Last year, Charlie Martin impulsively wrote“T-R-U-E L-O-V-E” in all caps across the top of what would become the title track of his and Will Taylor’s fourth Hovvdy album. The on-the-nose instinct encapsulates the LP’s elemental look at relationships – familial, romantic, friendly – and that desire to capture them in a bottle. Since the creation of their last album, both Charlie and Will have married their partners; with Will becoming a father.
A nod to their roots and a reach for more, “True Love” maturely embraces the best of the duo’s hyper-genuine, chin-up qualities developed over the past seven years. Charlie and Will first met at a baseball game while touring with other bands, both as drummers. Back home in Austin, the pair connected over shared sports-centric upbringings in Dallas and, most prominently, likeminded batches of solo song writing. The interlocking tracks would become 2016 LP Taster, introducing a comforting sonic push-and-pull continued in the innate melodies of Cranberry (2018) and the propulsive storytelling of breakthrough Heavy Lifter (2019).
Fourth album True Love follows a surprisingly folksy and beautifully determined course, just hinting at the lo-fi layers of the Austin-based project’s DIY origins. Co-produced by the genre-morphing Andrew Sarlo (Nick Hakim, Big Thief, Bon Iver), the acoustically-driven, forward-looking songwriters’ statement stamps Hovvdy’s debut with Grand Jury Music.
Arguably the most prolific group of our time, “Butterfly 3000” is the Australian collective’s first release on their own KGLW label, their second album of 2021 and there is guaranteed to be more and their 18th record overall, in under a decade. King Gizzard and the Lizard Wizard morphs with each release, just enough to keep things unexpected, but not so much as to entirely alienate their fans.
With Butterfly 3000, this change is marked mainly in the form of synthesizers at the forefront and the very occasional signature fuzzy guitars in the background. This gives the psych-rock sound the group is known for a decidedly Kraftwerk-esque dance-pop flavour, one with cheerful synth lines, a version of the electronic music icons before they replaced the drumming of Neu!’s Klaus Dinger with a machine. The 10 compositions of Butterfly 3000 work together as a whole, interlocking with each other through synth loops and feathery, dreamy vocals. With Butterfly, King Gizzard is less of an experimental prog-jam band standout and more in step with its synth-rock contemporaries—and they fit in just fine.
Australian psych-rockers King Gizzard & The Lizard Wizard have shared a new music video for the track “Blue Morpho,” off their most recent LP, Butterfly 3000.
Butterfly 3000 finds them exploring pop styles within their established psych sound. One of the highlights is “Interior People,” that might be their catchiest, most immediate song to date. The band’s Joey Walker says it’s “about the internal battle of questioning your own sanity, and the joy that comes in letting go and surrendering to the void.”
They’ve now released an eye-popping animated video for “Interior People” which was directed by Ivan Dixon and pays tribute to Hayao Miyazaki, French artist Moebius and animated film Heavy Metal. “The only direction from the band was to include butterflies, to tie in with the album name Butterfly 3000,” says Dixon. “When I listened to ‘Interior People,’ I immediately pictured something with momentum, like a wild road trip.
That’s where the idea of the protagonist riding a giant butterfly came from. The title made me think of cocoons. Maybe our hero was trying to find a cocoon to metamorphose into a butterfly herself? Little moments of affection between her and her butterfly could hint at a deeper bond between them. Were they lovers? With the cocoon I really wanted to design the kind of thing you would find in a typical Australian garden as a kid. The ones with little sticks poking out of them. I’ve never seen those particular cocoons represented anywhere before.”
“Butterfly 3000” is the band’s 18th album, and second to be released in 2021.
TheTedeschi Trucks Band’s “Layla Revisited (Live At LOCKN’)” is a one-off live recording of the seminal Derek & The Dominos album “Layla and Other Assorted Love Songs“, performed in its entirety with special guest Phish guitarist Trey Anastasio. Recorded on August 24th, 2019 in Virginia, Layla Revisited captures Tedeschi Trucks Band at their incendiary best, with Anastasio proving the perfect foil to the transcendent musical union of guitarist Derek Trucks and guitarist/vocalist Susan Tedeschi, and frequent collaborator Doyle Bramhall II.
No one was asking for a song by song remake of Layla and Other Assorted Love Songs (1970). It’s an album so definitive that even its originator Eric Clapton never played all of it in concert with the original band, let alone in order.
Since Layla… was initially crafted with only five players (Duane Allman famously joined Clapton’s Dominos on second lead guitar for some tunes),
The performance came as a complete surprise to fans. The artists made no mention of the set of music they diligently rehearsed and planned ahead of time. But the links between the band and the album are deeply woven into the fabric of their existence. Trucks is no stranger to the material. He was on six of the 14 tracks on Clapton’s 2007 tour, often replicating Duane Allman’s parts. And according to his liner notes, Derek was exposed to Layla’s songs at an early age by his parents. He recently also discovered it was released on his wife and co-front person Susan Tedeschi’s birthday, November 9th, 1970. The upshot of this coincidence seems unavoidable.
Propelled by two of the 20th century’s greatest guitarists, Eric Clapton and Duane Allman, Layla and Other Assorted Love Songs was serendipitously released on November 9th,1970, the day Tedeschi was born. Later, Chris and Debbie Trucks were such fans of the album that they were inspired to name their firstborn son Derek. Decades later, Trucks would enjoy a 15-year tenure as a member of The Allman Brothers Band, and tour extensively with Clapton. Such is the depth of connection between the music and the performers that this album feels almost preordained.”
No one can match the longing and passion in Clapton’s voice as he pined for George Harrison’s wife on what was an album long love letter of sorts to her. But the always exciting Susan Tedeschi and the three other TTB singers that trade lead vocals, infuse variety and diversity, if not intensity, to these blues rock gems.
Without visuals, it’s difficult to discern which of the four guitarists are soloing. Similar to Derek & the Dominos’ lone tour, the songs are often stretched to include jamming. That lengthens the surging “Keep on Growing” (from six to twelve minutes), the mesmerizing “Anyday” featuring a tasty opening guitar dual (six to 13 minutes) and the frisky “Why Does Love Got to Be So Sad” (four to almost nine minutes) far beyond their studio predecessors.
As it stands, the approach is, perhaps not surprisingly, heavy on guitar duels and jams. When the horns appear, as on the cover of Hendrix’s “Little Wing”’s riff, it shows what could have been accomplished if someone had spent time crafting more dominant parts for them.
Regardless, the final product both pays tribute to an album that rightfully remains on the shortlist of iconic blues rock recordings and infuses fresh blood into it with these generally stirring interpretations. Trucks was clearly inspired to play with determination while not overwhelming the material with endless jamming, something even Clapton couldn’t accomplish as evidenced by live recordings of Derek & the Domino’s which prolonged some tracks past their breaking points with seemingly endless guitar solos.
The audio fidelity is stunning, especially on the vocals and guitar, and the double disc feels like an inevitable closing of the circle for Trucks, who has been influenced by the songs and performances on Layla… for his entire life.
“Why Does Love Got To Be So Sad” is from the album, “Layla Revisited (Live at Lock’n)“
Tedeschi Trucks Band’s “Layla Revisited (Live At Lock’n)” , is a one-off live recording of the seminal Derek & The Dominos album Layla and Other Assorted Love Songs, performed in its entirety with special guest Trey Anastasio. Recorded on August 24th, 2019 at the Lock’n Festival in Arrington, VA,
TRACKLIST: 1. I Looked Away 2. Bell Bottom Blues 3. Keep On Growing 4. Nobody Knows You When You’re Down and Out 5. I Am Yours 6. Anyday 7. Key To The Highway 8. Tell The Truth 9. Why Does Love Got To Be So Sad? 10. Have You Ever Loved A Woman? 11. Little Wing 12. It’s Too Late 13. Layla 14. Thorn Tree In The Garden (studio)
“Layla Revisited” captures Tedeschi Trucks Band at their incendiary best, with Anastasio proving the perfect foil to the transcendent musical union of guitarist Derek Trucks and guitarist/vocalist Susan Tedeschi, and frequent TTB collaborator Doyle Bramhall II.
The Montreal musicians that congregate around Arbutus Records often have an early morning eeriness to them. That’s usually translated through an electronic sound found most notably on Doldrums’ Lesser Evil and Grimes’ Visions and more recently on the incredible single “Malachite” by Lydia Ainsworth. But that romanticism and otherworldliness shows up in more traditional ways, too, like Sean Nicholas Savage’s sparse, lovely “Heartless” from earlier this year, and now the new single by TOPS. It’s a track filled with gently twangy guitar lines and lyrics, delivered by whispery vocalist Jane Penny, that evoke a sort of half-awake poetry: “Hold on to words/ when you are sleeping/ words you forget in the daylight/ words that you are speaking.” Forget how often the term “dream pop” gets tossed around — this band seriously earns it.
“Change Of Heart / Sleeptalker” is a 7″ record with TOPS lead single “Change Of Heart” backed with “Sleeptalker”. Both songs are featured on their new record, “Picture You Staring”, which is a lush array of timelessly crafted songs. Change Of Heart / Sleeptalker gathers strength through intimacy. Self-written, recorded and produced at Arbutus Record’s studio in Montreal, these are impeccable examples of pop craftsmanship that will reward repeat listens.
Montreal 4-piece return with this soft, sleepy number. Find it as the B-side to a 7″ out now, and later on their forthcoming LP. Both via one of our favourite labels around, Arbutus Records.
What makes this triumphant comeback from these Boston legends all the more sweeter was the realization of how Too Much Joy has served as a secret template for some of the best new power pop of the last 20 years.
We weren’t really planning on making another record; this album only exists because 2020 sucked so goddamn much.
Too Much Joy is/was a punk-pop band of some minor renown. Some of that renown was due to their music, which included semi-hits such as “Crush Story,” “Donna Everywhere,” and “That’s a Lie” — a cover of the LL Cool J tune that featured the man himself in the music video, which actually got played quite a bit during daylight hours on MTV back when they did that sort of thing.
Our humble hope is that, since it now exists, it can make whatever year you’re listening to it in suck a little bit less. 25 years late but more than well worth it! Too Much Joy are back with amazing album start to finish. Hooks that stick with you for days, crashing guitars and lyrics that still have the angry young wiseass of their earlier work with some old guy wisdom thrown in. Not only have they not missed a step they have put out an album that shows maturity without losing any of the loud fast power pop of the old days!
Jay Blumenfield: guitar, vocals, zoloft Tim Quirk: vocals, edibles Sandy Smallens: bass, vocals, guitar, ardbeg Tommy Vinton: drums, vodka, cranberry William Wittman: bass, guitar, keys, vocals, yamazaki 18
Guest vocals on “Uncle Watson Wants to Think” by Joan Osborne. Joan Osborne appears courtesy of Womanly Hips Music.
Little Steven & The Disciples Of Soul have announced the release of a new live album,“Summer Of Sorcery Live! At The Beacon Theatre” on July 9th through Wicked Cool Records/UMe. It will be available on on blu-ray video with 5.1 surround, 3CD and as a limited edition 5LP vinyl box set
Professionally filmed and recorded before a sold-out crowd at New York City’s historic Beacon Theatre on November 6th 2019, the live concert extravaganza, Summer Of Sorcery Live! At The Beacon Theatre, expertly captures Little Steven, aka Rock and Roll Hall of Famer Stevie Van Zandt, bringing the house down with his band the Disciples of Soul showcasing their acclaimed 2019 album “Summer Of Sorcery”: a 12-track record about the first rush of summer and the electric feeling of unlimited possibilities.
With summer just around the corner, Van Zandt is pleased to announce the full two-and-a-half-hour concert – the triumphant hometown culmination of the Summer of Sorcery’s European and U.S. tours – will be released July 9th via Wicked Cool Records/UMe The limited edition 5LP 180-gram “Psychedelic Psorcery Pswirl” colour vinyl box set, which will be exclusively available viauDiscoverMusic and though Little Steven’sofficial website.
The Blu-ray features the entire concert in HD video with the audio offered in both stereo and 5.1 surround sound to provide the next best possible experience to being at the rock ‘n’ soul revue. The live album, which was mixed by Bob Clearmountain and mastered by Bob Ludwig, both career-long collaborators, includes thrilling performances of every song from Summer of Sorcery alongside tracks from throughout Van Zandt’s solo career, songs he wrote for Southside Johnny and the Asbury Jukes, and some souped-up covers.
Little Steven and the Disciples of Soul were joined throughout the Summer of Sorcery tour by an array of legendary friends and family. Summer of Sorcery Live! At The Beacon Theatre is highlighted by a surprise appearance by the one and only Peter Wolf, who lends his inimitable vocals to powerhouse versions of J Geils Band’s “Freeze Frame” and Artists United Against Apartheid’s landmark protest anthem, “Sun City.”
Summer Of Sorcery Live! At The Beacon Theatre is rounded out with nearly an extra hour of live music featuring seven previously unreleased bonus performances recorded throughout 2017-2019, including with such superstar special guests as Australian music legends Jimmy Barnes and Peter Garrett, longtime friend and E Street Band bandmate Nils Lofgren, and the legendary Nick Gravenites, who joins Van Zandt for a spectacular rendition of the Electric Flag’s “Groovin’ Is Easy.” In addition, Peter Wolf returns for an explosive cover of The Showstoppers’ hit, “(Ain’t Nothin’ But A) Houseparty,” recorded during the Soulfire Tour but, according to Van Zandt, “too good to leave on the shelf.” The festivities come to a rousing conclusion with a star-studded version of “Sun City,” which edits together performances with Jimmy Barnes, Jake Clemons, Sam Fender, Peter Garrett, Courtney Hadwin, Garland Jeffreys and Bruce Springsteen.
“We were born freaks, misfits, and outcasts,” Van Zandt writes in the album’s liner notes, which also include personal comments about each performance. “We got into this business because no other would have us. While we were here we figured we might as well create a world of our own, because we didn’t fit in the one we were being offered. Being on the road with a band is the ultimate manifestation of that fantasy. Together you travel, you perform, you dispense joy, and you get to see the world while avoiding it at the same time.
“Such was the case with the troubadour missionaries and part-time exorcists known as the Disciples of Soul as they sprinkled enlightenment to a dark world from May 27th, 2017 to November 6th, 2019. First as the Soulfire was lit in the overture and finally as the Summer of Sorcery played out its magical denouement. Herein embodies the still sparkling evidence of the latter, that which began as stranger’s prayers imagined and ended as a family’s promise fulfilled. Enjoy it at as much as we did at whatever volume is required to force your neighbours to call the cops.”
Arranged and produced by Van Zandt, with production assistance by Grammy Award-winner Geoff Sanoff (Bruce Springsteen, Stephen Colbert). Summer of Sorcery Live! At The Beacon Theatre kicks off with a very special introduction from counterculture icon Wavy Gravy and from there traverses across Little Steven’s genre-smashing body of work, from Summer of Sorcery and 2017’s acclaimed solo return, Soulfire through classic songs and fan favourites from the songwriter, guitarist and band leader’s illustrious career, including an incendiary three-song salvo celebrating his work with Southside Johnny and the Asbury Jukes (“Little Girl So Fine,” “Trapped Again,” and “LoveOn The Wrong Side Of Town”). Further highlights include spectacular covers of The Youngbloods’ “On Sir Francis Drake,” The Dovells’ “Bristol Stomp,” The Animals’ “Club-A-Go-Go,” and Bruce Springsteen’s “Tucson Train.”
“I’ve got plenty of energy, it’s my currency” sings Amy Taylor on the opening track of “Comfort To Me”. After the release of self-titled Amyl and The Sniffers (2019), the band conquered the world one club gig and festival stage at a time. Their unrelenting, jaw-dropping live show propelled them to must-see status and prompted The Guardian to declare AATS “the single most exhilarating rock’n’roll show I’ve seen in years.” Comfort To Me is somehow both heavier and more awesome than their debut while having a new vulnerability and timely lyrical content.
Already renowned for a ball-tearing live show, The Sniffers made their international debut as one of the hottest tipped acts at The Great Escape in 2018. Soon afterwards, they signed deals with both Rough Trade Records and ATO Records, made a massively hyped appearance at SXSW, and finally released their self-titled debut album in 2019, landing them an ARIA (Australian Recording Industry Association) Award for Best Rock Album, capping off a wild year for the lunatic, likeable punks.
Late in 2020, Amyl and The Sniffers went into the studio with producer Dan Luscombe to record their sophomore album, “Comfort To Me“. Written over a long year of lockdown, the album was influenced by and expanded on a heavier pool of references – old-school rock’n’roll (AC/DC, Rose Tattoo, Motörhead and Wendy O Williams), modern hardcore (Warthog and Power Trip) and the steady homeland heroes (Coloured Balls and Cosmic Psychos). Lyrically, the album was influenced by Taylor’s rap idols and countless garage bands and in her words ‘I had all this energy inside of me and nowhere to put it, because I couldn’t perform, and it had a hectic effect on my brain. My brain evolved and warped and my way of thinking about the world completely changed.’
Seventeen songs were recorded in the Comfort to Me sessions and the top 13 made the cut. They were mixed long-distance by Nick Launay (Nick Cave, IDLES, Yeah Yeah Yeahs) and mastered by Bernie Grundman (Michael Jackson, Prince, Dr Dre).
“Comfort To Me” demonstrates the same irrepressible smarts, integrity and fearless candour as their debut but as you’d expect of any young band five years on, their sound has evolved, in Amy’s words it’s ‘raw self expression, defiant energy and unapologetic vulnerability.’
“Comfort To Me” Deluxe “Melt Edition” Vinyl w/Zine
Includes exclusive 20-page A5 zine featuring “all kinds of personal crap, lovingly chucked together by Amyl and The Sniffers.“
Exclusive alternate artwork by Bráulio Amado
3-color yellow, red, and blue a-side/b-side vinyl
Pressing limited to 2,000 in the US
Available exclusively in ATO/Amyl online stores
Gatefold jacket with custom inner-sleeve, includes digital download
New Studio Album Out September 10th Deluxe Limited Edition Tri-Color Vinyl,
Lu’s Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy’s Room and Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams.
The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favourite halls.
Revered singer/songwriter Lucinda Williams is working to help independent music venues during this time with the announcement of Lu’s Jukebox. Scheduled as a six-episode series of mostly full-band, HD video performances in-studio, Lu’s Jukebox features a themed set of songs by other artists curated by the multi-Grammy award winner. Largely full-band performances, Lucinda has poured her heart and soul into each of these episodes.
Lu’s Jukebox Vol. 2 Southern Soul finds Lucinda dishing out numbers from Memphis to Muscle Shoals and beyond and tackling the likes of Joe South’s “Games People Play”, Bobbie Gentry’s “Ode To Billy Joe”, Ann Peebles’ “I Can’t Stand The Rain”, Tony Joe White’s “Rainy Night In Georgia” and Al Green’s “Take Me To The River” among others.
“The Flatlanders, the iconic Texas trio of Butch Hancock, Joe Ely and Jimmie Dale Gilmore, have made their first album of new music in more than 12 years. Treasure of Love will be released on July 9, but today the band released the single Sittin’ On Top of the World, well known by fans as one of their most notable show closers. “Sometimes you’re sitting on top of the world, the next minute you are face down on the bottom. Just like life. (And the very next minute you are at the top again),” said Butch Hancock. Added Joe Ely: “It’s better to sit on top of it, rather than carry it. It’s a song that once you have it in your head you have to sing it.”
Almost 50 years after the sessions that would make them an “accidental Texas supergroup” The Flatlanders have returned with “Treasure Of Love”, their first new album in more than a decade. Completed during COVID-19 lockdowns with the help of long time friend and collaborator Lloyd Maines, the record finds the iconic trio of Joe Ely, Jimmie DaleGilmore, and Butch Hancock in classic form, serving up a rollicking collection of twang-fuelled, harmony-laden performances full of wry humour and raw heartbreak. While a few songs here are never-before-heard originals, the vast majority of the track list consists of tunes the band picked up during their half-century together, some stretching as far back as the group’s earliest performances in the honkytonks around Lubbock, TX, where you might have spotted Willie Nelson or Townes Van Zandt in the audience.
Sittin’ On Top of the World · The Flatlanders · Butch Hancock · Joe Ely · Jimmie Dale Gilmore · Walter Vinson · Lonnie Chatmon Sittin’ on Top of the World ℗ 2021 Rack ‘Em Records marketed and distributed by Thirty Tigers Released on: 2021-05-07
The Allman Brothers Band’s drummer Jai Johanny Johanson, also know as Jaimoe, celebrates his 77th birthday today. Born Johnny Lee Johnson in Ocean Springs, Mississippi on July 8th, 1944, Jaimoe began his musical career with notable artists like Otis Redding and Sam & Dave before helping to found The Allman Brothers Band in 1969 with guitarists Duane Allman and Dickey Betts, keyboardist Gregg Allman, bassist Berry Oakley and fellow drummer Butch Trucks.
It was the double drum attack of Jaimoe and Trucks that drove The ABB’s live sound, which was quickly becoming renowned throughout the U.S. Just over a year after The Allman Brothers Band was founded, the band delivered a stellar performance at SUNY Stony Brook in Stony Brook, New York. The show took place on July 26th, 1970.
The set kicks off with “Don’t Keep Me Wonderin’.” The song, and indeed the whole set, featured the aforementioned locomotive-like driving beat from Jaimoe and Trucks. The steady and yet complex rhythm not only provided a foundation for The Allman Brothers Band’s guitar players, but also something to play off of. The bluesy “Stormy Monday” followed ahead of the group’s classic instrumental “In Memory Of Elizabeth Reed,” which saw Butch and Jaimoe weaving a web of rhythm underneath the melodic elements of the band. The riff-driven “You Don’t Love Me” came next and featured a more straightforward rock ‘n’ roll backbeat. Another ABB classic, “Dreams,” followed ahead of “Mountain Jam” which, as it often did, stretched to over 30 minutes.
Unlike The Grateful Dead, their obvious and acknowledged model for reissuing vintage live recordings, The Allman Brothers Band have not shied away from exploring their early work in an attempt to demonstrate that they were as good in 1980 and 1990 as they were in 1970.
Setlist: Don’t Keep Me Wonderin’, Stormy Monday, In Memory Of Elizabeth Reed, You Don’t Love Me, Dreams, Mountain Jam
