The Fat Angel Sings

A crowd of over 400,000 attended this open air event, a fund-raiser for the French Communist Party. The Who came onstage at 6pm, preceded by Country Joe McDonald. Townshend had invited a reclusive Eric Clapton and his then girlfriend Alice Ormsby-Gore to watch the show from the wings but during the band’s set Eric was mistaken for a fan and ejected by a roadie.

Usual set opener “I Can’t Explain” was short and to the point, ditto the band’s version of Eddie Cochran’s “Summertime Blues“. “Baba O’Reilly” required the band to play along to a taped synthesiser track, as did “Relay“. These last two tracks were written for Townshend’s Lifehouse project and whilst the former had already appeared on “Who’s Next” the latter would not be released until December 1972 as a non-album single. “Relay” is longer than the recorded version with call and response vocals and a brief drums-only interlude before Townshend and Entwistle solo simultaneously.

The last word goes to Roger Daltrey who thanked the enormous crowd by saying “we’d like to speak in French. Unfortunately we didn’t go to school, so we can’t”.

All tracks recorded live at the Fête de l’Humanité at Parc Georges-Valbon, Paris on September 9^th 1972 and broadcast on the RTL commercial network

Roger Daltrey – Vocals, harmonica, Pete Townshend – Guitar, vocals, John Entwhistle – Bass, vocals, Keith Moon – Drums, vocals

Fleetwood Mac’s sessions for the BBC were legendary. The sessions were always productive – their Top Gear session on August 27^th 1968 produced eleven numbers when most bands only managed to record three tracks in their allotted time. The band were also very experimental. Rather than trot out their latest single or recently-recorded album tracks, Fleetwood Mac would frequently perform songs that they never recorded elsewhere. They would also work with special guests, such as Eddie Boyd on their January 1968 session. On March the 17^th Fleetwood Mac participated in a one-off all star session with blues godfather Alexis Korner, one-man band Duster Bennett and future band member Christine Perfect (later Christine McVie). The three tracks they recorded together have never been officially released and we are delighted to feature them here.

“You’ll Be Mine” and “Good Morning Blues” were two acoustic blues covers that never made it onto a Fleetwood Mac studio LP, originating from Howling Wolf and Leadbelly respectively. “Shady Little Baby“, “Hot Rodding” and a stomp through “New Worried Blues” benefit from the guitar and vocals of Alexis Korner, the vocals and harmonica of Duster Bennett and the distinctive piano of Christine Perfect. The versions of “Early Morning Come” and “Linda” are different to those on the official release “Fleetwood Mac Live At The BBC”. “Early Morning Come” is mis-introduced by host Brian Mathews as “Coming Your Way” and is performed on acoustic guitar by Danny Kirwan. “Linda” illustrates Spencer’s fixation with Buddy Holly: as an homage it is spot on with galloping drums and careful backing vocals.

Moving from radio to TV, the first track on Side Two is an unidentified live-in–the studio version of “Oh Well” with clearly differentiated guitar lines from Green and Kirwan: the Flying V that Spencer totes seems to be mainly for show. Then warm applause greets a measured, delicate performance of “Albatross” from German TV. At the other extreme comes bizarre US TV programme Playboy After Dark, hosted by publisher Hugh Hefner and assorted Bunnies. “Rattlesnake Shake” makes for a wonderfully appropriate choice of song (didn’t anyone notice the lyric?). A hint of “Albatross” follows, with a truncated “Coming Your Way” forming a suitably elegant coda. Finally we feature a lengthy instrumental excerpt from “The Green Manalishi“, joining the song after the vocal section just as Green and Kirwan begin their guitar interplay. This is followed by a drum and bass interlude featuring Green on 8-stringed bass, playing melodically against McVie’s shuffle beat. 

Such music seems a long way from the traditional blues with which Fleetwood Mac had started their career. But some things about the band had not changed and would not change: their impeccable rhythm section, a desire to keep moving artistically and a commitment to writing songs rather than jams. Listening to this LP you can hear the full range of their musical capabilities, disrupted when an acid-addled Peter Green announced he was leaving in May 1970. 

RVG present an electro-funk remix of the lead single from their critically acclaimed album “Brain Worms”– ‘Nothing Really Changes’ by UK post-punk duo Sleaford Mods (Rough Trade). The release will feature on the band’s forthcoming remix EP “Nothing Really Changes (Remixes)” – out Friday 20 October.

Sleaford Mods have become one of the UK’s cult bands of the moment: unapologetic champions of working-class anger in a post-Brexit, austerity-era landscape. They have collaborated with the likes of Leftfield and The Prodigy, have made a high-profile fan in Iggy Pop and have had 3x UK top 10 albums in the last four years.

On ‘Nothing Really Changes (Sleaford Mods Remix)’ the duo slow down the tempo and turn up the funk, transforming the beloved heartbreak song into five and a half minutes of feel-good bliss. Vager’s iconic line ‘Baby don’t you know, everyone is sad’ manages to land with less despair, instead lending a hopeful and harmonious outlook on a chapter closing.

‘Nothing Really Changes (Sleaford Mods Remix)’ is the first of three glorious remixes, with two to come from Warpaint’s Stella Mozgawa and Huntly’s Andy McEwan aka Ahm.

Released in June, “Brain Worms” was dubbed “the sound of a band at the height of their rock powers´ (Rolling Stone Australia), “one of their finest moments yet” (ABC), and “contender for the best indie-rock album of 2023)” (NME), while also receiving 4-star reviews from The Guardian and Uncut. The record landed Double J Feature Album, PSB Album of the Week, 2RRR Album of the Week, 2SER Album of the Week and RTRFM Feature Album. 

releases October 20th, 2023

Grant-Lee’s first solo album, “Ladies’ Love Oracle”, was recorded in just three days. Here, Phillips takes the warmth and broadness of his work with band Grant Lee Buffalo and internalizes it, producing a raw, yet focused acoustic work. Harmonica and piano fill out certain tracks but only to compliment the stark skeleton created by Grant-Lee’s voice and guitar. As Phillips himself has been quoted as saying, “Sometimes a sketch says more than a mural. “Ladies’ Love Oracle “bridges the gap between two phases of a legendary career and signifies the emergence of a refreshed and unchained song writing voice, one that would go on to be proven as one of the most singular of last twenty years.

 After being a big fan of Grant Lee Buffalo, seeing Grant find his solo voice was very fulfilling. These tracks are personal, yet so relatable & whispered into your lover’s ear, they become so meaningful. Grant’s follow up shows during this period were some of the best shows I’ve ever seen. None of these tracks overstay their welcome.

First time on vinyl! Limited to 500 copies worldwide and remastered for vinyl.

Originally Released November 10th, 2009

2009 Yep Roc Records

This cover of “Jeane” is my tribute to The Smiths, who have been an important influence on me since 1985. I never took guitar lessons, but I did buy a “Meat Is Murder” songbook and learn to play the songs as best I could. Without the Smiths, The Persian Leaps would still exist, but we’d sound very different, with less jangle and happier lyrics.

This propulsive and addictive rendition of one of The Smiths‘ lesser known tracks celebrates the band’s colossal body of work and the impact it has had on so many people. Originally released in 1983 as the B-side to ‘This Charming Man’ on 7-inch vinyl, it would later be re-released in several formats in 1992.

Despite being a huge fan of The Smiths since 1985, I’d never heard “Jeane” until 5-10 years ago. The song blew me away. It’s not unusual to track down a rarity or B-side and find it interesting if underwhelming, but “Jeane” felt to me like an essential Smiths song that’s been unfairly overlooked. It also sounds unfinished to me–as though with a few more takes and some production love, it could have been an A-side. I’d always wanted to cover a Smiths song, and “Jeane” felt like one I could put my own mark on and perhaps even introduce to people who don’t know the original.

released September 13, 2023
Drew Forsberg – Vocals, guitars, keyboards, bass, drum programming

The Persian Leaps is an indie rock/power pop band from Saint Paul, Minnesota. New single “Jeane” (Smiths cover) out now!,

Portland-based Pete International Airport, presents his collaboration with Slowdive goddess Rachel Goswell, who is involved both as vocalist and co-writer. the ‘Tic Tac’ 7″ vinyl version is released on translucent yellow vinyl and digitally as a Bandcamp exclusive. The A-side original is complemented by the B-side remix by the iconic Anton Newwcombe (The Brian Jonestown Massacre).

Pete International Airport, which is the brainchild of guitarist Peter G. Holmstrom of The Dandy Warhols, recently released his third album ‘It Felt Like The End of the World’ via Little Cloud Records – a meticulously crafted psychedelic rock journey into the dark heart of electronica. Apart from Goswell, it features numerous guests, including members of Cheap Trick, A Place To Bury Strangers, Dark Horses and Pang Attack, producing songs merging into Holmström’s hyper-stylized world of symbols, themes and archetypes.   

Pete International Airport is the brainchild of guitarist Peter G. Holmström of The Dandy Warhols.  Named after one of their songs, this eclectic project builds immersive soundscapes that are also classic, catchy songs.  Holmström has an uncanny ability to curate, with a penchant for dropping collaborators into challenging creative spaces—both virtual and actual—then letting them duke it out.

Pete International Airport (Peter G. Holmström) ·featuring Rachel Goswell album release “It Felt Like the End of the World” Released on: 30th june 2023.

“Warchild II” is released on vinyl for the first time. “WarChild II” is a collection of a number of tracks recorded during the “War Child” sessions from late 1973 and early 1974. 

Reflecting on 1974, the year of release, Ian Anderson says “Verging uncomfortably on Glam Rock – at least in terms of stage clothes – JT was on the rebound from the excessively proggy “A Passion Play” of 1973. Still having not quite got over my brief flirtation with the alto saxophone, I warbled through a few choruses and riffs with the wretched thing in an album of nice and mostly brief tunes. But looking back, the music and performances were no disappointment in hearing it all again – especially in its remixed form – and the fine musicality puts it up in the top few albums of the years with the Martin Barre, John Evan, Barrie Barlow and Jeffrey Hammond-Hammond line-up. David (as he then was) Palmer provided wonderful orchestrations for several tracks.

I kissed goodbye to the saxophone after the final sessions and returned, to the relief of all, to the flute as my principal wind instrument of choice. Of course, my flute did feature on several of the “WarChild” tracks, but I always saw the album as representing the best of my sax-playing and being an important part of the instrumentation, especially in the slightly sleazy, clubby material of the title track. Dear old Alto sax – RIP.”

Mixed by Steven Wilson, all were included on CD2 of the “War Child” 40th Anniversary Theatre Edition in 2014. These tracks are on vinyl for the very first time with the running order chosen by Ian Anderson. The album features Ian Anderson (vocals, flute, acoustic guitar, saxophones), Martin Barre (guitars), John Evan (keys), Jeffrey Hammond-Hammond (bass) and Barriemore Barlow (drums and percussion).

Released 24/11/2023

Psychedelic Porn Crumpets is a psych-rock band formed in 2014 in Perth, Australia. The band consists of singer-guitarist Jack McEwan, guitarist Luke Parish, drummer Danny Caddy, bassist Luke Reynolds (until 2020), and keyboardist Chris Young. Their music is a drug-induced grunge rock trip: biting synthesizer parts, expertly composed guitar riffs, and unique compositional elements elevate their music to the status of other popular psychedelia artists such as Tame Impala and All Them Witches.

In 2020, Bassist Luke Reynolds left the group. He was replaced by Wayan Biliondana in 2022.

Their sixth album is a shining emblem of their mind-bending blend of heavy melodic guitars and harmonic lyrics and eccentric song-writing oeuvre.

The record surges with the Perth-based band’s over-the-top, glittery sound, drawing influences from the likes of classic rock behemoths black sabbath, led zeppelin and the beatles, as well as electronic experimental jazz. these rock influences are firmly on display in ‘Fronzoli’, with thrashy grunge tracks such as ‘Sierra Nevada’ and the frenetic ‘hot! heat! wow! hot!’ showcasing the band’s hyperactive guitars and offbeat lyrics.

“My Lady of Mercy” is about being a girl.

A girl looking up at a painting of Joan of Arc for the first time and thinking that she looks so brave and so beautiful that she wants to kiss her. And maybe she also wants to kiss the girl who stands next to her in the school choir.

Out now everywhere  Music video directed by Harv Frost and Dora Paphides. “My Lady of Mercy” was very much inspired by a couple of books in particular. Recommended reading: The Life of Saint Teresa of Avila by Herself, and Yukio Mishima’s Confessions of a Mask.

The Last Dinner Party x

After the recent success of album “I Don’t Know”, bdrmm return with a 7” release of new track “Mud” and a remix of the recent album track “Be Careful”, which is reworked by fellow Hull outfit Fila Brazillia who have collaborated with everyone from Radiohead to Harold Budd, Black Uhuru, Twilight Singers, and The Orb. Recorded with long-time collaborator Alex Greaves (Working Men’s Club, Bo Ningen) during their album sessions at The Nave Studios in Leeds, “Mud” sees the band expanding further on their dynamic and sprawling sound, with oceanic production and atmospheric instrumentation, underpinned by the bands reverb heavy vocals.

released October 9th, 2023