EMERSON LAKE and PALMER – ” Out Of This World: Live (1970-1997) “

Posted: October 23, 2021 in MUSIC
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Prog legends Emerson, Land & Palmer will release a new 10 LP/seven disc live box set in October.

Prog legends Emerson Lake & Palmer were one of the early supergroups (formed from the roots of The Nice, King Crimson and Atomic Rooster in 1970) and cemented their legacy in the first half of the 70s. Often overblown, they stripped away much of the blues, soul and psychedelia from rock music, playing classical music like an insane robot. Immensely popular and rightfully so . ELP split at the end of the decade and reformed a number of times.

There is quite a live legacy, as the number of official live albums show. And while the 4 multi-disc box sets in the Official Bootleg series filled many a gap, the quality was often ropey at best. This album is just wonderful from the moment you open it up. Out of the box comes a booklet and five live albums in card sleeves, all gatefold, two of them double sets. That’s the weekend’s listening sorted then.

“Out Of This World: Live (1970-1997)” will be released through BMG Records on October 29 as part of Emerson, Lake & Palmer’s 50th Anniversary celebrations.

The new set pulls together five of the biggest and most important shows ELP played across their 50 illustrious years, including their performances at the Isle Of Wight Festival in 1970 and their headline show at the 1974 California Jam. You can view the new artwork and full track lisitng below.

“I could not think of a better way to celebrate this anniversary period for ELP. The box set is one of my proudest moments,” says only surviving member Carl Palmer. “I know Keith and Greg would agree with me! “Out Of This World” is something I will remember for a long time to come. For me, this shows ELP at their very best throughout years of touring and recording. The box set represents the lifeline of our music in our time.” 

Each album has been reimagined with impressive new artwork, reflecting various aspects of the band and their epic, ground-breaking music. The LP box contains 5 x deluxe gatefold double LPs with high quality, fully-restored audio mastering.

Most of the LPs are previously unreleased on vinyl; Phoenix 1997 has never been released. The CDs have been out of print for many years and never released to this standard of artwork and audio. Each set comes complete with a 32-page, glossy photobook, featuring many intimate, rare and unseen images of the band from legendary photographers including Lynn Goldsmith and Neil Preston. Liner notes are provided by Prog Magazine Editor Jerry Ewing.

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The Box Set:

Isle of White Festival 1970 The first set is the band’s debut performance at the August 1970 Isle Of Wight Festival (the DVD now long out of print).

The first set is the band’s debut performance at the August 1970 Isle Of Wight Festival (the DVD now long out of print). Opening track “The Barbarian” (from their eponymous debut) showcases the classical leanings, as much as the band’s technical craft. It’s fast and aggressive. As with much of their music, it is Keith Emerson’s keyboards take the lead. There’s a jazz metal element to Carl Palmer’s drumming too. The second track “Take A Pebble” is a gentler track, featuring vocalist and guitarist/bassist Greg Lake.

The audience response is muted, largely due to the fact that while the names were known, the band and music weren’t, it was a learning experience for everyone. Next up is a 35 minute run-through of Mussorgsky’s “Picture’s At An Exhibition” (which was the basis of a live album in it’s own right a year or two later). It’s a track that has everything; from folky whimsical sections to, at the heavier end, imagine a robot having an epileptic fit while playing rock’n’roll. Marvellous. A take on “Rondo” (The Nice) and a cover of “Nutrocker” close the set. “Rondo” is take from The Nice’s debut a few years earlier, which is often considered the first bone fide progressive rock album. And the disc here is completed by a band interview.

Isle Of Wight Festival, Newport, UK, 29 August 1970
1. The Barbarian
2. Take A Pebble
3. Pictures At An Exhibition: Promenade Part 1 / The Gnome / Promenade Part 2 / The Sage / The Old Castle / Blues Variation                
4. Pictures At An Exhibition (Continued): Promenade Part 3 / The Hut Of Baba Yaga / The Curse Of Baba Yaga / The Hut Of Baba Yaga / The Great Gates Of Kiev
5. Rondo
6. Nutrocker
7. Interview

California Jam 1974 The second set is the band’s performance at the 1974 Opening track “Toccata” is pretty much a drum solo, then the gentler “Still You Turn Me On“, featuring some nice acoustic guitar from Lake. “Lucky Man” follows suit, and clearly a loved track from the audience cheer. There’s the usual Emerson piano improvisation before the highlight of 2 segments of “Karn Evil 9” (the full track comes form the Brain Salad Surgery album, a staple of any decent record collection).

California Jam, Ontario Motor Speedway, Ontario, California, USA, 6 April 1974
1. Toccata
2. Still … You Turn Me On
3. Lucky Man
4. Piano Improvisations (Including ‘Fugue’ And ‘Little Rock Getaway’)
5. Take A Pebble
6. Karn Evil 9 1st Impression Part 2
7. Karn Evil 9 3rd Impression
8. Pictures At An Exhibition: The Great Gates Of Kiev

Works Live 1977 The 3rd set is the double disc Works Live. Although previously released, it has been long out of print. It is the full and expanded show from which the original live set In Concert was taken. This concert is with an orchestra and is stunning

The 3rd set is the double disc “Works Live”. Although previously released, it has been long out of print. It is the full and expanded show from which the original live set “In Concert” was taken. There’s a selection of the usual and classic Emerson Lake & Palmer, coupled with tracks from the two “Works” sets. “C’Est La Vie” is the band although it is effectively a Greg Lake solo track, and the “Peter Gunn Theme” is always good. “Tiger In A Spotlight” gets the head nodding, and Keith Emerson’s take on Scott Joplin’s “Maple Leaf Rag” is excellent too. The sound and mix are good. A highlight is the cover of “Fanfare For The Common Man” (an unlikely hit single for the band). And several tracks feature a 70 piece orchestral.

‘Works Live’, Stade Olympique De Montreal, Quebec, Canada, 26 August 1977
1. Introductory Fanfare
2. Peter Gunn
3. Tiger In A Spotlight
4. C’est La Vie
5. Watching Over You
6. Maple Leaf Rag
7. The Enemy God Dances With The Black Spirits
8. Fanfare For The Common Man
9. Knife-Edge
10. Show Me The Way To Go Home
11. Abaddon’s Bolero
12. Pictures At An Exhibition: Promenade Part 1 / The Gnome / Promenade Part 2 / The Hut Of Baba Yaga /
The Curse Of Baba Yaga / The Hut Of Baba Yaga / The Great Gates Of Kiev
13.Closer To Believing
14. Piano Concerto, Third Movement: Toccata Con Fuoco
15. Tank

Royal Albert Hall 1992 Set 4 is a nicely packaged gig at the Royal Albert Hall, 1992. Newer tracks “Black Moon”, “Paper Blood” and “Romeo & Juliet” sit nicely next to “Tarkus”, “Pirates” and “Fanfare For The Common Man“. Set 4 is a nicely packaged gig at the Royal Albert Hall, 1992, when the band had reformed for an excellent studio album or two. This show I had wanted to go to but it soon sold out. The band are solid, tight and it’s well recorded.

The Royal Albert Hall, London, UK October 1992
1. Karn Evil 9 1st Impression Part 2
2. Tarkus: Eruption / Stones Of Years / Iconoclast
3. Knife-Edge
4. Paper Blood
5. Romeo And Juliet
6. Creole Dance
7. Still … You Turn Me On
8. Lucky Man
9. Black Moon
10. Pirates
11. Fanfare For The Common Man / America / Rondo

Union Hall Phoenix 1997 (unreleased) The final set here is the 2CD Phoenix Arizona 1997, which showed that ELP still had a solid fanbase. The production is solid and modern,

The final set here is the 2CD Phoenix Arizona 1997, which showed that ELP still had a solid fanbase. The production is solid and modern, although as a general rule the tracks weren’t as long. “Honky Tonk Train Blues” gets a blast, “Take A Pebble” is the longest track on disc one at 8 minutes, and Emerson Lake & Powell’s Touch And Go gets a run out. Disc two is more classic ELP with “Tarkus” running to 12 minutes and “Pictures At An Exhibition” to 24. This is the kind of music prog rock fans live for. And a gem and highlight is the closing track, a medley of “21st Century Schizoid Man” (King Crimson) and “Rondo” (the Nice). This is music you can drink wine and chill out or rock out to, with ease.

Union Hall, Phoenix, Arizona, USA, 23 September, 1997
1. Karn Evil 9 1st Impression Part 2
2. Hoedown
3. Touch And Go
4. From The Beginning
5. Knife-Edge
6. Bitches Crystal
7. Creole Dance
8. Honky Tonk Train Blues
9. Take A Pebble
10. Lucky Man
11.Tarkus: Eruption / Stones Of Years / Iconoclast / Mass 
12. Pictures At An Exhibition: The Hut Of Baba Yaga / The Great Gates Of Kiev
13. Fanfare For The Common Man (including drum solo) / Blue Rondo A La Turk
14. 21st Century Schizoid Man / America

Emerson Lake And Palmer were both classic and classical prog rock and this set is to be really enjoyed. Overblown, self-indulgent and marvellous all the way.

Much of this material has been officially released previously, some in a different format and all long out of print. The packaging is top-notch and there’s a colourful booklet with it too. Well worth your money, and a few hours listening too. A little bit more previously unreleased recorded to the same quality would have been the icing on the cake.

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DEREK And The DOMINOS – ” Live At The Fillmore “

Posted: October 23, 2021 in MUSIC
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Derek & The Dominos - Live At The Fillmore

The Derek And the Dominos “In Concert” album and its subsequent incarnations is a bit like doing a jigsaw puzzle. The different versions, culled from different shows, make it extremely complicated. Add to this the fact that no one in the audience had yet heard their debut album “Layla and Other Assorted Love Songs“, because it had not been released at the time of the Fillmore shows, and the story becomes even more tangled. This Derek & The Dominos “Live” album was to support the “Layla” album but it was a little surprising that the only songs were from side three of the Layla album. The other songs were from Eric’s solo album and Blind Faith.
Eric Clapton often said that the best rhythm section he ever played with was Jim Gordon on drums and Carl Radle on bass. They were astonishing but the addition of Bobby Whitlock on keyboards was instrumental in adding a new dimension to this amazing trio.
Clapton’s playing at the time was magnificent, Gordon’s drumming was outstanding and his solo, which was the norm in the 1970s, was masterful on the song “Let It Rain.” Radle and Whitlock could do no wrong and both sounded fantastic.

The Derek And The Dominos live recordings are from the Fillmore East in New York City on October 23rd and 24th, 1970, and capture the band in all their, at times, rampant glory and at others that laid back Southern soulfulness that Carl Radle, Bobby Whitlock, and Jim Gordon brought to the band.

Derek And The Dominos “In Concert” was originally released in 1973, nearly two and a half years after the band’s studio album originally had nine songs and running for an hour and a half. The original nine-song double-LP “In Concert” was the first “new” Eric Clapton release in well over a year, It was also, other than Eric Clapton’s “Rainbow Concert” which actually took place in the same month that this set was issued, and was issued eight months later — the only new Clapton material that anyone would see for over a year, as the guitarist struggled through personal turmoil that included heroin addiction. No one who wasn’t personally close to him knew that at the time — this and the “Rainbow Concert “album were issued to keep his name before the public.

At the time, a lot of fans and critics were disappointed by this set.

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Comprised of live performances, “In Concert” never seemed as compelling: for starters, Allman hadn’t been present for either of the shows that was recorded (and, in fact, only appeared at a tiny handful of Dominos performances), which made this a somewhat different band. And what we did get was a much more relaxed and often more soulful, involving body of music, starting with the opening track, “Why Does Love Got to Be So Sad” and continuing with “Got to Get Better in a Little While”; there was also some disappointment in the sound quality, however, and with the song selection. Despite the fact that they were touring to support the album that carried its name, the group seldom ever performed their most recognizable song, “Layla”; and their repertory was filled out with material from past Clapton projects rather than more material off the Layla album; in effect, the Dominos had become the first Eric Clapton Band, which made this a little less than a live account of this band’s work. It was the hardcore fans who fully embraced this record, mostly for its transcendent moments and the beautiful interplay of the musicians, especially on their own repertory.

The concert album was reissued as “Live At The Fillmore” released not until February 22nd, 1994 with a significantly different running order, and with the addition of four more tracks. In reality, six of the nine tracks released as “In Concert“, and three of its five previously unreleased performances, are different recordings of songs that featured on “In Concert“.  As a trio backing Eric Clapton, the Dominos leave the guitarist considerable room to solo on extended numbers, five of which run over ten minutes each. Clapton doesn’t show consistent invention, but his playing is always directed, and he plays more blues than you can hear on any other Clapton live recording.

In 2011, on the 40th anniversary super deluxe edition of “Layla and Other Assorted Love Songs”, the running order was back to the original “In Concert” edition plus the extra four tracks, while utilizing different versions of “Why Does Love Got to Be So Sad?,” “Let it Rain,” and “Tell The Truth” from “Live At The Fillmore”.

For whatever reason, the running order of these concerts were substantially changed. There were two performances on each date and for the late show on October 23rd the concert ran as follows: “Got to Get Better in a Little While,” “Key to the Highway,” “Tell the Truth,” “Why Does Love Got to Be So Sad?,” “Blues Power,” “Have You Ever Loved a Woman,” “Bottle of Red Wine,” “Presence of the Lord,” “Little Wing,” and “Let It Rain,”’ with “Crossroads” as an encore.

For the following night’s second show the set was: “Got to Get Better in a Little While,” “Tell the Truth,” “Nobody Knows You When You’re Down and Out,” “Why Does Love Got to Be So Sad?,” “Presence of the Lord,” “Blues Power,” “Have You Ever Loved a Woman,” “Key to the Highway,” “Bottle of Red Wine,” “Roll It Over,” and “Let It Rain.” For the encore, there was no “Crossroads” but instead the band played “Little Wing.”

Of the 13 tracks on that 40th-anniversary reissue of “Layla“, there were three tracks recorded on the first night: “Got to Get Better in a Little While,” “Little Wing,” and “Crossroads.” There is no “Layla” on the album because Duane Allman was not there to add his signature slide guitar parts.

The songs not on the band’s studio album but played in concert included “Got To Get Better In A Little While,” from their unreleased second album, which shows perfectly what a tight outfit they were on stage. “Let it Rain,” “Bottle of Red Wine,” and “Blues Power” all come from Eric’s self-titled solo album. Eric Clapton, Delaney and Bonnie Bramlett wrote the first two songs, while the other is by Clapton and Leon Russell. “Presence of the Lord” was from the Blind Faith album. And then there’s “Crossroads,” a very different, more laid back approach than the more frenetic version by Cream, but one that is full of latent energy. 

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HOOVERIII – ” Lazy Susan “

Posted: October 23, 2021 in MUSIC
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Hooveriii is back with two brand new jams and a fresh 7″ release.. “We wanted something to balance out how heavy ‘Water for the Frogs’ was. The single is light, fun and a good exercise in song writing. Both “Lazy Susan” and “Rules” serve as a sort of sonic court jester to warm you up for what we have coming next.

Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced “Hoover Three”) has now evolved into it’s true final form – a six member band adept at creating their own brand of psychedelic space rock. And after almost a decade in, the band release their sophomore album and debut for The Reverberation Appreciation Society, “Water For The Frogs”. Influenced by Iggy’s The Idiot, Bowie’s Berlin records, and Soft Machine, the LP sees the band creating their own version of prog rock, circa 2021.

In 2019, Hooveriii took their live show to Europe for the first time. Bert Hoover shares, “seeing all the old cities and beautiful landscapes while becoming closer as a band had a huge impact on this album. A lot of our favourite music came from the Krautrock scene in Germany from the late 60’s-70’s, and when we had a day off in Furth, Germany, we spent most of it writing the record,” he continues, “we were able to rehearse in an old German bunker that has been converted to rehearsal space. It definitely had a strange energy that helped give this album light.”

Released through The Reverberation Appreciation Society

The BLACK ANGELS – Levitation Festival Poster

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CAT POWER – ” The Covers “

Posted: October 23, 2021 in MUSIC
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Cat Power returns with Covers, Chan Marshall’s third album of her celebrated reinterpretations of songs by classic and contemporary artists.

On “Covers”, Marshall reaches back to songs that have affected her from childhood to the present, connecting each with a deeply personal memory. She recalls her grandmother’s love for Billie Holiday’s “I’ll Be Seeing You” and finding a box of cassettes as a teenager that led her to discovering Kitty Wells’ “It Wasn’t God Who Made Honky Tonk Angels.” She remembers getting chills hearing Iggy Pop’s “Endless Sea” in the 1986 Michael Hutchence film Dogs in Space and being a broke artist in her twenties in New York City spending her last dollar to play the Replacements’ “Here Comes a Regular” on the jukebox at Mona’s. She recorded the Pogues’ “Pair of Brown Eyes,” which she calls one of her favourite songs of all time, after it reminded her of one friend who passed from cancer and turned to Bob Seger’s “Against the Wind” to help her heal from the loss of another. 

Alongside covers of rock-and-roll icons from Nico to Nick Cave, Marshall brings her inimitable vocal power and elegant arrangements to songs by contemporary artists, capturing the defiance of Dead Man’s Bones’ “Pa Pa Power” and the dreaminess of Lana Del Rey’s “A White Mustang.” And the album opens with a dazzling cover of Frank Ocean’s “Bad Religion,” of which she says, “I believe in whatever God is called… But I think that the wretched men that have come in history to implement horror on humanity in the name of these religions is something that should be looked at universally.” 

Finally, Covers finds Marshall, an artist of constant evolution, reworking “Hate,” a song from her 2006 LP The Greatest on which she sang “I hate myself and I want to die.” Marshall says she has always felt “antsy” about the track and reimagined it as “Unhate,” a new version that looks back on the raw devastation of the original track in the rear view. “We all have bad days,” she says. “We all have shit, trauma, something. There are times when you feel like that. But I needed to make it right.” 

Marshall self-produced all of “Covers”; it was recorded in Los Angeles at Mant Studios with Rob Schnapf, who mixed and engineered

ANDREW BIRD And LUCIUS – ” Venus In Furs ” The Velvet Underground Cover

Posted: October 23, 2021 in MUSIC
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Andrew Bird and Lucius were among a slew of high-profile acts who contributed to the recently released track-by-track covers album I’ll Be Your Mirror: A Tribute to The Velvet Underground & Nico, and now they have shared an intimate live recording of their take on “Venus in Furs”, 

“Venus in Furs” wouldn’t be complete without John Cale’s iconic viola solo, so it makes sense that Bird — who’s a bit of a violin legend in his own right would put his own spin on the track, using loop pedals to fill out the live performance as he then plucks the four-stringed instrument like a banjo alongside Lucius’ flawless vocal harmonies. Though nobody could compete with Lou Reed and company, this is one cover that rivals its original.

“Venus In Furs” got another recent at-home cover from Toyah as part of her “Sunday Lunch” YouTube series with husband Robert Fripp. 

“I’ll Be Your Mirror” also includes Kurt Vile & The Violators’ rendition of “Run Run Run,” Iggy Pop and Matt Sweetney’s version of “European Son,” Courtney Barnett’s take on “I’ll Be Your Mirror,” The National’s Matt Berninger covering “I’m Waiting for the Man,” and Sharon Van Etten’s “Femme Fatale” with Angel Olsen.

Also in VU news, The Velvet Underground: A Documentary Film By Todd Haynes – Music From The Motion Picture Soundtrack, a 2CD and digital soundtrack that features both well-known and rare Velvet Underground tracks, was also released on October 15th, 2021 via Republic Records/UMe.

Curated by the documentary’s director, Todd Haynes, and music supervisor Randall Poster, the album is the official soundtrack for the critically acclaimed Apple Original documentary, The Velvet Underground, which was released in theatre’s and premiere globally Friday, October 15th on Apple TV+.

Music From The Motion Picture Soundtrack also features tracks by artists who influenced The Velvet Underground including a live version of “Road Runner” by Bo Diddley; “The Wind,” a doo-wop classic by The Diablos featuring Nolan Strong; and the previously unpublished La Monte Young composition, “17 XII 63 NYC The Fire Is A Mirror (excerpt),” performed by The Theatre of Eternal Music.

Andrew Bird & Lucius perform The Velvet Underground’s “Venus In Furs” live Listen to “I’ll Be Your Mirror: A Tribute To The Velvet Underground & Nico”

The BAND – ” Cahoots ” 50th Anniversary Box Set

Posted: October 23, 2021 in MUSIC
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On December 10th, Capitol/UMe will celebrate the 50th anniversary of The Band’s classic fourth album, “Cahoots”, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with digital, 2CD, 180-gram half-speed-mastered black vinyl and limited-edition 180-gram black vinyl packages.

All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set, CD and digital configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.

Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both Cahoots and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering.

The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package.

When The Band pulled into the unfinished Bearsville Sounds Studios in Bearsville, New York in early 1971 to record “Cahoots”, their fourth studio album in as many years, they were still basking in the success of and acclaim for their first three history-making records.

The Band’s landmark debut album, July 1968’s “Music From Big Pink“, drew inspiration from the American roots music melting pot of country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, hymns, funeral dirges, brass band music, folk and good ol’ rock ’n’ roll to foment a timeless new style that forever changed the course of popular music.

When they released their seminal eponymous second album, The Band, the following year in September 1969 – or “The Brown Album,” as it would lovingly be called – not much more was known about the reclusive group. Even so, August 1970’s “Stage Fright”, recorded over 12 days on the stage of the Woodstock Playhouse in upstate New York, cemented the fulfilled promise of those initial back-to-back albums that solidified The Band as one of the most exciting and revolutionary groups of the late 1960s, who were able to carry their avowed excellence directly into the 1970s without interruption.

Indeed, The Band, made up of four Canadians and one American, was still purposefully shrouded in mystery at the turn of the decade, allowing for listeners and the music press to let their imaginations run afield about who these men were and what this music was that sounded unlike anything else happening as the psychedelic ‘60s officially wound down.

Dressed like 19th century fire-and-brimstone preachers and singing rustic, sepia-toned songs about America and the deep south, The Band – Garth Hudson (keyboards, accordion, horns), Levon Helm (drums, vocals, mandolin, guitar), Richard Manuel (keyboards, vocals, drums), Rick Danko (bass, vocals) and Robbie Robertson (guitar, piano, vocals) – was still somewhat enigmatic as the ‘70s began to unfold and unravel around them, but there’s no denying how The Band was able to forge such an ineradicable impact on the music scene at large heretofore unmatched by any group that came before them, or since.

The Band celebrates the 50th Anniversary of their fourth studio album “Cahoots” with an all-new remix and remaster by Bob Clearmountain. Get Cahoots: https://TheBand.lnk.to/Cahoots50thID. The Super Deluxe Box includes the new stereo mix, bonus tracks and a previously unreleased bootleg concert at Olympia Theatre, Paris 1971, on 2 CDs. Also included, is a surround-sound mix of the album on Blu-ray, a 180g half-speed master LP, a 7” single, booklet, all-new liner notes and collectable lithographs.

SONIC YOUTH/ The PASTELS – ” Play The New York Dolls – Personality Crisis / Lonely Planet Boy ” Glass Modern Split 7″ Vinyl

Posted: October 23, 2021 in MUSIC
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Sonic Youth have a new split-7″ with Glaswegian indie legends The Pastels featuring previously released covers of New York Dolls‘ songs. The Pastels’ cover of “Lonely Planet Boy” dates from 1987 and was originally appeared on their Comin’ Through EP, and Sonic Youth’s cover of “Personality Crisis” was originally released as a 7″ via Sassy Magazine in 1990, and later appeared on the 1993 Whores Moaning EP and the deluxe edition of “Dirty“.

The cover art for this split-7″ was designed by Annabel Wright and it’s due out November 5th via Glass Modern. Preorder yours from the North American or European store, and you can listen to both covers below.

The music we love passes from one generation to the next and the New York Dolls will always be a group to celebrate. Both Sonic Youth and The Pastels are not only fans but covered two of their most iconic songs a few years apart, in 1987 (The Pastels – Lonely Planet Boy) and 1992 (Sonic Youth – Personality Crisis). Glass Modern is really thrilled to bring these two fantastic versions together in a limited edition split 7” single with Annabel Wright cover art. New York Dolls forever.

An early touchstone for The Pastels was New York Dolls amazing Old Grey Whistle Test appearance which Brian had on Beta tape along with other select choices which he liked to share as the mood took him. A few years later, in 1987, we decided to cover their broken ballad, “Lonely Planet Boy” on our Comin’ Through 12”. This of course came out on Glass Records. Glass is happily now back in business as Glass Modern and when the owner, Dave Barker, suggested we might release it as part of a New York Dolls tribute we were into the idea – particularly as he wanted to pair it with Sonic Youth’s “Personality Crisis” which we love. Unfortunately the master tape was missing, although we had the multi-track which we worked on with Paul Savage at Chem 19, going for something very close to the original. This is now coming out on November 5th as a 7” on purple vinyl with a fab Annabel Wright cover and is available on presale from Monorail Music and other reliable sources.

Glass Modern is a new imprint of Glass Records, for new recordings and a choice selection of Ltd Edition reissues on CD, Vinyl & downloads.

HEART ATTACK – ” God Is Dead “

Posted: October 23, 2021 in MUSIC
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Back when Jesse Malin was only 12, he formed one of the first-ever New York hardcore bands, Heart Attack, and in 1981 they put out their debut 7″, “God Is Dead“, on the Damaged Goods fanzine label. The band was short-lived but they left an impact, and the long-out-of-print “God Is Dead” had been bootlegged for years. Now, it’s getting its first-ever official reissue, via Malin and Don DiLego’s Velvet Elk label. We’ve teamed up with Malin on an exclusive white vinyl variant, limited to just 250 copies and available exclusively in our stores. 

“The “God Is Dead” EP is the first record I ever put out,” Jesse tells us. “We were a trio and failed the auditions at CBGB We were too late. They told us ‘all that punk rock was over,’ and that we should try something new, like rockabilly or new romantic. I wasn’t going to dress up like a pirate. I started to walk further east and saw fliers on the street posts, for bands like The Stimulators and Bad Brains and the False Prophets. I started to get this idea that there was something else out there.”

“We got inspired by seeing the Bad Brains. Everything got faster. Our guitarist Jack Flannigan started listening to Ramones records on the faster speed. He then went on to form The Mob, the fastest band on the scene. We wanted something that spoke to us during our time. It was our generation. It was the early days of hardcore.”

“We started to check out clubs on Avenue A, which was a scary, blown-out neighborhood. Somehow, without cell phones and the internet, we all found each other on an East Village corner. We came from all boroughs in the New York area and the tri-state. Tours were booked on stolen credit cards that you bought in Times Square. You bought a used van, built a loft in the back, and went across the country.”

“I’ll never forget the summer of ’81 when we first heard this record on the radio,” Jesse continues. “I’m really happy to see this EP get a re-release 40 years later. I’m very grateful to still be making music. As much as the world changes, some things remain the same—waiting for the van to come, writing a set list, getting the jitters before you go on, putting your boots on tight, and playing every show like you have a gun at your back.”

If you’ve never heard “God Is Dead“, it’s a great and perhaps slightly-underrated example of early hardcore, and it still rips today. 

JIMI HENDRIX EXPERIENCE – ” Paris 67′ ” Black Friday Record Store Day

Posted: October 22, 2021 in MUSIC
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Another amazing release from the official Jimi Hendrix “bootleg label” Dagger Records, this raw, direct to two-track, live recording from the Olympia Theatre in Paris was captured for French national radio and documents the Experience’s triumphant return to France almost one year from the date of their 1966 debut. Recorded on October 9th, 1967, The Experience were in top form, roaring out of the gate with “Stone Free,” and following with vibrant renditions of “Hey Joe,” “Fire,” “The Wind Cries Mary” and “Catfish Blues.” “Rock Me Baby” and a compact “Red House” prefaced a grinding, muscular take of “Purple Haze,” followed by “Wild Thing,” replete with a rousing, tongue-in-cheek lead vocal that emphatically closed the show.

The Hendrix family’s bootleg label, Dagger, carries on with its unending catalogue of studio and raw live rarities—this time a red-and-blue swirled vinyl, direct-to-two-track recording from Paris’ Olympia Theatre. Captured just one fast, furious year after their 1966 debut, you can feel the trio’s still-fresh frenzy on the punched-up dirtball rock.

Released for RSD Black Friday on red and blue mixed vinyl. 

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