The Fat Angel Sings

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

“Hanover, are you ready?” This is how Bruce Springsteen greeted the audience in the Heinz von Heiden Arena in Hanover on Friday evening (July 5th). At 7:45 p.m., the eyes of almost 45,000 Springsteen fans in the stadium in Hanover were on the “Boss”. He was to play 30 songs from his 50-year career with his E Street Band over the next three hours.

For the really big hits like “Born In The USA” and “Dancing In The Dark”, the people who had travelled from all over Germany had to wait until injury time, but that did not dampen the enthusiasm. In pleasant temperatures, people danced with outstretched arms to Springsteen’s stadium rock in the best sense of the word.

There were a couple of small surprises in the setlist of Bruce Springsteen & the E Street Band’s concert today at Heinz von Heiden Arena in Hanover, Germany —”Into the Fire” and “The E Street Shuffle” — and one big one: “Janey Needs a Shooter,” in its live debut.

“Janey Needs a Shooter” dates back to the early ’70s, though Springsteen did not finish it and release a studio version of it until 2020, on his “Letter to You” album. Warren Zevon recorded a different version of it on his 1980 album “Bad Luck Streak in Dancing School”, with the title “Jeannie Needs a Shooter”; Springsteen received a co-writing credit on that version.

“Into the Fire” made its first appearance at an E Street Band show since 2016, in Hanover. “The E Street Shuffle” was played often at last year’s shows, but this was its first appearance in 2024.

Among the highlights of this great performance were classics such as “Because The Night” and “The River”, which Springsteen still performed visibly moved. He also seemed moved by “Last Man Standing”, a play about the loss of loved ones, and had the text faded in in German translation. All his songs sounded perfect, at least in the interior of the stadium.

Even after the concert marathon, vest, white shirt and dark red tie still fit perfectly. And even though Springsteen did not respond to the song title requests on the held up signs this time, he made many a fan particularly happy by signing autographs in the front row before saying goodbye to Hannover.

The return of the classic “Demonstration Tapes” double LP on vinyl from the one and only Dolly Mixture. Originally self released in 1984 – this 27 track set collects the band’s demos from 1979 to 1983 of perfectly executed pop, indie pop and ’60s girl group gems. The sound is raw but the charm and pure-pop songcraft manages to shine through. Dolly Mixture should have been massive – so just sit back and enjoy these charming songs that have aged like a fine wine.

The double album called the “Demonstration Tapes” originally released on their own Dead Good Dolly Platters label. The album sported a plain white cover and each copy was numbered and autographed by the group members. One thousand copies were pressed. The album featured 27 demo tracks which covered a large part of the band’s repertoire.

The same year saw a release of the “Remember This” single, again on Dead Good Dolly Platters label. The B-side was a piece entitled “Listening Pleasure/Borinda’s Lament”, which included dialogue (à la Home Service British Force’s Radio DJ), a half-finished song and an instrumental chamber piece with Wykes on piano and Bor on cello.

Dolly Mixture were formed in 1978 by the bassist and vocalist Debsey Wykes, guitarist and vocalist Rachel Bor, and drummer Hester Smith, three school friends who shared a fondness for the Shangri-Las and the Undertones. They became friends with The Damned Captain Sensible and recorded backing vocals on his singles and albums. After Sensible had a hit with “Happy Talk” in 1982 (featuring Dolly Mixture, credited as “Dolly Mixtures” on the single.

Rejoice Indie poppers, punks and pop kids – Sealed Records in conjunction with the band and BBC release all 14 tracks Dolly Mixture recorded for the BBC. You no longer have to listen to bad YouTube uploads… Here are all the tracks remastered from original sources, and as an added treat featuring John Peel introducing them and three jingles the band recorded for Kid Jensen. 

The first session was recorded for John Peel in August 1979 and features the unreleased ‘Dolly Mixture Theme Song’ which the band used to start gigs with and a super strong cover of Goffin and King’s ‘The Locomotion’. Four already Dolly Mixture classics from the time were also recorded including ‘Dream Come True’, ‘He’s So Frisky’, ‘New Look Baby’ and ‘Ernie Ball’.

You can hear the excitement and joy and the sounds are so well recorded at Maida Vale Studios with top notch studio equipment and production. The next session from September 82 was recorded for Kid Jensen and shows a slightly more mature band, but the tracks are just as instant and lovable. These tracks have a more 60’s girl group sound but with more energy. Most people will know the tracks from the “Demonstration Tapes” album but these versions are better recorded and show the band moving forward.The last session from October 1983 was for Kid Jensen and again shows a band evolving but still with tunes that over forty years later are still loved and adored.

All in all 14 perfectly rounded pop nuggets wrapped in a beautifully designed sleeve and poster by Paul Kelly.