Posts Tagged ‘David Bowie’

On August. 14th, the David Bowie estate will drop a new Live record, showcasing the late rock legend’s 14th October 1999 performance in Paris, France. Bowie was in particularly good spirits that night at the the Elysée Montmarte, having been awarded the country’s highest artistic honour – the Commandeurs of the Ordre des Arts et des Lettres – earlier that day.

The Bowie’s rarities-filled concert in 1999 Paris will serve as the next installment in an ongoing series of digital releases dedicated to the music icon’s Nineties concert work.

“Something in the Air (Live Paris 99)” — one of a handful of full-concert promotional performances Bowie made following the release of 1999’s Hours. To stoke excitement for the release, fans can now view a live clip from the show, marking Bowie’s first performance of  Aladdin Sane track “Drive-In Saturday” in 25 years. That night Bowie responded with a set that journeyed into the less-travelled corners of his back catalogue.

The 15-song concert featured “Can’t Help Thinking About Me,” a single he recorded in 1965 and hadn’t performed live in over 30 years, plus revived renditions of Station to Station’s “Word on a Wing,” and the live debut of Hours’ “Something in the Air.”

While three of the concert’s recordings were used for “Hours” B-sides, the other 12 tracks remained unreleased. Something in the Air (Live Paris 99) will debut on streaming services on August 15th. The live LP follows the similar digital-only releases of an Earthling era live collection, LiveandWell.com as well as Ouvrez Le Chien (Live Dallas 95).

Something in the Air (Live Paris 99) will be available via all steaming platforms on August. 14th.

David Bowie - Ouvrez Le Chien Image

We can’t pronounce it either, but damn if don’t sound good! Bowie’s “OUVREZ LE CHIEN” was recorded live at the Starplex Amphitheater, Dallas, 13th October, 1995, during the US leg of the Outside Tour. It also features two bonus tracks Moonage Daydream and Under Pressure recorded live at the National Exhibition Centre, Birmingham, 13th December, 1995. Previously available on the Hallo Spaceboy CD single, both tracks are making their streaming debut.

This unreleased David Bowie concert recording from 1995 will debut on streaming services July 3rd with the release of “Ouvrez Le Chien (Live Dallas 95)”.

The live LP captures the late icon midway through his tour in support of 1995’s Outside. The gig’s set list leans heavily on that Brian Eno co-produced album, with tracks like “The Voyeur of Utter Destruction (as Beauty),” “I Have Not Been to Oxford Town,” “I’m Deranged,” and “The Hearts Filthy Lesson.”

The mysterious phrase ‘Zane, zane, zane, ouvre le chien’ (‘open the dog’ in French) had originally appeared on Bowie’s 1970 album track ‘All The Madmen’. He used it again in 1993 on the song ‘Buddha Of Suburbia’Ouvrez Le Chien added the missing ‘z’ from ‘ouvrez’. The grammatically-correct phrase, and its English counterpart, was used in the stage set of the Outside Tour. It does not, however, appear elsewhere on the album.

Finally the round and round ending comes with various vocal parts coming in as counter melodies plus the immortal words, ‘Zane, Zane, Zane, ouvre le chien’, which means ‘Zane, open the dog’ in English. What does that mean? I’ll leave it to your imagination, although it has been analysed many times. This track [‘All The Madmen’] is sensational in every way, a five minute and 40 second symphonette.

The concert also finds Bowie delivering updated takes on classics like “Teenage Wildlife,” “The Man Who Sold the World,” and “Andy Warhol.” The digital album features a front cover image photographed by Bowie’s wife Iman. Ouvrez Le Chien (Live Dallas 95) contains sixteen songs, fourteen of which were recorded at the Starplex Amphitheater 1995, with Nine Inch Nails supporting Bowie. Six of Ouvrez Le Chien’s songs were from Bowie’s 1995 album Outside. There were one apiece from The Man Who Sold The World (the title track), Hunky Dory (‘Andy Warhol’), Ziggy Stardust (‘Moonage Daydream’), Low (‘Breaking Glass’), “Heroes” (‘Joe The Lion’), Lodger (‘Look Back In Anger’), Scary Monsters (And Super Creeps) (‘Teenage Wildlife’), and Black Tie White Noise (‘Nite Flites’).

In addition to the Starplex Amphitheater show, a pair of songs from a Birmingham, England, concert from December 13th, 1995  will also be included on Ouvrez Le Chien (Live Dallas 95). Both tracks previously appeared as B sides on the “Hallo Spaceboy” single, but make their streaming debut with this release.

The Bowie estate most recently explored the singer’s Earthling-era live recordings with the LiveandWell.comset.

The Band :

Personnel

David Bowie: vocals, saxophone
Reeves Gabrels: lead guitar, vocals
Carlos Alomar: rhythm guitar
Gail Ann Dorsey: bass guitar, vocals
Mike Garson: piano, keyboards
Peter Schwartz: keyboards, synthesisers
Zachary Alford: drums
George Simms: vocals

CHANGESNOWBOWIE is a 9-track session recorded for radio and broadcast by the BBC on David’s 50th birthday on 8th January, 1997. The broadcast originally featured an interview with David by Mary Ann Hobbs interspersed with specially recorded birthday messages and questions from the likes of Scott Walker, Damon Albarn, Bono, Robert Smith and many more. The interview and birthday messages do not feature on this album. This mostly acoustic session was a stripped back affair featuring some of David’s favourites of his own compositions and was produced by Bowie himself, Reeves Gabrels and Mark Plati.

The first greatest-hits set was called Changesonebowie, and the title has proven irresistible to his compilers: That collection was followed by 1981’s Changestwobowie, 1990’s Changesbowie, and 1997’s radio special ChangesNowBowie. Interspersing clips of a long interview with Mary Anne Hobbs with exclusive performances recorded during November 1996 rehearsals for his 50th-birthday concert at Madison Square Garden, ChangesNowBowie originally aired on BBC Radio 1 the week of Bowie’s birthday. Bowie was feeling valedictory at the time, a mood that came through in both the musing interviews and the laid-back performances, backed only by guitarist Reeves Gabrels, bassist/vocalist Gail Ann Dorsey, and keyboardist Mark Plati.

The Hobbs-hosted show circulated intact on bootlegs for years, and the official LP was initially slated as a Record Store Day 2020 exclusive. Thanks to COVID-19, the physical release was pushed back, but the digital version is here, and the sanctioned release differs from the fans-only versions in substantial ways. All the interview segments with Hobbes have been excised, as have the birthday wishes from his peers and acolytes, leaving a tight 32 minutes of music—nine songs that appear in a different order than they did in the broadcast.

In strict terms of listenability, all the edits are logical. Radio requires a different rhythm than an album, and the BBC Radio 1 broadcast sometimes bogged down in discussions, albeit many of them fascinating. The show hit its emotional peak with a greeting from Scott Walker, who thanked Bowie “for your generosity in spirit when it comes to other artists. I’ve been the beneficiary on more than one occasion, let me tell you,” a sentiment that left Bowie speechless and teary. It was the one time he let his guard slip in the interview. Throughout the rest of the broadcast, he was garrulous and charming, sounding utterly comfortable embracing his role as an elder statesman of rock.

Unreleased David Bowie concert tapes will be dusted off after 45 years in the vault and released for Record Store Day 2020, Parlophone has announced. “I’m Only Dancing (The Soul Tour 74)”  puts the spotlight on the period between Diamond Dogs and Young Americans as Bowie began embracing the sounds of Philadelphia and emerged with a new reconfigured group, new stage design, and new songs to perform.

The 2-LP or 2-CD set draws from recently discovered tapes of performances at the Michigan Palace in Detroit, recorded in October ’74, and Nashville’s Municipal Auditorium the following month. The setlist covers the full range of his career to date, including tracks that would eventially be released on Young Americans, plus songs from Space Oddity/David Bowie, Hunky Dory, Ziggy Stardust, Pin Ups, Diamond Dogs, and a handful of covers.  The music has been sourced from the best available tapes and while the press release notes that the tapes at times sound their age, the quality never detracts from the performances and the historical significance of these recordings outweighs any possible sonic imperfections.

I’m Only Dancing – Taken from recently discovered sources in The David Bowie Archive, “I’m Only Dancing (The Soul Tour 74)” was recorded mostly during David’s performance at the Michigan Palace, Detroit on 20th October, 1974, with the encores taken from the Municipal Auditorium, Nashville on 30th November, 1974.

The Soul Tour was a radical mid-tour departure from Bowie’s 1974 Diamond Dogs theatrical extravaganza. During a three week break in late 1974, the Diamond Dogs Tour’s elaborate six-ton Hunger City stage set was drastically stripped back, and the tour’s set list overhauled to include as-yet-unreleased tracks from the Young Americans sessions at Sigma Sound in Philadelphia. The Soul Tour also featured a revamped band, augmented to include musicians and vocalists from those sessions, and rechristened The Mike Garson Band.

I’m Only Dancing (The Soul Tour 74) follows on from the previous Record Store Day 2 LP release Cracked Actor (Live Los Angeles ’74) and is an incredible historical document of a performer and band at the height of their live powers. The artwork for both the 2 LP and 2 CD releases is based on the original design for the programmes available at venues for dates on The Soul TourThe Soul Tour has taken a on mythical status among Bowie fans, as the tour only visited 17 cities in the East and South of US. This is the first time that any audio from this incarnation of the tour has ever been officially released.

You’ll only be able to find this set at your favourite brick-and-mortar shop as part of the Record Store Day celebrations.  And, don’t forget, you can also pick up CHANGESNOWBOWIE,  a 1996 acoustic radio show .

The Band:
David Bowie – Vocals, 12 string acoustic guitar, harmonica

Earl Slick – Guitar
Carlos Alomar – Guitar
Mike Garson – Piano, Mellotron
David Sanborn – Alto sax, flute
Pablo Rosario – Percussion
Emir Ksasan – Bass
Dennis Davis – Drums
Warren Peace, Anthony Hinton, Luther Vandross, Ava Cherry, Robin Clark and Diane Sumler – Backing vocals

recordstore day

nuts_1080sq_v2.jpg

Is It Any Wonder? is the title of a forthcoming Bowie collection of previously unreleased music, “Nuts” being the fifth of six tracks for the special streaming EP via Parlophone. It was produced by Bowie with Reeves Gabrels and Mark Plati during the same 1996 sessions as Earthling. Anchored by a persistent UK jungle rhythm and droning synthesizers, Bowie peppers the fast-paced instrumental with random vocals that fade in and out. At one point his voice is a menacing whisper; at another, he’s happily whistling a melody. The track rumbles with echoes of Tricky and Underworld, and could easily be dropped into a drum and bass DJ set today. Largely instrumental — featuring Bowie doing distorted spoken word (“What would you rather be doing?” he asks at one point) — “Nuts” boasts guitarist Reeves Gabrels and keyboardist Mark Plati, who provides the track with its jittery, restless drum programming.

The latest song to be unearthed is the 1996 track “Nuts,” which features heavy drum and bass beats with scattered, sparse vocals by Bowie.

Previous releases these past few weeks have been the live ChangesNowBowie version of “The Man Who Sold The World,” “I Can’t Read ‘97,” “Stay ‘97” and “Baby Universal ‘97.”

“Nuts” was originally produced during the Earthling sessions in November 1996, which also yielded the song “The Last Thing You Should Do.” It features Mark Plati on keyboards and programming, Reeves Gabrels on guitar and vocals by Bowie.

No photo description available.

Super fancy David Bowie ‘The Mercury Demos’ box is out this Friday! Replica of the original tape box, 2 contract sheets, a print and 1 LP featuring a bunch of previously unreleased recordings!.

As part of the ongoing celebrations marking 50 years since David Bowie’s first hit, Space Oddity, and following the recentSpying Through A Keyholeand Clareville Grove Demos collections, The “Mercury” Demos are 10 early Bowie recordings captured live in one take to a Revox reel to reel tape machine in David’s flat in spring 1969, with accompaniment from John ‘Hutch’ Hutchinson on guitar and vocals.

The version of Space Oddity from the Demos, originally released with edits on the Sound and Vision boxset, is presented here in its true context for the first time. The other nine recordings on the album are all previously unreleased. In addition to Bowie originals, the session also includes the Roger Bunn composition Life Is A Circus(which features in an earlier demo version on the Clareville Grove Demos set) and the Lesley Duncan composition Love Song later recorded by Elton John for his Tumbleweed Connection album. David’s own Conversation Piece is announced as ‘a new song’ and Janine features a short nineteen second section sung to the melody of The Beatles’ Hey Jude.

The ‘’Mercury” Demos set comes in a replica of the original tape box and will feature 1 LP, a print, two photo contact sheets and sleeve notes by Mark Adams. The labels of the LP feature the same EMIDISC acetate styling as Spying Through A Keyhole and Clareville Grove Demos with the song titles in David’s own handwriting.

 

mercury_demos_mont1_1080sq.jpg

Record Player, Disc, Multimedia, Music

The National return with I Am Easy To Find, there’s black vinyl, indies only clear vinyl 2xLP and deluxe 3xLP pressed on 3 different colours.
New black midi 12″ arrives on Rough Trade.
Brand new 12″ from Interpol.  Limited Dinked Edition of the new album from Black Peaches (featuring Rob Smoughton of Hot Chip). This version is pressed on teal vinyl with an exclusive 7″ and a signed print.
Third Man reissue the long out of print second album by The Raconteurs.
Institute return with Readjusting The Locks on bourbon coloured vinyl, via Sacred Bones.
slowthai unleashes his debut album, limited white vinyl pressing.
Two new David Bowie releases, Boys Keep Swinging 7″ picture disc and the nice Clareville Demos 7″ box set.
Excellent new compilation on Anthology, Sad About The Times, full of 70s psych jammers.

Open uri20190308 30107 13lyzk3?1552061814

The National –  I Am Easy to Find

I Am Easy To Find is the band’s eighth studio album and the follow-up to 2017’s Grammy®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more.

As the album’s opening track, You Had Your Soul With You, unfurls, it’s so far, so National: a digitally manipulated guitar line, skittering drums, Matt Berninger’s familiar baritone, mounting tension. Then around the 2:15 mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Elsewhere it’s Irish singer-songwriter Lisa Hannigan, or Sharon Van Etten, or Mina Tindle or Kate Stables of This Is the Kit, or varying combinations of them. The Brooklyn Youth Choir, whom Bryce Dessner had worked with before. There are choral arrangements and strings on nearly every track, largely put together by Bryce in Paris—not a negation of the band’s dramatic tendencies, but a redistribution of them.

Open uri20190328 27741 1q1fna3?1553778007

Interpol – A Fine Mess

 

Open uri20190329 1012 118my8z?1553862337

Olden Yolk – Living Theatre

The musical duo of Shane Butler and Caity Shaffer released their debut album as Olden Yolk last year, an alluring concoction of hypnagogic folk and kosmiche rhythms, expanding and refining Butler’s work in his former band Quilt toward a more focused direction. Living Theatre is the follow up to that eponymous debut and more than lives up to its promise.

The songs on Living Theatre were written and recorded during a heavy time of transition and upheaval for the duo, with personal tragedies and a big move from their NYC home to a warmer climate in Los Angeles coloring the album’s inception. Thematically Living Theatre tunes seem to be about how humans react to the ways life is colored by both fate and the consequences of the conscious and unconscious decisions we make. Musically, the duo’s songwriting has gelled into a unified front, relying more on the subtle shifts of melody and rhythm than a barrage of chord changes; Living Theatre’s hooks lap at your feet like a babbling brook, rather than bowl you over like violent waves. The refinement in tunes like Castor and Pollux, Grand Palais and first single Cotton and Cane points to a new frontier for the group; soaring skyward toward the emotionally textural plateaus of trailblazers like The Go-Betweens or Yo La Tengo. There’s a discernible romantic feel to tunes like Violent Days or Distant Episode’s lush arrangements with Shaffer in particular finding her own voice here; poetic, abstract and expressive. Living Theatre showcases a band breaking free from it’s chrysalis, and embracing its next phase of evolution.

Doc196

Alex Lahey – The Best Of Club

On her sophomore LP, The Best of Luck Club, 26-year-old Melbourne, Australia native Alex Lahey navigates the pangs of generational ennui with the pint half-full and a spot cleared on the bar stool next to her. Self-doubt, burn out, break-ups, mental health, moving in with her girlfriend, vibrators: The Best of Luck Club showcases the universal language of Lahey’s sharp songwriting, her propensity for taking the minute details of the personal and flipping it public through anthemic pop-punk. Lahey’s 2017 debut I Love You Like a Brother encases Lahey’s knack for writing a killer hook and her acute sense of humor delivered via a slacker-rock package and, in a way, The Best of Luck Club picks up where that record left off. Lahey co-produced the album alongside acclaimed engineer and producer Catherine Marks (Local Natives, Wolf Alice, Manchester Orchestra), and dives headfirst into a broader spectrum of both emotion and sound through polished, arena pop-punk in the vein of Paramore with the introspective sheen of Alvvays or Tegan and Sara. Here, Lahey documents the highest highs and the lowest lows of her life to date. After a whirlwind of global touring in support of breakout debut I Love You Like a Brother, Lahey wrote the bulk of her follow-up in Nashville during 12-hour days of songwriting. There, she found the inspiration for The Best of Luck Club ís concept: the dive bar scene and its genuine energy.”Whether you’ve had the best day of your life or the worst day of your life, you can just sit up at the bar and turn to the person next to you – who has no idea who you are – and have a chat. And the response that you generally get at the end of the conversation is, ‘Best of luck, so The Best of Luck Club is that place.

Screen shot 2018 11 22 at 13.42.33

Lone Justice – Live At The Palomino 1983

Previously unissued live performance from October 22nd, 1983. Recorded at Los Angeles’ iconic Palomino club. New liners from the band’s Marvin Etzioni and Ryan Hedgecock. Located in North Hollywood, The Palomino hosted Patsy Cline, Johnny Cash, Buck Owens, and many more classic country acts. Later, George Harrison, Elvis Costello, and Green Day played there. It was even featured in Every Which Way But Loose, Hooper, and even CHiPs. But, in the early ’80s, it was a haven for “cow-punk” acts like Lone Justice. Live At the Palomino, 1983 features 12 tracks from the early Lone Justice line-up consisting of Maria McKee, Ryan Hedgecock, Marvin Etzioni, and Don Willens. Songs from their yet to be issued debut are coupled with classic country covers, and songs which have appeared on various collections throughout the years – but never with this live power from this L.A. landmark. Packaging features photos and new notes from Etzioni and Hedgecock, and is issued with full cooperation from the band. Step back into the time when Lone Justice was the band to see, way out in the dusty valley. A timeless performance from a band that helped define a genre: Lone Justice – Live At The Palomino, 1983. They still are the light.

Doors vinyl

The Doors – Stockholm ‘68

The Doors, live at Konserthuset, Stockholm on 20th September 1968 The Doors finally visited Europe in September 1968, playing to rapturous audiences in the UK, Germany, Holland, Denmark and Sweden. Many fans agree that they were at their peak on this tour, despite Jim Morrison’s condition being unpredictable from gig to gig. This release contains the final date of the tour, originally broadcast by Sveriges Radio. It includes rare performances of Mack The Knife, Love Street and You’re Lost Little Girl as well as familiar staples of their set, and is presented here together with background notes and images.

81y6gl1hcel. sl1500

Ronnie Lane – Just For A Moment: Music 1973-1997

This box includes Ronnie Lane’s 4 solo albums – Anymore For Anymore (and singles), Ronnie Lane’s Slim Chance, One For the Road and the cruelly underrated See Me. In addition it features tracks from Ronnie’s Mahoney’s Last Standalbum with Ron Wood and Rough Mix with Pete Townshend. The final disc of the set focuses on Ronnie’s time in the US with live highlights and studio tracks never previously released. The set also featured lots of rare and unreleased material – be prepared to here fantastic cover versions of The Wanderer, Rocket’ 69and The Joint Is Jumpin’as well as unheard Ronnie compositions plus live recordings, tracks for the BBC and highlights from a legendary Rockpalast concert. The set is curated by long time musical associate of Ronnie’s, Slim Chancer musician Charlie Hart. Comprehensive sleevenotes focus on Ronnie the musician, the songwriter, the collaborator and split the post ’73 period into three distinct parts. Writers are Paolo Hewitt, Kris Needs and Kent Benjamin covering Ronnie’s Austin years.

Flat packshot

Traffic – The Studio Albums 1967-74

50 years after Steve Winwood jumped ship from chart toppers The Spencer Davis Group and quit the bright lights in favour of the countryside and jam sessions with Jim Capaldi, Dave Mason and Chris Wood we celebrate Traffic’s influential legacy with this stunning limited edition Island records studio collection. Boasting all 6 studio albums recorded for the label remastered from the original tapes and presented in their original and highly collectible ‘first’ Island pressing form (gatefold sleeves, pink eye labels etc), the set also includes a related and super rare facsimile promo poster for each album.

0190295495039

David Bowie – Clareville Grove Demos

Following on from Spying Through A Keyhole, in early 1969 at his flat in Clareville Grove, London, David Bowie with John ‘Hutch’ Hutchinson continued to demo Space Oddity and other tracks. This live demo tape session is released as a 7″ vinyl singles box set of six home demos, four of which are previously unreleased recordings. As with the Spying Through A Keyhole vinyl singles box set, the design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels with cover and print photos by David’s then manager Ken Pitt taken in the Clareville Grove flat. The singles themselves are all mono and play at 45 r.p.m. Due to the nature of some of the solo home demos where Bowie accompanied himself on acoustic guitar, the recording quality isn’t always of a usual studio fidelity. This is partly due to David’s enthusiastic strumming hitting the red on a couple of the tracks, along with the limitations of the original recording equipment and tape degradation. However, the historical importance of these songs and the fact that the selections are from an archive of tracks cleared for release by Bowie, overrides this shortcoming.

Dbbks40 2019 1000sq

David Bowie – Boys Keep Swinging

2019 is the 40th anniversary of Lodger and first comes the latest limited 7″ picture disc from Parlophone, Boys Keep Swinging.

While originally recording the song, Bowie had hoped to capture a garage band feel with the musicians swapping instruments after a deck of Brian Eno’s Oblique Strategies cards had suggested ‘reverse roles’. So guitarist Carlos Alomar played drums and drummer Dennis Davis played bass.

The version featured on the A side is the 2017 mix by Tony Visconti from Lodger, undertaken for the A New Career In A New Townbox set, as both Tony and Bowie felt they never had the opportunity to give Lodger the mix it deserved in 1979, due to time and studio constraints.

The AA side features I Pray, Ole which was apparently recorded during the Lodger sessions, but remained unreleased until mixed by David and David Richards for inclusion as an extra track on the 1991 reissue of theLodger album. The track has been commercially unavailable since then.

Melo120

Working Mens Club – Bad Blood / Suburban Heights

Like a homage to smoke-filled vaults, aging billiard rooms and crumby packets of pork scratchings in the Working Men’s Clubs of days gone by, Todmorden-by-way of-Europe trio Syd, Jake and Giulia are about to fling open the doors of their own millennial social hub with the fresh post-punk of infectious debut single, Bad Blood / Suburban Heights. With the start-stop sound of Talking Heads, Gang of Four and Television,Bad Blood, fuses 70s post- punk with the stomp of Parquet Courts’ positivity and resonates with the start of the weekend...Syd’s half-spoken words jab through Strokes guitar lines with Mark E Smith drawl…it’s the feeling of a Saturday spent scuffing about in thrift stores and hanging out with friends.

L%e2%80%99epee dreams auk132 12

L’Epee – Dreams

This is the debut single release from L’Epee, the band are Emmaunelle Seigner (Ultra Orange and Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) and Lionel and Marie Liminana (The Liminanas). Recorded in Cabestany (France) and Berlin at Anton’s Cobra Studio, this three track 12” single comes in deluxe packaging and precedes the full length album released in June this year.

David Bowie Is (Deluxe Hardback)

Published to accompany the blockbuster international exhibition launched at London’s Victoria and Albert Museum, this is the only book to be granted access to Bowie’s personal archive of performance costume, ephemera and original design artwork by the artist, and brings it together to present a completely new perspective on his creative work and collaborations. The book traces his career from its beginnings in London, through the breakthroughs of Space Oddity and Ziggy Stardust and the Spiders from Mars, and on to his impact on the larger international tradition of twentieth-century avant-garde art.

for more info contact the Flood Gallery,

Image result for graphic record player

it’s just over *One* week now till Record Store Day 2019 and the excitement is palpable. People are already eyeing up the sacred list, marking down their order of priorities, and what a bumper year it is this year too – with an unbeatable set of rarities, exclusives, fancy editions and downright collectables to feast your eyes and ears on.

Notable releases this week : music fans were rewarded with some of the most exciting new releases of the year so far. Natalie Mering, aka Weyes Blood, has released a career-defining LP, Titanic Rising, one of the highest-rated albums of 2019 so far. also received this week the highly-anticipated sophomore LP from D.C. rockers Priests, The Seduction of Kansas. In terms of track releases, we heard new singles from Vampire Weekend, The National and Big Thief plus some great cuts from Julie Shapiro, Field Medic and Porridge Radio.

The David Bowie ‘Spying Through The Keyhole’ 7″ box set looks great!
Circa Waves bring out a brand new record – limited blue vinyl.
There’s a new Weyes Blood album that has had excellent reviews – limited red vinyl.
the New Order ‘Movement’ box set looks nice – weighs a ton too.
A second set of Motorhead reissues.
Limited coloured vinyl from Music On Vinyl for Matthew Sweet and Within Temptation reissues.
Black vinyl for The Wannadies ‘Be A Girl’ .

W.H Lung’s dinked n limited “Incidental Music” should be first album of note to receive the attention combining it does, the thrust of Krautrock, the shimmer of psychedelia and all the gung-ho decadence of space rock.

Mld121d

W H Lung – Incidental Music

W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

That approach was challenged when they released their debut 10” (‘Inspiration!/Nothing Is’) in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut – the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement ‘Simpatico People’.
“I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”

P

Rozi Plain – What a Boost

Rozi Plain has been making music since her brother taught her a few chords on the guitar aged 13. Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables (This Is The Kit) and Rachael Dadd among many others on a thriving local scene. It was there that Rozi made her first two albums, 2008’s Inside Over Here and 2012’s Joined Sometimes Unjoined, each works of deliciously sad and beautiful pop full of heart-wrenching harmonies dotted with unexpected instrumental flourishes. Released in April 2015 on Lost Map and featuring contributions from Hot Chip’s Alexis Taylor among others her last album Friend was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve. A companion album of remixes, unreleased tracks and radio sessions, Friend Of A Friend, was released in 2016.

20000000053327

Luke Sital-Singh – A Golden State

Luke Sital-Singh releases his third album A Golden State on Raygun Records. The album was produced by Tommy McLaughlin (Villagers, Soak), who also produced Luke’s last album, 2017’s Time Is A Riddle, and recorded in Portland’s Jackpot Studios, famously set up by Elliott Smith, where alumni include R.E.M., Stephen Malkmus, and The Decemberists. A Golden State contains new single Los Angeles, plus the 2018 singles The Last Dayand Love Is Hard Enough Without The Winter.

At its most basic, A Golden State is album of California dreaming. The songs therein reflect a new chapter, and a new mindset for Luke. “Overall, there is this ethereal, positive vibe – without being too cheesy,” he says. “There is an Americana fantasy, of wanting to escape to this gorgeous place – but also about what I’m escaping from.” The cover artwork, created by Hannah, a four-colour lino cut of the Venice Beach canals, is taken from her upcoming art book, Coastline.

Open uri20190404 4538 vi5nx4?1554387609

Weyes Blood – Titanic Rising

The phantom zone, the parallax, the upside down—there is a rich cultural history of exploring in-between places. Through her latest, Titanic Rising, Weyes Blood, a.k.a. Natalie Mering, has designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she plays the role of melodic, sometimes melancholic, anthropologist. Tellingly, Mering classifies Titanic Rising – which was written and recorded during the first half of 2018, after three albums and years of touring – as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.” The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.” As a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that The Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans. But Weyes Blood isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. I’m just making a bigger space for myself.”

Priests the seduction of kansas spr031

Priests – The Seduction Of Kansas

What is at stake in the seduction of Kansas? Like a gavel or hammer, the question rattles across the second LP from Washington, D.C. rock iconoclasts Priests: Entering their eighth year as a band, Priests—drummer Daniele Daniele, vocalist Katie Alice Greer, and guitarist G.L. Jaguar—remain an inspired anomaly in modern music. A band on its own label—jolting the greater music world with early releases by Downtown Boys, Snail Mail, Sneaks, and Gauche—they are living proof that it is still possible to work on one’s own terms, to collectively cultivate one’s own world. Priests enlisted two primary collaborators in writing, arranging, and recording The Seduction of Kansas. After playing cello, mellotron, and lap steel on Nothing Feels Natural, multi-instrumentalist Janel Leppin (Mellow Diamond, Marissa Nadler) returned to breathe air into Priests’ demos, serving as primary bassist and a fourth songwriting collaborator on The Seduction of Kansas.

The band also found a kindred spirit in producer John Congleton (Angel Olsen, St. Vincent), recording for two weeks at his Elmwood Studio in Dallas. It marked the band’s first time opening up their creative work to collaborate with someone outside of their DC-based community—a decidedly less hermetic approach. Priests found a third collaborator in bassist Alexandra Tyson, who has also joined the touring band. The songwriting process found the group once again analyzing the textures and scopes of albums as aggressive as they are introspective, like Massive Attack’s Mezzanine, Portishead’s Third, and Nine Inch Nails’ Downward Spiral. The first single, “The Seduction of Kansas,” is Priests’ purest pop song to date. It is dark and glittering—though there is still something fantastically off about it, decadent and uneasy at once.

As journalist Thomas Frank explored in 2004’s What’s the Matter With Kansas?, the ideological sway of Kansas has often predicted the direction in which the U.S. will move—whether leaning socialist in the 1800s or going staunchly conservative in the 1980s. Illustrating Kansas’ potent place in our national imagination—as well as “a chorus of whoever is trying to persuade the social consciousness of Kansas”—Greer sings brilliantly of a “bloodthirsty cherub choir” in a cornfield, of “a drawn out charismatic parody of what a country through it used to be,” beckoning that “I’m the one who loves you.” The song does what Priests do best: They make us think, stir us with complexity.

Son volt union ts2020cd

Son Volt – Union

Led by vocalist, guitarist, and songwriter Jay Farrar, Son Volt became one of the leading bands in the alternative country community, attracting critical praise and an audience that was loyal if not always large. Farrar has collaborated with Ben Gibbard (Death Cab for Cutie), Steven Drozd (The Flaming Lips), Jeff Tweedy (Wilco) and several other well respected artists / musicians. Union is the bands 10th studio album and mixes present and past into strong confluence. The thirteen new songs written by Farrar confront our turbulent politics and articulate the clarity and comfort music can offer in the tumult.

A3222682875 10

Lady Lamb – Even In The Tremor

Even in the Tremor marks Spaltro’s latest full-length LP following 2015’s After and it’s a remarkable achievement because, among other things, it’s the first time in her career that Spaltro is singing explicitly about herself. Between confessing a tantrum in a batting cage (Little Flaws), telling the story of her parent’s kiddie-pool baptism (Young Disciple) and singing openly about untangling her girlfriend’s wet hair (Deep Love), Even in the Tremor is deeply rooted in the people and places, extraordinary and mundane, that have shaped Spaltro into the self-determining artist she is today. Known for her keen observations of others, Spaltro now turns her multifaceted ruminations inward; She calls out from dreams, peers into churches, has fits of rage, and struggles to get out of her head long enough to love herself and those around her. Commitment to creating only what is necessary and urgently felt is the key to appreciating Spaltro’s fearless songwriting, as emotional as it is philosophical. Even in the Tremor signifies the arrival of her most sonically soaring and brutally honest album to date.

Screen shot 2019 01 15 at 21.46.57

Shana Cleveland – Night Of The Worm Moon

Shana Cleveland has been beguiling listeners for years in her role as the superlative front woman for elastic surf rockers La Luz. Now Cleveland is evolving her sound on the new solo full-length Night of the Worm Moon, a serene album that flows like a warm current while simultaneously wresting open a portal to another dimension. As much a work of California sci-fi as Octavia Butler’s Parable novels, Night of the Worm Moon incorporates everything from alternate realities to divine celestial bodies. Inspired in part by one of her musical idols, the Afro-futurist visionary Sun Ra (the album’s title is a tip of the hat to his 1970 release Night of the Purple Moon), the record blends pastoral folk with cosmic concerns. Cleveland dreamt up this premise while living in Los Angeles, a city where – as deftly explored on La Luz’s recent Floating Features – reality and fantasy casually co-exist.

Abetting Cleveland during the recording process was a familiar gallery of co-conspirators: multi-instrumentalist Will Sprott of Shannon and the Clams, original La Luz bassist Abbey Blackwell, Goss, pedal steel player Olie Eshelman, and Kristian Garrard, who drummed on Cleveland’s previous solo effort (with then-backing band The Sandcastles), 2011’sOh Man, Cover the Ground. But whereas that album was internal and contemplative, Night of the Worm Moon occupies a different, vibrant kind of headspace. UFO sightings, insect carcasses, and twilight dimensions are all grist for Cleveland’s restless creativity, and they and other inspirations collide beautifully on the album’s 10 kaleidoscopic tracks–a spacebound transmission from America’s weirdo frontier.

100000x100000 999 2 1550886854 640x640

Gurr – She Says

Gurr return with a new 7 track EP “She Says” released in April 2019. Recorded with New York producer Mathew Molner (Sunflower Bean, Friends) and Berlin based producer Tobi Kuhn at the UFO studios in Berlin.

“We met Sunflower Bean at Latitude Festival in UK and asked them who produced their album “Human Ceremony” as we liked how it sounded retro and modern, they connected us with Mathew and we brought him to Berlin to record with us” says Andreya Casablanca... “After ‘In My Head’ was recorded all in analogue we definitely wanted to have a little bit more room for the production in these songs. We were adding guitars, small synth lines and sounds after laying down the basic tracks.”

The writing of the EP was heavily influenced by the big transitions in the lives of Laura Lee and Andreya Casablanca in the 12 month period after the release of ‘In My Head’, which can be heard in the fake highs of optimism of tracks such as “Of Hollywood” and “Bye Bye”, the melancholia of “She Says” and “Hush” and the angst of Middleton Mall but musically the band draws inspiration across genres, from contemporary dream pop wonders Beach Fossils to psychedelic classics such as The Velvet Underground.

Db stak

David Bowie – Spying Through a Keyhole

With 2019 marking 50 years since David Bowie’s first hit, Space Oddity, Parlophone release a 7″ vinyl singles box set of nine previously unreleased recordings from the era during which Space Oddity was first conceived.

The title Spying Through A Keyhole is a lyric taken from the previously unknown song, Love All Around, and though most of the other titles are known, these versions have never been officially released until late last year. Most of the recordings are solo vocal and acoustic home demo performances, unless otherwise stated.

The design of each single label is presented to reflect the way David sent many of his demos to publishers and record companies, featuring his own handwritten song titles on EMIDISC acetate labels. The singles themselves are all mono and play at 45 r.p.m.

Due to the nature of some of the solo home demos where Bowie accompanied himself on acoustic guitar, the recording quality isn’t always of a usual studio fidelity. This is partly due to David’s enthusiastic strumming hitting the red on a couple of the tracks, along with the limitations of the original recording equipment and tape degradation. However, the historical importance of these songs and the fact that the selections are from an archive of tracks cleared for release by Bowie, overrides this shortcoming.

Tr432cd cu

The Proper Ornaments – 6 Lenins

‘Six Lenins’, the third album release from The Proper Ornaments, sees the band master their seemingly effortless but finely-wrought sound as their songwriting prowess refuses to plateau. Fresh from an US tour in Autumn last year, the London jangle pop group led by James Hoare (also of Ultimate Painting/Veronica Falls) and Max Claps (Toy) went into James‘ home studio in Finsbury Park, London and made their finest recordings to date on a newly-installed 16 track Studer machine – joined by Danny Nellis (Charles Howl) on bass and Bobby Syme (Wesley Gonzalez) on drums. Having escaped deep, twisting tunnels of illness, divorce and drug abuse to release their second record in January 2017, it’s unsurprising they sound sunnier this time around. What their supremely melodic work suggests is a nonchalance or naivety but is in fact an expensively bought slice of coherence and clarity within a constantly shifting backdrop to their lives and landscapes. The band exists as an unassuming and resilient organism in a fiercely competitive, trashed environmental niche. Throughout their years of hard-edged music industry Darwinism, they’ve shown longevity and growth scuttling from the wreckage of their previous guitar bands to become one united organism. “We started writing new songs in the Summer. I was in bed recovering from hepatitis and very broken and tired so couldn’t do anything else apart from playing guitar,” says Max, “and the songs slowly started to appear. In August we realised we had five new songs each and free time, so we decided to record them. The actual recording only took two weeks and it was considerably easier than our previous recordings.” The speed with which “Six Lenins” was made suggests the two songwriters managed to keep a keen focus on what they wanted to achive, further finessing the balance of conflict and collaboration that lends their sweet, succinct tunes their nervous energy. Well-crafted songwriting and a controlled sonic despite a zealous analogue sensibility. The opener ‘Apologies’, sets out stridently and the mood and momentum, even as we weave through some more sombre moments, never dips before soaring with the Velvets-y propeller riff of live favourite ‘In the Garden’ to end the record.

Circa waves lp artwork final 3000x3000

Circa Waves – What’s It Like Over There?

The new studio album from Circa Waves, titled What’s It Like Over There? via Prolifica Inc. / [PIAS]. Recorded in just one month, and renewing their blossoming co-producing relationship with Alan Moulder (Foals, The Killers), What’s It Like Over There? is an album that’s creatively unshackled and refuses to stay still. It fuses the visceral thrill of rock music with a slick pop sound, its themes of modern ennui, emotional fragility and all the inside-outs and upside-downs of relationships making it a record that could only have been made now. Whilst the anthemic Movies will appeal to the band’s long-standing fan base, the likes of Sorry I’m Yours and Be Somebody Good see Circa Waves experiment with a new progressive sound that will surprise and delight in equal measure. Me Myself and Hollywood touches on the band’s love of R&B, whilst Times Won’t Change Me is a piano-led, Beatles-inspired future hit. What’s It Like Over There? always manages to sidestep genres and easy pigeonholing, but what remains constant is Circa Waves’ ability to create the kind of infectious music that is propelling them towards the top tier of British music.

Brutalism album artwork 1547528745 640x640

The Drums – Brutalism

Brutalism is quite possibly the best collection of songs in The Drums’ ten-year career. The album is defined by growth, transformation and questions, but it doesn’t provide all the answers. Brutalism is a form of simplistic architecture defined by blocks of raw concrete. Brutalism is rooted in an emotional rawness but its layers are soft, intricate and warm, full of frivolous and exquisitely crafted pop songs that blast sunlight and high energy in the face of anxiety, solitude and crippling self-doubt.

Even the fact that Brutalism sounds intentional, focused and efficient is a symbol of how Pierce’s prioritizing of his own health and wellbeing has bled into how he makes music. For the making of this album, between his lake house in Upstate New York and a studio in Stinson Beach, California, Pierce was more open than ever, keeping his control freakery at bay, working with others to produce and record the album. He brought in Chris Coady (Beach House, Future Islands, Amen Dunes) to mix it. If there was a guitar part he wanted to write but couldn’t play, he brought in a guitarist. It’s also the first Drums record with a live drummer. Delegating freed up Pierce’s time to produce a more specific vision.

Open uri20190320 15132 jg7goa?1553099622

Molly Tuttle – When You’re Ready

Award-winning guitarvirtuoso Molly Tuttle, whose debut album, ‘When You’re Ready’ is an insightful, gifted album from a songwriter who was crowned “Instrumentalist of the Year” at the 2018 Americana Music Awards on the strength of her EP Rise, Tuttle has broken boundaries and garnered the respect of her peers, winning fans for her incredible at picking guitar technique and confessional songwriting.

Graced with a clear, true voice and a keen melodic sense, the 25-year-old seems poised for a long and exciting career. ‘When You’re Ready’, produced by Ryan Hewitt (The Avett Brothers, The Lumineers) showcases her astonishing range and versatility and shows that she is more than simply an Americana artist.

0000771440

Matthew Sweet – Girlfriend

Matthew Sweet is an American singer-songwriter and rock musician. He was part of the burgeoning music scene in Georgia during the ‘80s, before gaining commercial success in the ‘90s. In 1991 Matthew Sweet released Girlfriend, the pop-rock album which was widely considered an artistic breakthrough. It quickly garnered impressive sales, spawning a top 10 single with the title track. Girlfriend is Sweet’s most commercially and critically successful album to date. Both the title track and Divine Intervention did well on the charts. The album was included as number 61 on Paste’s list of “The 90 Best albums of the 1990s”.

LP – Limited edition of 1.000 individually numbered copies on 180 Gram pink vinyl with Insert.

Movement definitive edition

New Order – Movement – Definitive Edition

Out of the ashes of Joy Division, the remaining members decided to carry on recording under the name of New Order. The band’s debut album Movement recorded between 24th April to the 4th May 1981 at Strawberry in Stockport and featuring all new material, produced by Martin Hannett was released in 11th November 1981 on Factory Records. TheMovementboxed set includes the vinyl LP with its original iconic sleeve designed by Peter Saville, original album CD in replica mini album sleeve, a bonus CD of previously unreleased tracks, DVD of live shows and TV appearances plus hard backed book all housed in a lift off lid box. The vinyl LP of the original album is cut on 180 Gram and features the 2015 remastered audio, presented in a replica of the original sleeve. The second CD includes 18 completely unreleased tracks made from Demos, Sessions, Rehearsal Recordings and an Alternative 7” version of Temptation Accompanying the set is a 48 Page hard back book which features photos and an essay.

Boxmega30

Karen Dalton – The Karen Dalton Archives Box

Packaged in Ampex studio tape style carboard box. Including for the first-time ever on Vinyl – 3 LP : the 1962 double live album Cotton Eyed Joe remastered…. and the 1963 home recordings album Green Rocky Road remastered. 4 CD – same albums and 1CD of unreleased home recordings including a mesmerizing take on God Bless The Child – 52 Page Book with scans of Karen Dalton Personal archives (writings, photographs, memos) disclosed here for the first time. It also comes with a Large T-shirts and a Download Card.

Fake laugh honesty surrounded

Fake Laugh -Honesty / Surrounded

Hot on the heels of his debut LP and follow up 7”, Fake Laugh AKA Kamran Khan delivers yet two more bangers for the kids, in the form of another double A-Side. The driving, dream-pop bop that is Honesty features guest vocals from Poppy Hankin of previous tour-mates Girl Ray, whilst the skittish, social commentary of Surrounded hurtles along set against a backdrop of razor-sharp melodies and instant-hit hooks.

Stevie ray vaughan with david bowie the 1983 rehearsal broadcast double lp gatefold coloured 76939 1

In January 1983, David Bowie invited Stevie Ray Vaughan to record guitar for six new tracks he’d written for his upcoming album, “Let s Dance”. Vaughan’s powerful and unique guitar work brought a fresh sound to Bowie’s music, most famously on songs like China Girl and the record s title track. With the album a success, Bowie was keen for Vaughan to join his group for the subsequent “Serious Moonlight Tour”. However, with Vaughan reluctant to leave his own band Double Trouble (who had just finished recording their debut album, “Texas Flood”), David’s management offered to let the group open the show on select tour dates. However, just four days before the tour began, Bowie’s team reneged, telling Vaughan’s manager, Chesley Millikin,that the band would not be included and, furthermore, Vaughan wasn’t allowed to talk about the group or its new record in interviews. With the offer pulled, Milikin understandably took Vaughan off the tour. And although both artists still achieved huge critical and commercial success during the 1980s, what they might have gone on to do together remains one of rock’s great “What Ifs”. No video footage of Bowie and Vaughan performing together is known to exist. However, rehearsals for the tour, which took place at the Las Colinas Soundstage in Dallas – Stevie Ray’s hometown – on 26th April 1983, were not only recorded but broadcast on local radio too, thus allowing these legendary sessions to be heard again today.

This is interesting to hear the clever musical arrangements particularly the crisp horn sounds and backing vocals. Stevie Ray Vaughan played guitar here and was due to be a part of the touring band. His contributions are pretty much what you’d expect rather than anything fiery or super- inventive.
Bowie and the backing singers make some mistakes particularly Life on Mars, Golden Years and Red Sails, on which Bowie seems to be trying to find the correct voice.
It’s a must-have for fans but please be aware that 132 minutes were broadcast.

Stevie Ray Vaughan and David Bowie live 1983 rehearsal broadcast for the Serious Moonlight Tour! From An FM Radio Broadcast Recorded At The Las Calinas Soundstage, Dallas, TX, 26th April 1983. 19 tracks total including China Girland Let’s Dance.