Legendary singer/songwriter David Crosby‘s solo career renaissance continues in 2021 with news of another new studio album, For Free, coming July 23rd . His latest effort arrives one month before his 80th birthday, on August. 14th. has been more prolific in the past decade than it ever has before, and he has just now announced a new solo album it will be his fifth since his 2014 comeback album “Croz” called “For Free” and due July 23 via BMGRecords. The album was made with Crosby’s son James Raymond, who also produced 2017’s “Sky Trail’s” and it was made with some of the same musicians of that album. “Can you imagine what it’s like to connect with your son and find out that he’s incredibly talented—a great composer, a great poet, and a really fine songwriter and musician all around?” Crosby asks. “We’re such good friends and we work so well together, and we’ll each go to any length to create the highest-quality songs we can.”
It also features contributions from Michael McDonald, Steely Dan’s Donald Fagen, and Sarah Jarosz, the latter of whom appears on the title track, which is a cover of the classic song by Crosby’s long time friend and collaborator Joni Mitchell.
“Joni’s the greatest living singer/songwriter, and ‘For Free’ is one of her simplest,” Crosby said. “It’s one of my favourite songs because I love what it says about the spirit of music and what compels you to play.
The first single is opening track “River Rise,” a folk and jazz tinged song which features Michael McDonald. For Free also includes a track penned by Steely Dan’s DonaldFagen expressly for the album. “Steely Dan’s my favourite band and I’ve admired Donald a long time, so that was a thrill for us,” he says. A sharply detailed portrait of outlaws, angels, and drugstore cowboys, “Rodriguez For a Night” merges Fagen’s sophisticated storytelling with Crosby’s warmly commanding vocal presence.
Crosby taps another friend for the album’s striking cover art, using a portrait Joan Baez painted of him.
In the winter of 1976, The Who were on hiatus, and Pete Townshendhad time open to produce his pal Ronnie Lane’s new album. Lane’s LPs and live gigs with his band Slim Chance were fun, but didn’t support him financially, especially contrasted with his hit-making days with Small Faces and Faces. In fact, seeking a decent payday, Lane had just agreed to participate in a Small Faces reunion project for Atlantic Records. He tried to get along with his old bandmates for a couple weeks, but bailed out after a heated argument with singer Steve Marriott during rehearsals. Lane was already showing the early symptoms of multiple sclerosis (tremors, slurred speech), which others sometimes interpreted as a sign he was drunk.
Lane found himself owing Atlantic an album anyway. He didn’t tell Townshend, or very many others, about his medical diagnosis. The imagined project quickly became a full Townshend/Lane collaboration. Producer Glyn Johns, engineer Jon Astley (Townshend’s brother-in-law) and an all-star cast of players convened in London’s Olympic Studios for sessions in late 1976 and spring 1977. Eric Clapton played guitar and dobro, John “Rabbit” Bundrick added keyboards, King Crimson saxophonist Mel Collins and original Rolling Stones pianist Ian Stewart helped out. The Who’s JohnEntwistle sang and did instrumental arrangements, and Henry Spinetti played drums (except when an uncredited Charlie Watts did). Townshend’s liner notes eventually read, “Ron and Pete play various acoustic & electric guitars, mandolins & bass guitars, banjos, ukuleles & very involved mind games.”
As to the songs, Lane’s wife Kate helped write “Catmelody” with Ronnie, and joined him to co-compose “Annie” with their buddy Clapton as well. Townshend and Lane contributed their own individual songs, and co-wrote the title track for the LP, eventually known as “Rough Mix”, the professional term for a preliminary, incomplete version of an audio recording. The album contained one cover, “Till the Rivers All Run Dry,” which had recently been a #1 American country music hit by Don Williams. Its inclusion was a tip of the hat to Townshend and Lane’s spiritual guru Meher Baba, who was a country and western fan (he’d died in 1969 but his teachings continued to exert a strong influence on his followers nonetheless). The liner note says “this song is dedicated to the Old Man.”
The album begins with Townshend’s lively “My Baby Gives It Away,” another of his dryly humorous, ambiguous tales of sexual relations: “When you’re alone in some city hotel/You can get company by ringing a bell/You might go pick up a girl on the street/But my baby gives it up totally free.” It’s a rocking little number with several tasty guitar overdubs and the unmistakable drumming of Watts. As a performance, it sounds like the fraternal twin of “Squeeze Box” from The Who “By Numbers” of 1975
Lane’s “Nowhere to Run” weaves in banjo, acoustic guitars, a prominent bass line, Bundrick’s organ and nice harmonica fills from Medicine Head’s Peter Hope Evans. Lane’s rough-voiced vocal is intimate and casually charming.
The rocking instrumental “Rough Mix” follows, with Clapton’s electric guitar driving it, some truly outstanding drumming from Spinetti, and Bundrick showing why he was the “go-to” organ player for so much of the Island Records roster during this period.
“Annie” features members of Slim Chance: Graham Lyle (12-string acoustic guitar), Benny Gallagher (accordion) and Charlie Hart (violin). David Marquee is on double bass, and Clapton’s on lead acoustic. Like other Lane compositions, it carries its spiritual feel in the observation of the natural world, and “the long view”: “Old oaks stand tall, Annie/Seen the world grow small, Annie/But when they fall, Annie/Where will they be?” It’s an example of how Lane can make a simple melody really shine.
“Annie” finds a match with the following cut, Townshend’s “Keep Me Turning.” The lyrics are sad and sardonic: “River’s getting higher/No wood for the fire/They saw the messiah/But I guess I missed him again/That brings my score to a hundred and ten.” Bundrick plays piano and organ and Spinetti’s drumming is again spot-on (he might almost be mistaken for Kenney Jones, who was to join The Who after Keith Moon’s death in 1978). Listen for Townshend’s beautifully simple acoustic guitar solo in the middle, and how the multiple guitars interact in the last section.
“Catmelody” is a ’50s-style rocker with Stewart’s barrelhouse piano, Collins’ overdubbed sax section and concluding solo, the uncredited Watts in charge, and Lane’s super-enthusiastic vocal and minimalist electric guitar solo.
During the recording of Rough Mix, Lane’s multiple sclerosis was diagnosed but still not revealed generally. In one instance, Lane had an emotional issue related to his MS that caused an argument between him and an unknowing Townshend. Nonetheless Lane toured, wrote and recorded (with Eric Clapton among others) and in 1979 released another album “See Me” which features several songs written by Lane and Clapton. Around this time Lane travelled the highways and byways of England and lived a ‘passing show’ modern nomadic life in full Gypsy traveller costume and accommodation.
Side two of the LP starts with Townshend’s understated vocal for “Misunderstood,” with Evans’ harmonica, Diggle’s percussion and Townshend’s acoustic guitar backing more of his oddball lyrics: “Just want to be misunderstood/Want to be feared in my neighbourhood/Just want to be a moody man/Say things that nobody can understand/I want to be obscure and oblique/Inscrutable and vague.” In overall sound, there’s nothing quite like it in the immense Townshend solo catalogue.
Lane’s “April Fool” is generally regarded as his standout track on “Rough Mix”. (He was born on April 1st…) Clapton plays a lovely dobro (why didn’t he play the instrument more in his career?), Marquee is on string bass again, and Lane’s singing is especially poignant, recalling his classic Faces number “Stone.”
Townshend’s father-in-law Edwin Astley contributes the orchestral score for “Street In the City,” a tender hearted ballad telling a story tinged with both cynicism and nostalgia. It’s a spectacular classical hybrid, with only one acoustic guitar added, and looks forward to Townshend’s theatrical projects like Iron Man in the ’80s. Once again, Townshend paints himself into the urban picture as an observer: “I see the world go by as I lean against my wall/I watch as Fleet Street makes new heroes rise and fall/The news is written in the eyes of us all/One is a sinner, one is a saint/But most of us worry about showing up late.”
“Heart to Hang on To” was written solely by Townshend, but the verses are sung by Lane, with Townshend taking the chorus. It’s a tender tune, one of Townshend’s best, and the arrangement, with Bundrick on Fender Rhodes piano, Spinetti on drums, and a brass section arrangement from Entwistle, is dramatic. In the middle section, the ghost of “Who Are You” arrives with a stinging Townshend electric guitar solo, and the ending also recalls that Who track.
Released on September 16th, 1977, Rough Mix was barely promoted by MCA Records and only made it to #45 on the album chart. Despite some FM airplay, it was sadly neglected at the time. Those who discovered it later don’t hesitate to call it an “overlooked gem” or “minor masterpiece.” Townshend, of course, is still active and as prolific as ever. RonnieLane died June 4th, 1997, from his debilitating disease. There have been many tributes to him over the years, including the archival boxed set Just For a Moment: Music 1973-1997, which gives due notice to “Rough Mix”. He was one of rock’s true originals.
It is true that making plans for shows and festivals in 2021 is a bit of a gamble. But Le Guess Who? believes that it’s important to have something to look forward to. In the spirit of cautious optimism, we are proud to announce the second round of confirmations for November 11-14 in Utrecht, The Netherlands.
Le Guess Who?’s goal to bring people together hasn’t changed, and neither has our global focus: we continue to work hard to keep as many voices in the room as possible. Together we need to experience new music and artistry, and find new inspirations. We truly can’t wait to have you with us again.
Now a hallmark of the festival, Le Guess Who? has again invited five guest curators to present their own programs of inspiring and like-minded artists.
Multi-instrumentalist, vocalist, songwriter, visual artist and record label owner John Dwyer will perform as part of OSEES and will also present the live premiere of Bent Arcana, the group Dwyer formed last year and draws inspiration from prog- and krautrock, jazz and avant-garde improvisation. For his curated program, Dwyer invites legendary German krautrock group faUSt, performing their iconic album ‘Faust IV’ (1973); Arrington de Dionyso’s avant-blues/garage-rock outfit Old Time Relijun; vocalist, keyboard and tambourine player–and OSEES collaborator–Brigid Dawson & Sunwatchers; the cosmic musical universe of Earth Girl Helen Brown; and Gustaf, Brooklyn’s most ‘reliable fun band’.
Colombia-born/Berlin-based producer and sound artist Lucrecia Dalt will present her collaboration with Aaron Dilloway (Wolf Eyes); their new album ‘Lucy & Aaron’ will be released in July. Dalt also curates performances by Argentinian sound sculptor Beatriz Ferreyra; Barcelona’s “progressive Gregorian” vocal duo Tarta Relena; German futuristic noise musician, curator, and radio host Felix Kubin; and Columbian singer-songwriter Julián Mayorga, known for his free-spirited and hyper-active compositions.
Japanese percussionist and minimalist/ambient composer Midori Takada will perform at the festival as part of Ton-Klami, her free jazz improvisational trio with pianist Masahiko Satoh and saxophonist Kang Tae Hwan. Takada also invites The Hague’s Ensemble Klang to present the live premiere of their audiovisual project, Thrift Hybrids.
Clarinetist, saxophonist and “panoramic sound quilter” Matana Roberts will curate performances by free jazz and sonic poetry collective Irreversible Entanglements (featuring LGW18 curator Moor Mother); Justin Broadrick’s dark, gloomy and glittery Jesu; French composer, double bass player and vocalist Joëlle Léandre; and Australian composer and multi-instrumentalist Oren Ambarchi, who has been meaningfully manipulating the guitar and its sounds for over thirty years.
At LGW 2021, lauded singer-songwriter Phil Elverum will be joined by guitarist Jay Blackinton to perform the Microphones in 2020 album in its entirety. Elverum also curates performances from figureheads of the flourishing Nairobi underground metal scene, Duma; folk and jazz cellist and former Nirvana collaborator Lori Goldston; and Estonian contemporary folk musician Mari Kalkun.
More artists from the curated programs will be announced at a later date.
Gary Louris of The Jayhawks and Golden Smog. New Gary Louris album, “Jump For Joy“, is out on June 4th.
Gary Louris’ first solo album in over decade is a decidedly low-key affair, one that’s decidedly disengaged from the roots rock sound he helped establish with the band the Jayhawks during the birth of what became engrained within the modern Americana sound. Although it comes on the heels of the band’s most recent LP, XOXO, released just last year, Jump for Joy finds Louris leaning more towards the music he makes with his “other” outfit, Golden Smog, a band whose membership also includes members of Soul Asylum,Wilco, the Replacements, and Big Star.
Some may find it surprising that Louris leans so heavily here on his pop pedigree, an approach that makes songs such as “Almost Home,” “New Normal,” and “Mr. Updike” sound almost giddy compared to his usual fare. Granted, it’s not entirely alien from the Jayhawk’s more jubilant offerings, and indeed, the upbeat optimism of “Follow” and the reflective acoustic strum, stride and shimmering harmonies of “Too Late the Key” would likely find a nice fit within the Jayhawks’ signature sound. Still, to his credit, Louris doesn’t seem as if he’s bound to any particular pastiche.
That makes sense considering the fact in addition to his various day jobs, Louris has also shared his talents with a varied list of collaborators, among them, Tedeschi Trucks Band, The Chicks, The Black Crowes, Uncle Tupelo, Joe Henry, Counting Crows, John Hiatt, Lucinda Williams, Roger McGuinn, Nickel Creek and The Wallflowers. Given that résumé, there’s no reason why he would be reticent to make the kind of music that strikes his fancy at any given point in time. The fact that he recorded Jump for Joy entirely on his own suggests he was happy to let his muse take him where it might, without any need to conform to any particular parameters.
As a result, it’s best to listen to Jump for Joy without any preconceived notions. Louris is nothing if not a master of melody and nuance, and his articulate arrangements make this album an utterly engaging experience from start to finish. The music is melodic and unfettered, and that’s cause enough to consider the fact that Jump for Joyactually lives up to its title.
Composed, performed, arranged and produced by Gary Louris
Almost Home is the second single from the new Gary Louris solo album, Jump For Joy, out June 4th on Sham/Thirty Tigers. Written, performed, recorded and produced entirely by Louris himself.
Marie Ulven, who releases music as Girl in Red shared her highly anticipated debut album “if i could made it all go quiet” last month. it’s a ground-breaking debut . Today, she furthers the intensity at the centre of her album with the new video for single “Body and Mind.” The track is one of the album’s highlights that demonstrates Ulven’s curiosity and struggle with the unknown of the human mind and our harrowing mortality. “I’ve been in the deep end since I realized / There is a difference between body and mind,” the song opens. “I’ve been at my lowest for the longest time / Knowing my existence is not one of a kind.”
The track’s video directed by Thea Hvistendahl is a creepy companion for the candid pop song, giving off strong Wicker Man vibes. Ulven commented about working with Hvistendahl, saying, “she’s absolutely crazy and really funny.
Making this video and giving ‘Body And Mind’ a new dimension with these visuals is really dope. It feels like it’s been awhile since I’ve seen some witch shit so it was about time!”
my debut album “if i could make it go quiet” is out now
It’s been a month and a half since Chvrches surprised us with a new single, but the Scottish trio have followed that up in a big way with details on their fourth album—entitled “Screen Violence“, available August 27th through Glassnote Records—along with another new song featuring Robert Smith who, between his decade-old Crystal Castles feature and last year’s Gorillaz spot, is no stranger to knocking guest verses out of the park.
The video for the collaboration, called “How Not to Drown,” which taps into the re-emerging cyberpunk fad of the ’90s with a visual palette that distinctly recalls The Matrix. Smith’s face appearing on a giant screen for his verses feels pretty familiar at the tail end of a year full of Zoom calls.
Official Video for CHVRCHES “How Not To Drown” featuring Robert Smith.
Croque Macadam is proud to present an exciting collaboration between two contemporary bands united by Cosmic American Music across the oceans: The Young Sinclairs and The Hanging Stars.
The Young Sinclairs, led by the distinguished Samuel Jones Lunsford (Stimulator Jones) are no strangers to the music scene. The band from Roanoke (Viriginia) has a special place in the history of our labels: in 2013, we issued two singles from the band (New Day and Hurt My Pride), debuting the discographic odyssey of Requiem Pour Un Twister. Since then we have had the honour of releasing their latest album, Out of the Box (2019 – RPUT31). For a dozen years, the North American band has thus built an elegant discography, heir to the folk-rock of the Byrds and affiliates (Gene Clark, Flying Burrito Brothers, Gram Parsons etc.). In many ways, The Hangings Stars could be their British cousins. For the last five years, the London band led by Richard Olson (ex-The See See, Thelightshines, The Eighteenth Day of May etc.) have been releasing delicate country-rock albums on various British labels (Great Pop Supplement, Crimson Crow). If they were born in the fog that envelops London, their heads are probably flying over the mountains of Laurel Canyon.
The affinity between these two bands is now materialized through a 7” single where the Americans are covering the English and reciprocally. The Young Sinclairs pay a strong tribute to British rock. She Never Sleeps now sounds like an unreleased Rolling Stones song from the Let it Bleed period.
On their side, the Hanging Stars give to the song All Fallen Dawn of the Americans the look of a classic of the alternative country music of the 90s (Beachwood Sparks, Jayhawks etc.). The project finds its obvious place in the Croque Macadam’s catalogue where already appeared collaborations between bands with similar interests (Forever Pavot and Calypso, Beat Mark and Proper Ornaments).
Hurry are from Philadelphia, Pennsylvania, I just released another new single called “Where You Go, I Go,” from our upcoming record. limited edition vinyl is still available, but it’s going a bit quicker than we anticipated, so if you’re thinking about it, I think now might be the time. reminder that all vinyl pre-orders will also get a copy of the 90 page Fake Ideas book totally free.
Limited edition vinyl with a die cut sleeve, and artwork from Frances Quinlan.
Oh My Eyes are a self-described “post-pandemic psychedelic surf band” out of Seattle that started as a group of songwriters who met weeks prior to the pandemic. They have since released their debut EP back in January and followed that up with their newest single “Can’t Believe.” Starting as a group of songwriters who met weeks prior to the pandemic, Oh My Eyes weaves high-energy, soulful hooks over cynical narratives about uncertainty, consumer culture, and societal collapse.
Combining psych-surf rock and garage sounds, it’s a track that feels like a cathartic release to finally being somewhat freed from our homes and welcoming the upcoming most well-needed summer of our lives. There’s a retro influence hidden underneath all the fuzzy goodness that feels life affirming and full of blissful positive energy.
