The Fat Angel Sings

Joni Mitchell has marked the 50th anniversary of her masterpiece, “Blue“, with a new digital EP, Blue 50 (Demos & Outtakes), featuring early demos of Blue tracks “A Case Of You” and “California“; a previously unreleased track from the sessions, Hunter; and alternate versions of “River” (featuring French Horn) and “Urge For Going” (recorded for Blue, but left off at the last minute and released as a B-side in 1972) with a string section. The striking cover of the “Blue 50” EP features the original Blue colour treatment with a previously unseen alternate photo of Joni by Tim Considine from the same show as the original. 

And there’s more good news for Joni fans. All five of these tracks will also be included in Joni Mitchell Archives Vol 2: The Reprise Years (1968-1971), released on 29th October as a 5CD set as well as digitally. The music will be available the same day exclusively at www.JoniMitchell.com as a 10LP set on 180-gram vinyl, limited to 4,000 copies. All orders on the official Joni Mitchell store come with an exclusive 7”x7” art print featuring a never-before-seen illustration by Mitchell from the era.

The tracks on “Archives Vol 2” have been sequenced chronologically to follow Mitchell in real time through one of the most creative periods of her career. The collection uncovers several unreleased Mitchell originals, including “Jesus”, recorded in 1969 at her friend Jane Lurie’s New York apartment in Chelsea, which also served as the setting for the song “Chelsea Morning“.

Other highlights include Mitchell’s performance at Le Hibou Coffee House in Ottawa on 19th March 1968 that was recorded by Jimi Hendrix and a concert at the Paris Theatre in London on 29th October 1970 that was broadcast on the BBC. The latter includes several songs destined to appear on “Blue” the following year: “Carey”, “River” and “My Old Man“. In addition, singer-songwriter James Taylor joined Mitchell to perform with her during the second half of the show.

With “Volume 2”, it’s time to buckle up because we’re now at the really exciting stage of the series. “Volume 1″ was an illuminating journey through Mitchell’s early, pre-record-contract years. It documented a period in the 1960s when Mitchell was just starting to find her feet as a songwriter but hadn’t yet carved out her own identity as a singer. Her performances were marred by a heavy-handed, artificial vibrato and her act, especially as revealed on the first couple of discs, was folk-singer boilerplate. On that volume’s vast array of home tapes, demos, and live recordings, she sounded like someone mimicking Joan Baez. Lucky us, it didn’t take her long to start becoming herself.

Volume 2 covers the “Seagull-to-Blue” era, 1968 to 1971, during which Mitchell exploded into the national consciousness of several countries. It includes a Carnegie Hall concert, an appearance at Ottawa’s Le Hibou coffee house, over 30 BBC recordings, and – most excitingly – studio outtakes from all four albums. Finally, we get to hear “Hunter” (in terms of its musical character, it’s a bit of a sister song to “All I Want”) as it would have sounded had it been included on “Blue”. “Volume 2” also provides an intriguing insight into the way Mitchell’s albums were planned and structured; songs that ended up on “Clouds” (1969) and “Ladies of the Canyon” (1970) were first recorded for consideration for Mitchell’s debut and these early studio versions of “Both Sides Now” and “Conversation” appear on disc one.

Praise should go to this series’ design and clarity of concept, photography and the engaging Cameron Crowe interviews printed in the perfect-bound, glossy, square-shaped booklet. Everything – right down to the Joni Mitchell Archives logo – shows that a disciplined aesthetic is at play. In an effort to distinguish themselves visually from conventional studio releases, the archives series of some of Mitchell’s contemporaries have ended up with bootleg-style artwork. Mitchell’s archives boxes, on the other hand, are things of beauty.

Among the other treasures on “Archives Vol 2” is Mitchell’s complete Carnegie Hall debut, recorded on 1st February 1969, a few months before the release of her second album, Clouds. In addition to its inclusion on “Archives Vol 2″, the concert will also be released separately on 29th October as a 3LP set on 180-gram vinyl for, with an exclusive 180-gram, white vinyl version, limited to 3,000 copies,

There’s a multitude of configurations of the 50th-anniversary edition of John Lennon‘s Plastic Ono Band album to choose from. It just depends on how committed you are to the singer’s first and best post-Beatles solo work, famously made under the influence of Dr. Arthur Janov’s primal scream therapy . The main prize, in any case, is the six-CD Ultimate Collection box set, which allows for the deepest dive imaginable into the iconic LP by way of 159 tracks (87 of which are previously unheard) and a revealing hardback book with lyrics and rare photos. It seems crazy that such a raw album of 11 songs should carry so much baggage. But it quickly becomes clear that Lennon and bandmates Ringo Starr and Klaus Voormann put a huge amount of effort into getting these songs, variously about abandonment, disillusionment, and love, exactly right.

Of huge value on the boxset, particularly with the “evolution mixes”, is the insight it provides into just how incredible and incendiary the three major players were as musicians and the chemistry between them in evolving these tracks. The many versions of the angry “I Found Out” showcase Voormann perfecting his distinctive brand of rumbling bassline, Lennon entering a whole new realm of abrasive guitar noise, and Ringo at his explosive and inventive best, never repeating himself on those fills.

It’s also fascinating to hear them try to nail “Remember”, with its complex tempo changes, as well as to hear “Love” turn from a guitar ballad into a tender piano ballad. Then there’s the hugely enjoyable studio banter, with Lennon expletive heavy, self-deprecating, and entertainingly frank about what he thinks of each take. All this while he proves, again and again, that he’s the greatest rock singer who ever lived.

Released 11th December in 1970 John Lennon’s first solo album after the breakup of the Beatles was released. Released on Apple Records, Yoko Ono’s similarly titled album was issued on the same day. Backed by the Plastic Ono Band, which included the artist and musician Klaus Voormann and Beatles bandmate Ringo Starr, the record was co-produced by Lennon, Ono and Phil Spector and is widely regarded as one of Lennon’s best solo albums.

Speaking recently about the anniversary of the album, Klaus Voormann remembered recording process:

‘To me, this album is the best of all albums I’ve ever heard. It’s so personal, [John] came into the studio with no songs, just sat down together with Yoko – always together with Yoko – and as quick as possible got what he just wrote onto tape. That was his aim and that’s what he did. We all understood.

Ringo was great and so we just played. Two takes mostly, and the thing was done. It’s brilliant. There’s mistakes in it and it doesn’t matter. The mistakes are OK, you know? Intimacy, that was the key. It’s so personal and so open to life – and you can hear it! Most of the records, it’s all covered by strings and big choirs and guitars, and he just did it really, really simple. It was such a great statement.’

SUPER DELUXE BOX SET CONTAINS: 6 CDs – 102 new Stereo Mixes – over 6 hours of audio. 2 Blu-Ray Audio Discs – 159 new Stereo Mixes – Over 11 hours of audio in Hi-Res 192/24 Stereo, 5.1 Surround and Dolby Atmos Mixes. 132 Page Hardback Book With Rare Photos, Memorabilia and Extensive Notes. WAR IS OVER! Poster and 2 Postcards.

‘A Head Full Of Ideas’ features five albums and an exclusive seven – inch single and is a career-spanning collection that sums up their remarkable progress from 1990 Manchester scene hopefuls to one of the UK’s most enduring and best-loved bands. The accompanying tour will visit eighteen cities and will kick off at The Limelight in Belfast on the 22nd of November and finish up in Aberdeen on the 20th of December 2021.

In a celebrated and genre bursting career, The Charlatans have notched up thirteen Top 40 studio albums – three of them number ones – alongside twenty two hit singles, four of them Top 10. The rollercoaster highs have been accompanied by some shattering lows, any which one of them could have felled a less resilient band, from nervous breakdowns to near bankruptcy and the deaths of two founder members.

Somehow, they have not just carried on but adapted and transformed many times over the years. The classic Charlatans sound – driving Hammond organ, Northern Soul and house-influenced rhythms, swaggering guitars and Tim Burgess’s sunny yet somehow yearning vocal – is instantly recognisable. And in spite of everything they have been through their music is now more relevant than ever, The Guardian described the most recent album ‘Different Days’ as “one of their best ever”.

This limited box set, is a diverse collection portrayed over five blue vinyl LP’s, spanning their hits, classic live performances, unheard demo’s, rarities and remixes from the likes of The Chemical Brothers, Norman Cook and Sleaford Mods. The package will will also include an exclusive seven inch single featuring demo versions of  ‘Indian Rope’/ ’The Only One I Know’, a signed print of a tour poster from the early 1990’s together with a booklet featuring unseen photographs and sleeve notes by friend and journalist Dave Simpson. .  There will also be triple vinyl LP version and 2CD deluxe of the box set featuring the hits albums plus the live album, and finally a cd or vinyl of just the hits albums.

Their iconic and hugely adored live track ‘One To Another’ (circa 1997) provides the titles for the individual vinyl collection within the box set. Each piece of vinyl is named after a lyric from the song.

The Deluxe 30th Anniversary Edition Vinyl Box Set includes 6 discs, a 12-page 12″ Album booklet with previously unseen photos, a fold-out original poster signed by the band. First pressing on Limited Edition Transparent Blue coloured vinyl. The Charlatans proudly announce their (Covid) delayed release of their 30th Anniversary tour and a career spanning best of entitled “A Head Full of Ideas’ Released on Then Recordings through Republic Of Music. ‘A Head Full of Ideas’ sums up their remarkable progress from 1990 Manchester scene hopefuls to one of the UK’s most enduring and best-loved bands. The accompanying tour begins at Belfast, Limelight 22/11/21 and finishes in Aberdeen on 20/12/21.The band have notched up 13 Top 40 studio albums – three of them number ones – alongside 22 hit singles, four of them top 10. The rollercoaster highs have been accompanied by some shattering lows, any which one of them could have felled a less resilient band, from nervous breakdowns to near bankruptcy and the deaths of two founder members. Somehow, they have not just carried on but adapted and transformed. The classic Charlatans sound – driving Hammond organ, Northern Soul and house-influenced rhythms, swaggering guitars and Tim Burgess’s sunny yet somehow yearning vocal – is instantly recognisable. And in spite of everything they have been through their music is now more relevant than ever, The Guardian described their last album, “Different Days” as “one of their best ever”.

As well as a very limited 6 Vinyl box set, there will also be Limited Coloured Triple vinyl LP version and 2CD deluxe of the box set featuring the hits albums plus a bonus live album ‘Trust is For Believers’, and finally a CD or Double LP Vinyl of just the hits albums.

Best Coast have shared a song off the upcoming expanded edition of Always Tomorrow and it features backing vocals from the young, rising punk band The Linda Lindas. We give you a new song called “Leading.” It’s about trying to find hope during the apocalypse, and it features backup vocals from our favourites, The Linda Lindas Produced and mixed by Carlos de la Garza It was such a bummer that ‘Always Tomorrow’ came out and then the world shut down, but we are excited to share new music AND share with you that the Deluxe Edition of ‘Always Tomorrow’ .

The expanded edition of 2020’s “Always Tomorrow”, due January 7th, which will feature five bonus tracks, including brand new songs “Leading” and “All Alone,” Record Store Day B-sides “Sweetness” and “Birthday,” and a cover of Sheryl Crow’s “If It Makes You Happy.”

“Leading” is out now, and it features backing vocals from the young, rising punk band The Linda Lindas, who Best Coast collaborated with on stage in the past. It’s exactly the kind of super catchy garage-pop-punk that Best Coast mastered over a decade ago, and it sounds great. 

The official audio for Best Coast’s “Leading”, from the deluxe edition of ‘Always Tomorrow’ available January 7th, 2022.

“I’m gonna recreate the video for popular by Nada Surf but I’m gonna play every character,” New York’s Pom Pom Squad’s Mia Berrin vowed on Twitter in March. The band have been on tour with Nada Surf, and now they’ve done just that, sharing a new video with a cameo appearance by Matthew Caws. “Working with Nada Surf was such a dream,” Mia says. “They’re such an incredible group of individuals and were so kind to everyone in Pom Pom Squad during our time out on tour together. It’s hard not to be inspired by their career, so to intersect with their legacy even a little bit is really special.”

‘Popular’ is a cover by Pom Pom Squad featuring Matthew Caws from Nada Surf.

Katie Crutchfield’s southern roots are undeniable. The name of her solo musical project Waxahatchee comes from a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going.

Waxahatchee has shared a new track “Tomorrow,” is from the soundtrack to “El Deafo“, an Apple TV+ series based on the graphic novel memoir by Cece Bell. “I’m so happy to finally announce an amazing project I had the honour of being a part of,” Katie Crutchfield says.

“Last year I wrote some original music for a new show on Apple TV+ called El Deafo, based on the book of the same name by a true hero, Cece Bell. Myself along with Rob Barbato spent a few months arranging and recording these tunes and it was an amazing experience all around.”

Fresh off releasing the best punk album of 2021 with “Glow On“, Turnstile made their late night TV debut on Late Night with Seth Meyers last night (12/15). Not only was it a rare late night appearance by a punk band (for 2021’s standards), it was an even rarer appearance for a hardcore band, and Turnstile brought it, tearing up the Seth Meyers stage with a seamless back-to-back performance of “Mystery” and “T.L.C. (Turnstile Love Connection” (just like on the original “Turnstile Love Connection” EP). It was awesome to see.

The performance gave just a little taste of how great of a live band Turnstile are, and you can really experience it when they hit the road for a headlining tour in 2022.

Musical guest Turnstile performs a medley of “MYSTERY” and “T.L.C. (TURNSTILE LOVE CONNECTION)” for Late Night with Seth Meyers.

Before anyone played a note of music at the seventh annual John Henry’s Friends Benefit at New York’s Town Hall, host and organizer Steve Earle walked onto the stage, beaming with excitement and anticipation. “This is going to be good,” he said. “I’ve asked friends to do this every year, but the bar is going to be high from here on out.”

That would have been true even if the bill for the night included just his longtime backing band the Dukes plus Rosanne Cash, Willie Nile, Matt Savage, and the Mastersons. But Bruce Springsteen agreed to join the fun this year, transforming the fundraising event for the Keswell School, which educates children and young adults with autism, into an extremely hot ticket for Springsteen fanatics who have been denied their Bruce fix for far too long.

Springsteen came out midway through the night, Telecaster in hand, and burst into “Darkness on the Edge of Town” with help from the Dukes. It was the first glimpse of electric Springsteen most fans have seen since the conclusion of The River tour in early 2017, and it sent waves of shock and joy through the theatre, and roughly 300 cell-phones high into the air to record the performance from every conceivable angle.

He followed that up with “The Promised Land,” playing the 1,500-seat Town Hall like it was an 80,000-seat European soccer stadium. There was no saxophonist to handle Clarence Clemons’ original parts, but the Dukes had clearly done their E Street homework and they nailed every other part with perfect precision.

Willie Nile came onto the stage and served as the substitute Steve Van Zandt for a wild rendition of “Glory Days,” though the audience sang the entire first verse without any help. They wrapped with “Pink Cadillac,” where Springsteen and Earle split up the vocal duties. The whole set was a mere 20 minutes, but it was more than enough for the deep-pocketed fans who shelled out upwards of $8,500 for VIP seats to feel like they got their money’s worth.

Other highlights from the show included autistic pianist Matt Savage transforming Alanis Morissette’s “Head Over Feet” into a classical masterwork; Rosanne Cash delivering a haunting version of “Long Black Veil”; and Willie Nile warming the stage for Springsteen with selections from from his upcoming LP The Day the Earth Stood Still.

Steve Earle and the Dukes had the near-impossible task of following Springsteen, but they kept the excitement he generated going strong with “Guitar Town,” “Copperhead Road,” “So You Wannabe an Outlaw,” and a moving cover of “Harlem River Blues” by the songwriter’s late son Justin Townes Earle.

All proceeds from this event, as has been the case with each of the previous John Henry’s Friends Benefit concerts, will be donated to The Keswell School, an educational program for children and young adults with Autism Spectrum Disorder (ASD). Founded on the belief that children diagnosed with ASD can live full and productive lives as integrated members of their communities, The Keswell School provides educational, therapeutic, and supportive services for children diagnosed with ASD and their families. Steve’s son, John Henry, is a student of the school. 

Pete Townshend hopes to recover a ‘lost’ Who song “Ambition” for long-overdue “Lifehouse” release

The Who’s ‘lost’ 1971 album “Lifehouse” will finally see the light of day in 2022, although even guitarist Pete Townshend isn’t sure about exactly what form his much-misunderstood magnum opus will take when it emerges over 50 years after the project being shelved.

Townshend had a concept, and a reported $2 million deal from Universal Pictures, for a multi-media project titled “Lifehouse” in the early ’70s. But as The Who biographer Mark Blake noted in his 2013 feature on “Lifehouse“, ‘There was just one problem: no one else had a clue what he was going on about.’

“Lifehouse” was set in the not-too-distant future, maybe 1990, Townshend explained at the time, at a point in history where everyone on earth wore special “pod-like” Lifesuits connected by wires to a central worldwide ‘grid’, which ‘fed’ them entertainment… though not rock music, which was banned. The basic premise of the film/album, as far as could be understood, was that a young man named Bobby would find a way to hack into the grid to launch a music festival at which the artists and their audience would unite to create a single, perfect, infinite and universal note… which would have dramatic, unforeseen consequences for all. The idea, however, baffled his bandmates.

“It didn’t make any sense,” said vocalist Roger Daltrey. “None of us could grasp it. But it did have some good ideas in it. The one I picked up on was that if we ever did find the meaning of life it would be a musical note. I thought that was a great idea.” 

Some of the song ideas mooted for “Lifehouse”, wound up being included on 1971’s “Who’s Next” instead.

As reported in the new issue of MOJO, Townshend is now trying to resurrect the project, as he revealed in short video clips posted on Instagram. In the videos, the guitarist’s original demos for the project are shown, with Townshend zooming in to show a tape box containing a recording of a never-released song called “Ambition“.

“This is a song we’re trying to recover,” Townshend states.

In a video, Townshend says that a new “Who’s Next/Lifehouse” release was originally scheduled for 2021, but, as with a mooted graphic novel based on the idea, this failed to materialise. “We can blame Covid,” Townshend says in a video. 

“Nightmare Daydream“, the debut album from the formidable rock trio, The Velveteers, is the culmination of the raw power and electric voice of singer / guitarist Demi Demitro with the primal rhythm of her two drummers, Baby Pottersmith and Jonny Fig. Fused with the studio prowess of Grammy Award winning producer, Dan Auerbach, the album is a crushing combination of 70s style psychedelia and the hard rock of the California desert. “Nightmare Daydream” finds the listener transported into another world – one that’s equal parts beautiful and surreal. This kaleidoscopic fantasy is fresh from the Easy Eye Sound studio in Nashville, TN.

The album is propelled by fuzz-soaked baritone guitar riffs and featuring frontwoman Demi Demitro’s snarling howls, Colorado’s Velveteers are a time-warped mix of The Runaways, Deap Vally and T.Rex. Their garage-rock-punk sound is fierce, but softened with a sprinkling of glitter and the dusty warmth of vintage amplifiers, and they’ve already supported Guns N’ Roses.

Although this trio of youthful platform-booted glam-punks have only a handful of singles and one full LP (2021’s Nightmare Daydream) to their name, their sound feels simultaneously well-trodden and entirely unique. Produced by The Black Keys’ Dan Auerbach, their debut outing is peppered with moments of shiny glam, including the twinkling synth on the title-track and the Adam & The Ants-style drum wallops on Devil’s Radio.

From the new album ‘Nightmare Daydream,’ available from October 8th: