t Ghost My Therapist,” glistens on the sparkling pop of “I Wanna Be There” and stares her darkest demon in the face—herself—on the gorgeous melancholy pop of “Terrible Discovery.” Anne has always come across as carefree, yet impactful, and when addressing one’s own mental health, her music is sure to help others find brighter skies ahead as well.

With her bold and bracing new album, ‘Bad Vacation,’ Liza Anne hasn’t just shaped her liberation, she’s completely reinvented it. The record is defiant and thoughtful, showcasing a remarkable confidence as it tackles destructive habits and finds Liza at her most self aware yet. “I was writing what I needed to hear,” Liza explains. “I was writing what I needed to feel. I was quite literally writing a stronger, more empowered version of myself into existence.”

New Liza Anne album, ‘Bad Vacation,’ out July 24th: