Posts Tagged ‘Columbia/Legacy Recordings’

Janis Joplin’s final studio album, “Pearl”, will be the subject of a variety of 50th Anniversary releases, overseen by the Joplin Estate and Columbia/Legacy Recordings, a division of Sony Music.  The album, her final studio LP, was originally issued on January 11th, 1971, via Columbia Records it was released three months after Joplin‘s passing on October 4th, 1970, and eight days before what would have been her 28th birthday on January 19th.

JanisJoplin.com will be releasing an exclusive capsule collection which includes a fine art collaboration with the estate of Barry Feinstein, the acclaimed celebrity photographer who lensed the iconic Pearl album cover; further details will be announced soon. The Rock & Roll Hall of Fame in Cleveland is also curating a special exhibit devoted to Joplin, “Pearl” and more, scheduled to open May 21st, 2021.

Genesis Publications has announced the upcoming publication of a new limited edition book, Janis Joplin: Days &Summers – Scrapbook 1966-68. During her career, Joplin created a personal record of her meteoric rise to fame and the flowering of Sixties counterculture, including posters, souvenirs, press clippings, photographs and records, and annotated them with her comments. Featured alongside are previously unpublished items from her personal archive, including letters she wrote home to her family and a preceding scrapbook from her senior high school years, 1956-59. The book’s in-depth text provides a new account of the singer’s extraordinary life. It’s available to order at Joplin’s above website.

From the January. 8th announcement: The only album Joplin ever recorded with the Full Tilt Boogie Band, the touring ensemble that had backed her on the Festival Express (a mythic 1970 concert tour by railroad across Canada with the Grateful Dead, the Band and others), “Pearl” included canonical studio recordings of songs she’d introduced to audiences on tour.

Peaking at #1, a position it held for nine weeks, Pearl showcased some of Janis’s most familiar and best-loved performances including her cover of Kris Kristofferson’s “Me and Bobby McGee” and the off-the-cuff a cappella “Mercedes Benz,” the last song she ever recorded.

Pearl has been certified 4 times Platinum by the RIAA with Janis Joplin’s overall album catalogue–including greatest hits compilations–accounting for 17 Platinum and 3 Gold certifications (approximately 18.5 million records) in the United States. Janis Joplin’s Greatest Hits was RIAA certified 9x Platinum on November 22, 2019 while “Piece of My Heart” (her breakout single from Big Brother & The Holding Company’s Cheap Thrills, one of 1968’s top-selling albums) More than 31 million Joplin albums have been sold worldwide.

Scheduled release for April 2021, Vinyl Me, Please, the “best damn record club out there,” in association with Columbia/Legacy, will release a collectible 50th anniversary limited edition of Pearl pressed on white “Pearl” colour 180g vinyl. 

In July 2021, Mobile Fidelity Sound Lab, in association with Columbia/Legacy, will also release a limited edition 50th Anniversary Edition of Pearl as an UltraDisc One-Step 180g 45RPM 2-LP box set. Mastered from the Original Master Tapes with Mobile Fidelity’s One-Step process.

Janis Joplin: Days & Summers

Janis Joplin: Days & Summers Scrapbook 1966-68

‘I’m sure you’ve heard that I’m a new breed swinger now, the idol of my generation, a rock’n’roll singer. Yes fans, yes, it’s true.’ – Janis Joplin

As the first-ever female rock star who dazzled listeners with her powerful voice and fierce uninhibited style, few musicians have attained the same iconic status as Janis Joplin. Now, Janis’s personal scrapbook is revealed for the first time, compiled between 1966-1968, as the singer found her star rising.

‘We’ve had Janis’s scrapbook for a long time. It was really important to her. Scrapbooks may sound quaint and old-fashioned today, but by sitting down, cutting these things out, sticking them in place and annotating them, Janis has given us a unique record of the period.’ – Michael Joplin

In her handmade scrapbook Janis Joplin created a personal record of her meteoric rise to fame and the flowering of Sixties counterculture in which she was to play a lead role. From the singer’s earliest intimate blues gigs in local coffee houses, to her first appearances with Big Brother and the Holding Company, to the band’s breakthrough performance at Monterey Pop Festival in June 1967, Janis’s story is remarkable. Throughout it all, she collected posters, souvenirs, press clippings, photographs and records, and annotated them with her comments.

More than 50 years later, Janis’s scrapbook is revealed for the first time. Featured alongside are previously unpublished items from her personal archive, including letters she wrote home to her family and a preceding scrapbook from her senior high school years, 1956-59. Collectively, they offer a brand new perspective on the Port Arthur girl that transformed into a rock goddess, setting the world on fire with her talent.

‘Her voice was so powerful it would cut through a rock… Right away we knew she was the one. We said to her, ‘We’re working next weekend, hope you’re ready.’ – Peter Albin, Big Brother and the Holding Company

Written by the people who really knew Janis and those inspired by her, the book’s in-depth text provides a fascinating, new account of the singer’s extraordinary life. With an introduction by Grace Slick and an afterword by Kris Kristofferson, the book’s list of nearly 40 contributors includes Big Brother bandmates Peter Albin and Dave Getz, Jefferson Airplane members Jack Casady and Jorma Kaukonen, musicians Mick Fleetwood, Chrissie Hynde, Tom Jones, Taj Mahal, Michelle Philips and Jimmy Page, talk show host Dick Cavett, as well as siblings Laura and Michael Joplin.

The Manuscript image 5

Other figures interviewed exclusively for the project include Woodstock Festival organiser Michael Lang, American artist Stanley Mouse, writers Ben Fong-Torres, Richard Goldstein and David Dalton, plus legendary rock photographers Henry Diltz, Bob Gruen and Elliott Landy.

‘An amazingly talented human tornado who just whirled her way into our consciousness. We try to describe her but, like being in love, it’s difficult telling someone else how stunning the impact is. You know when you feel it, and Janis was probably the best at translating those all-consuming emotions.’ – Grace Slick

Janis Joplin was an American singer, songwriter and arranger, from Port Arthur, Texas, who moved to San Francisco in 1966 to join local band Big Brother and the Holding Company and pursue her dream of becoming a musician. She died aged 27 on October 4th, 1970. She is one of the most influential icons from the Sixties and considered one of the best female blues singers ever. ‘There was just nothing else like her – total rebelliousness, abandon, musical excellence, and connection with everyone in the audience. Pure magic. Everybody just loved her. She gave us a voice that was anti-establishment, and I’ve lived by it ever since.’ – Chrissie Hynde

THE SIGNATORIES

Each book in the Days & Summers edition is estate-stamped with Janis Joplin’s signature, and hand-signed by the following contributors:

Laura Joplin: Janis Joplin’s sister
Michael Joplin: Janis Joplin’s brother
Peter Albin: American musician, guitarist and bassist. Founding member of Big Brother and the Holding Company
Dave Getz: American musician, teacher and visual artist. Drummer in Big Brother and the Holding Company
Jorma Kaukonen: American blues, folk, and rock guitarist. Founding member of Jefferson Airplane

THE COLLECTOR COPIES

Collector copies are numbered from 351 to 2,000, authenticated with the Janis Joplin estate stamp, and hand-signed by the contributors.

Limited to only 2,000 copies worldwide, each book in the Days & Summers edition is hand-numbered, estate-stamped with Janis Joplin’s signature, and hand-signed by her Big Brother bandmates Peter Albin and Dave Getz, Jefferson Airplane’s Jorma Kaukonen, and Janis’s siblings, Laura Joplin and Michael Joplin.

The large-format book (325mm x 305mm / 12¾” x 12″) is printed on heavyweight 200gsm paper with gilt and deckled page edging. Collector copies are quarter-bound in a navy, vegan leather, and light blue binding cloth blocked with gold, pink and blue foiling. Days & Summers is the name Janis Joplin gave to the scrapbook she kept during her high school years, and the book’s cover design is similarly inspired by Janis, featuring her own hand-drawn lettering and decorative linework.

All copies in the limited edition include a special 7″ single containing two exceptionally rare recordings: two blues tracks from The Typewriter Tape recorded in 1964 by Janis Joplin and Jorma Kaukonen (‘Daddy Daddy Daddy’ by Janis Joplin, and the blues standard ‘Trouble In Mind’). Capturing Joplin at a pivotal moment, before joining Big Brother & the Holding Company, The Typewriter Tape has attained mythic status among bootleg recordings. Given the historic nature of the two tracks, the single is pressed on 180-gram audiophile vinyl.

The Collector signed book and vinyl record set is presented in a navy, cloth-bound slipcase.

  • Extras:
    7″ vinyl with two blues tracks from The Typewriter Tape recorded in 1964 in Santa Clara, California by Janis Joplin and Jorma Kaukonen: ‘Daddy Daddy Daddy’ by Janis Joplin and ‘Trouble In Mind’. Foreword by Grace Slick and Afterword by Kris Kristofferson with a stamp of his signature.

 

Mike Bloomfield – is the subject of a new multi-disc anthology produced by Al Kooper, “From His Head to His Heart to His Hands”, released by Columbia/Legacy – is rock’s greatest forgotten guitar hero. From 1965 to 1968, he was nothing less than the future of the blues, charging the primal forms and raw truths of his idols – B.B. King, Muddy Waters, Howlin’ Wolf – with cutting-treble tone, breakneck improvising and incisive, melodic articulation on a machine-gun series of classic records: Dylan’s epochal single “Like a Rolling Stone” and the Highway 61 LP; the Butterfield band’s ’65 debut album and ’66 raga-blues thriller, East-West; and the 1968 Top 20 hit Super Session, a dynamic jamming collaboration with Kooper. In 1966, Eric Clapton, on the verge of his own stardom, called Bloomfield “music on two legs.” But in the Seventies, as Clapton ascended to sold-out arenas, Bloomfield slipped into twilight in San Francisco, working with low-profile bands and making small-label records while wrestling with chronic insomnia and heroin.
Bloomfield – (1943-1981) Born in Chicago, Bloomfield gravitated toward the Blues after playing in high school Rock and Roll bands. He was born to play the Blues, spending time in Chicago’s South Side Blues clubs with black bluesmen such as Sleepy John Estes, eventually performing with Chicago’s finest, Howlin’ Wolf and Muddy Waters during the early ’60s. He also met harmonica player, Paul Butterfield and guitarist Elvin Bishop. A grandfather, Max, owned a pawnshop, and Bloomfield got his first guitar there. Born left-handed, he forced himself to play the other way around. “That’s how strong-willed he was,” says Goldberg. “When he loved something so much, he just did it.”

The Butterfield Blues Band was born in 1965 with the addition of keyboardist Mark Naftalin, bassist Jerome Arnold, and drummer Sam Lay. The debut album the eponymous “The Paul Butterfield Blues Band,” was released in October 1965 and met with little success nationally. But more important, Bloomfield played on Bob Dylan’s epic single “Like a Rolling Stone,” and on most of the tracks of Dylan’s 1965 “Highway 61 Revisited,” album. Additionally, he also joined Dylan at the Newport Folk Festival in July, along with the balance of Butterfield’s band (sans the leader). and keyboardists Al Kooper and Barry Goldberg. This was Dylan’s historic appearance in which he strapped on a Telecaster, and the band played electric – the first instance of an electric-guitar performance by the folk rocker. Dylan remembered Bloomfield as “the guy that I always miss. . . . He had so much soul. And he knew all the styles.”

“He put tremendous force into what he was doing,” says pianist Mark Naftalin, who played with Bloomfield in the Butterfield band, then on many post-’68 gigs and sessions. “But that’s not the same as ambition. He turned away from possibilities of success ritually.

The Butterfield Blues Band’s second LP “East-West” from 1966 fared much better than its predecessor and has gone on to become a classic. During this period, Bloomfield also contributed guitar on albums by Chuck Berry, James Cotton, and Mitch Ryder. Next, after relocating to San Francisco in 1967, he formed Electric Flag with his long time collaborators Goldberg and Nick Gravenites, and bassist Harvey Brooks and drummer Buddy Miles completed the band. Michael was organic – he played directly from his heart into an amp,” says keyboard player Barry Goldberg, who met the guitarist in high school in Chicago and was in Bloomfield’s psychedelic-R&B big band the Electric Flag. “When he shook a string, it was like Otis Rush. He had the intensity in his soul. He didn’t need anything else.

They appeared together for the first time at the Monterey Pop Festival and released the “A Long Time Comin,” album in 1968, featuring “Killing Floor,’ “Texas,” and “Wine,” among other tasty tracks. The record was seen as uneven, and hostilities between band members and heroin abuse subverted the group. Teaming up with Kooper once again and Steven Stills., The band released the one-off “Supersession,” with one of Bloomfield’s finest moments on the soulful “Albert’s Shuffle,”

The classic example is Super Session, Bloomfield’s only hit record under his own name. Tracks from that album, outtakes and associated live material – arguably some of his most sublime, furiously poetic soloing on record – comprise From His Head‘s second CD. Guitarist Jimmy Vivino, the bandleader on Conan and a lifelong Bloomfield disciple, cites the gleaming tangle of vocal-like phrasing and diamond-hard melodic certainty in “Albert’s Shuffle,” the opener on Super Session, as the peak. “The intro and first chorus are breath taking,” he raves. “And it’s just a Les Paul Sunburst into a Super Reverb amp with that Bloomfield tone – no bass, volume all the way up. And you control it from the guitar.”

But Bloomfield is on only one side of the original LP. He quit the sessions after one night of recording, leaving Kooper a note: “Alan, couldn’t sleep. Went home.” Kooper finished the album with Stephen Stills. “You know what it was in retrospect? Michael wasn’t properly challenged by anyone,” Kooper says now. “Even I didn’t want to take that position. I’d rather be his friend.”

The album was a big hit landing at #12 on the Billboard Album Charts, and resulting in a sequel “Live Adventures of Mike Bloomfield and Al Kooper”, recorded at Fillmore West. Bloomfield turned to solo. session and backup work for the next 12 years, including guitar on a track of Mother Earth’s “Living With the Animals,” in ’68. He also produced James Cotton’s “Cotton in Your Ears,” sessions in ’69, and contributed to Janis Joplin’s “I Got Dem Ol’ Kosmic Blues Again Mama,” 1969 album – and helped put together the band.

His last major work was on “Fathers and Sons,” on the Chess label reuniting with Butterfield and Lay, backing Chess masters Muddy Waters and pianist Otis Spann. He gave up guitar playing in 1970 because of his addiction but did manage a few more albums in the 1970s, including “Triumvirate,” in 1973 with Dr. John and John Hammond Jr., and a reformed Electric Flag for an album “The Band Kept Playing.” He sat in with Dylan at San Francisco’s Warfield Theatre on 11/15/80, and continued to play live dates, with an appearance at S.F. State College on 2/7/81 that would be his last.

Sadly, Bloomfield was found dead in his car from a heroin overdose on 2/15/81. His guitar prowess would live on in his wake, and Rolling Stone magazine ranked him #22 on its list of “100 Greatest Guitarists of All Time,” in 2003, and he was inducted into Blues Hall of Fame in 2012 and the Rock and Roll Hall of Fame in 2015.