Julia Holter has announced a new live record titled “In The Same Room”, and share the first cut “So Lillies”Holter’s new LP was recorded at RAK Studios shortly after her set at Green Man in Wales this summer. It’s named after a track on 2012 record Ekstasis and features material from throughout her career – the original take of “So Lillies” (the new version can be heard above) appeared on 2011 her debut Tragedy.
In The Same Room is the first in a new series by Domino Recordings called Documents that seeks to capture “the ever-evolving arrangements of our artists and their bands in high fidelity.” Each release will be constructed over the course of no longer than two days in a London studio (if all goes to plan, that is).
Villagers’ Where Have You Been All My Life? is also considered to be part of the new Documents series, if not technically labelled as such.
Julia Holter’s LP Have You In My Wilderness was named among our Best Albums Of 2015 .
Paul McCartney backed by the most accomplished Wings line up took to the road to give epic performances across the world recorded in the summer of 1976, “Wings Over America” released on December. 10th 1976 feeling like a triumphant musical summation of the summer tour for Paul McCartney and his band Wings.
Originally, Wings over America was to be a two-record set of highlight performances but this was rethought due to the success of a bootleg called Wings from the Wings, which was released as a triple record set on red, white, and blue vinyl, and contained the entire 23r June 1976 concert recorded at The Forum in Los Angeles
In stark contrast to his modern-day globe-trotting ways, McCartney hadn’t up to this point toured the U.S.A in 10 years , and those concerts dated to his time in the Beatles. Only one of his former bandmates had even attempted such a thing. Highlights of this tour included not just the American concert debuts of a number of ’70s hits with Wings but also – and this was of particular interest at the time – Beatles favorites like “Blackbird,” “The Long andWinding Road” and “Lady Madonna” — all of which were recorded after the Beatles had stopped touring.
From the opening chords of Rock Show which sets the scene and creates plenty of anticipation, Of course, after so many successive McCartney tours since he retook the road in 1989, much of what made WingsOver America so exciting then seems like nostalgia today. It’s much easier, decades later, to separate the music from the moment. This multi-disc set can come off like the sum of its weakest parts.
The second half of Wings Over America was weaker than the first as McCartney and company delve into some of the most lightweight (but biggest selling, mind you) songs from their polyester-era oeuvre, including the smash “My Love” from 1973’s Red Rose Speedway, the 1975 Venus and Mars hit “Listen to What the Man Said,” and “Silly Love Songs” from their then just-released Wings at The Speed Of Sound.
Too often, it seems, Wings Over America threatens to run out of gas as it couples throwaways like “You Gave Me the Answer” and “Magneto and Titanium Man” or “Hi Hi Hi” and “Soily” with stronger material.
Apart from the songs, listen to McCartney’s bass playing on this record. On ‘Time To Hide’ for example. The rest of the band is also worthy of mention. Jimmy McCullough’s solo on ‘Maybe I’m Amazed’ is inspired as is his solo track ‘Medicine Jar’ from the ‘Venus And Mars’ album from 1975. So much better than the album version, not least due again to McCartney’s bass playing.
Later, the project’s reputation took a hit when it was revealed that no small amount of post-production fixes had been employed before release.
“While everybody’s parts were spot-on musically – maybe not the harmonies, maybe not every note was exactly right but the general feel was pretty good,” Wings stalwart Denny Laine said in Luca Perasi’s Paul McCartney:Recording Sessions (1969-2013). “ I had the feeling it could have been a better feeling, a fuller sound, so I double-tracked the guitars, just to fill it out [and] added little bits when you get an obvious mistake. We kept most of the solos, and most of the bass parts as it was.” Drummer Joe English put a finer point on which elements most needed to be retouched, overdubs were necessary because of “people singing out of tune – and I don’t mean Paul.”
So, maybe Wings Over America wasn’t the career exclamation point that it once seemed.
This fizzy rush of anticipation still surrounds the album’s initial trio of songs — “Venus and Mars/Rock Show” combined with incandescent take on “Jet,” even now the best opening Paul McCartney’s ever constructed. Then there’s this set’s definitive version of “Maybe I’m Amazed.” And a remarkable take on “Call Me Back Again,” from Venus and Mars with Jimmy McCulloch’s blistering guitar matched stride for stride by a tough trio of horn players led by saxophonist Thaddeus Richard.
Along the way, McCartney came to feel the Wings had finally come into their own, that fans were ready to accept them on their own terms. “I don’t know for sure, but I’ve got a feeling that they go away thinking, ‘Oh, well, it’s a band,’” “It lets them catch up. I think the press, the media is a bit behind the times, thinking about the Beatles a lot. And I think the kids go away from the show a lot hipper than even the review they’re going to read the next day.”
Wings Over America also stands as the pinnacle of Denny Laine’s often-overlooked career with Wings, from his featured vocals on “Spirits of Ancient Egypt” and “Picasso’s Last Words,” to a vital take of his Moody Blues hit “Go Now” But check out “Time to Hide,” a deep cut from Speed of Sound, where we find Laine brilliantly recapturing the raw emotion of his early R&B-sides with the Moodies.
Then, just as the mawkish distractions of “Let ‘Em In” threaten to sink the whole thing, Wings unleashes the feverish “Beware My Love” — another Speed of Sound track which, though tissue thin lyrically, begins a run of three muscular tracks that secure this album’s enduring legacy: The Venus and Mars cut “Letting Go,” which is shot through with this jagged sexuality, and then the ageless “Band on the Run.”
Two related releases followed the album: A TV documentary Wings Over The World and a film titled Rockshow purporting to contain a complete show from Seattle. it contains only five songs that were filmed at Seattle’s Kingdome the remainder of the film’s 30 songs come from the band’s New York and Los Angeles shows, these additional releases appeared three and four years, respectively, after the 1976 live album.
Musicians:
Wings
Paul McCartney – vocals,bass,guitar,piano
Linda McCartney – vocals,keyboards
Denny Laine – guitar,vocals
Jimmy McCulloch – guitar,vocals
Joe English – drums
Horn section
Tony Dorsey
Howie Casey
Steve Howard Jr.
Thaddeus Richard
The Doors are to release a new album, London Fog 1966, which will consist of recently discovered live recordings, the earliest known to exist.
Available From Rhino/Bright Midnight Archives on December 9th, they will be released in a Collector’s Edition Boxed Set on CD And Vinyl along with 8 x 10 prints of unseen photos and replica memorabilia.
The music was recorded during the Doors tenure as the house band at the London Fog, a Sunset Strip dive bar located close to Whisky a Go Go. The seven song set has been remastered by Doors engineer Bruce Botnick.
The set includes covers of standards like Muddy Waters’ “Rock Me” and “I’m Your Hoochie Coochie Man”. The set also includes performances of “Baby, Please Don’t Go” (Big Joe Williams), “Don’t Fight It” (Wilson Pickett) and “Lucille” (Little Richard) alongside two originals: “Strange Days” and “You Make Me Real”, which wasn’t officially released on a studio album until Morrison Hotel in 1970.
Many of the countless Doors live albums are far from essential, but this one feels genuinely important. The recently discovered 1966 audience recording from a gig at the London Fog in Los Angeles, captures the band in their lesser-known embryonic period. Their sound is already in place and Jim Morrison is on the verge of becoming the Lizard King, using the near-empty Sunset Strip venue to develop the necessary stagecraft to get his mojo rising. The various covers range from smouldering, sensual blues (BB King’sRock Me) to raw, roughhouse rockers (BigJoe Williams’ Baby Please Don’t Go). The two originals – a tightly wound, thrillingly focused You Make MeReal and a particularly ominous, spooked and spooky Strange Days – may be respectively two and four years away from their studio versions, but already sound eerily fully formed. Throughout, disinterested audience chatter and the chink of glasses belies the fact that within months, the London Fog’s unknown house band would be among the hottest groups in the world.
London Fog 1966 track Listing:
“Rock Me”
“Baby, Please Don’t Go”
“You Make Me Real”
“Don’t Fight It”
“I’m Your Hoochie Coochie Man”
“Strange Days”
“Lucille”
Savages roared rock with class. These four female musicians based in London unleashed a racy style of music indeed, full of fever and tension .
The Franco-British training is carried by Jehnny Beth, who answers to the name of Camille Berthomier to the the French – some have also heard Jehn in duo John & Jehn -she shows an androgynous and cheeky look, in a perfect embodiment of the music of the quartet: elegant and fascinating, yet almost threatening.
Savages had caused a stir in 2013 with their debut “Silence Yourself” , an album of rare intensity. After recording during last summer the band released this year new album “Adore Life”. For this session, the Savages fill the Studio 204 with all their aggressiveness. A private concert where the fire smoldering under the ice
This week will forever be considered one of the darkest and strangest in recent memory. The election of Donald Trump, Then we lost arguably the greatest songwriter in modern music with the passing of Leonard Cohen, and a certain troubadour who was a source of spiritual comfort for many entered the place where “there is no Space & Time.” Claude Russell Bridges, whom the world lovingly knew as Leon Russell, was a “Rainbow Minister & Ringleader” for the Hippie Generation, a “superstar” that shone very brightly.
This is a great live set, Elton John opened for Leon Russell at these shows. This concert was recorded before the Elton John’s one at the Fillmore East. Elton John was a great fan of Leon Russell and logically invited him to open his shows. At these Fillmore East concerts, Leon Russell headlined over an up and coming Elton John and the band McKendree Spring. This set finds him performing much of the material from his first solo album, but with a feel that would reflect where he was heading on his second album, Leon Russell And The Shelter People. It was a bigger, more adventurous sound, which would feature many of the same musicians that jelled so well on the Cocker tour. The material on this tour was equally diverse, featuring rock & roll, country, blues, soul and gospel, woven together by Russell’s distinctive Oklahoma twang and his creative arrangements.
The set begins rather starkly, with Russell performing solo at the piano, opening with Bob Dylan’s “Girl From TheNorth Country,” followed by his own “Song For You.” The set is paced in a way that is reminiscent of an old-fashioned revue, with additional musicians and chorus singers joining in as the set progresses. Anchored by David Hood and Roger Hawkins from the Muscle Shoals rhythm section, talented soloists, and two of the greatest female singers of the time (Lennear and McDonald), the set continually gains momentum with each song, establishing the feel of a rollicking road show.
As the set continues, Russell performs some of the true gems from his debut album, including “Hummingbird,”“Dixie Lullabye” and the high energy, “I Put A Spell On You.” The entourage also plays an outstanding version of “Shoot Out On The Plantation” that surfaces out of a short tease of “Blues Power,” the song Eric Clapton covered so well on his first solo album.
Russell also performs “Pisces Apple Lady” before bringing it all to a frenetic close with the double whammy of “Prince Of Peace” and “Give Peace A Chance” (a Russell original, not the John Lennon song). These last two numbers clearly display the incredible power of this talented group of musicians and singers, bringing the feel of an old time Southern gospel revue to the stage of the Fillmore East.
When comparing this concert to the one recorded, 3 years later, for Leon Live (One Of My Favourite Ever Live album set and a wonderful package). Similarities and differences are striking. Similiraties since it’s the gospel-that-rocks that all Leon’s admirers love to hear, but differences since the set was more sober and tighter that the quite indulgent later ones. I doubt any Dr John – Elton John or any-John-you-want won’t be enthusiasts in listening to such a great performance. Nothing better to listen to when you’re down and out. It makes you imagine life’s worth the living. Measure the miracle. Note that this set was never released officially but that the sound is very good probally taken from the soundboard..
LEON RUSSELL
Fillmore East, New York, NY; November 20-21st, 1970 [late show?] The Band for Leon was Roger Hawkins Drums, Dave Hood Bass Guitar. John Gallie Organ and ketboards Don Preston and Joey Cooper Guitars, Claudia Lennaer & Kathi McDonald on backing vocals.
It’s a fact that live albums are sometimes a risky business, Orchestral live albums? Overblown and highfalutin, they’re too often the errant result of deliriously daft backstage ideas after a band enjoys their rider a little too much, With thin ideas bloated by commercial success, they’re the foie gras of rock. Think Metallica, ELP, and Yes; indulgent doesn’t begin to cover it. In tight times, amidst a forensic focus on social media “reach”, streaming figures, and brand synergy, what sort of act would think that such a baroque and involved treatment of their songs would be a good idea? Step forward Lanterns On The Lake. One of the UK’s best purveyors of widescreen dream-pop – and for whom widespread success remains bafflingly elusive – their thoughtful, ornate music with last year’s excellent Beings , it was their third album. It also goes hand-in-hand with a low-key, an almost apologetic style.
So just how did a self-effacing indie band end up blinking into the stage lights at The Sage – a large, purpose-built concert hall and music hub in their native Gateshead – flanked by the Royal Northern Sinfonia?.
“The Sage have been really supportive of us as a local band for a long while,” says singer Hazel Wilde. “They put us on in their smaller room in 2011, and we played the main room in 2013 – but I don’t think we were quite ready for that. We’d been convinced to do it, and on the day I felt really unconfident about playing, so I drank a bottle of wine and took some beta blockers to ease the nerves. Suffice to say I felt pretty detached from the whole experience. The people at the venue were keen to hear “Beings” before we’d put it out, so Simon [Raymonde] at Bella Union passed it on to them, then conversations began.”
Like all worthy artistic endeavours, such a new project brought a broad sense of personal challenge, so did that previous bad experience cloud the preparations? “It felt weird at first,” Wilde admits. “I also think that, like a lot of people in bands, we feel like we’re just winging it, like we’re frauds. No-one wants to get caught out – going into that situation makes you feel exposed. We come from such different worlds to the orchestra players: there was us, this shy, obscure indie band coming in to work with such a renowned orchestra.
“I’ve also never felt all that sure of myself in the past. But I think most people have that, whether they like to admit it or not. I think I am extrovert trapped inside an introvert’s body. Or an introvert trapped inside an extrovert’s life. One of those, I’m not sure which.”
Where Wilde does herself and, by extension, the band’s material down – albeit inadvertently via that all-pervading thoughtful mentality again – Is that Lanterns On The Lake’s music is actually perfectly suited to being taken in just such a bold direction. beautifully austere, inventive but direct, and politically and personally charged.
The collaboration found its feet as the band began work on scoring with Fiona Brice, an acclaimed violinist, arranger and composer who has also worked with John Grant, Midlake, and Vashti Bunyan. “She totally got what we were about and was really open to all our ideas. She was keen to explore them and make them happen,” says Wilde. “She really was the bridge between our world and the orchestra’s. We were able to push the songs and add all the nuance and intensity that you imagine when you’re writing – all those textures and colours that are in your head come to the fore.”
The end result is a rare thing – a live orchestral album that makes perfect sense on its own terms. In fact, the evening went so well that it was repeated as another special performance at the Bluedot festival in the summer. Rather than being a exercise in having standard rock motifs with violins lazily plonked on top, this is instead a fluid and natural extension of the band’s work, realising its sense of ambition in scaling up, but also reinterpreting, an established sound.
Lanterns On The Lake tour the UK later this month,
Recorded live at the Superdome in New Orleans for Farm Aid 7 in September of 1994, this is classic grunge-era Neil Young and Crazy Horse. Though the set list consists of only 5 tunes, the show’s running time is nearly an hour as Neil and the band give epic performances of all-time favorites like “Down By The River”, and Dylan’s “AllAlong The Watchtower”, as well as newer arrivals like “Country Home” (from 1990’s Ragged Glory) and “Change Your Mind” (from 1994’s Sleeps With Angels). An essential Neil live set available now in unprecedented sound quality.LP and coloured vinyl.
Neil Young and Crazy Horse perform “Down By the River” live at the Farm Aid concert in New Orleans, Louisiana on September 18th, 1994. Farm Aid was started by Willie Nelson, Neil Young and JohnMellencamp in 1985 to keep family farmers on the land and has worked since then to make sure everyone has access to good food from family farmers. Dave Matthews joined Farm Aid’s board of directors in 2001
Heaters performing live in the KEXP studio. Recorded September 9, 2016. Heaters is Andrew Tamlyn, NolanKrebs and Joshua Korf.
Less than a year after the release of “Holy Water Pool” – Heaters’ debut, a crushing, revelatory psycho-surf-rock anointment-as-album there are no apparent signs of distress to the engine that powers this Michigan-made vehicle of sound. To the contrary, Heaters are operating at a higher horsepower than ever before, as evidenced by the 2016 release of “Baptistina.” the bands second album.
“Baptistina” glimmers to a greater degree than anything Heaters have previously unleashed, a full-spectrum sheen that shines across the full panorama of righteous reverb riots. Heaters are in full control of their machine from the opening, and yet the result of this increase in control can be heard as a willingness to crash their ship completely. But have faith in the pilots – Heaters are living for the next ride.
For decades, Bob Dylan’s performance in Manchester was incorrectly labeled, The Royal Albert Hall Concert. Now, for the first time, the REAL Royal Albert Hall concert, originally recorded for a live album by CBSRecords, is finally being released as a standalone 2-CD set, titled The Real Royal Albert Hall 1966 Concert. This show is also included in the 1966 Live Recordings box set. The Real Royal Albert Hall 1966 Concert features Bob Dylan’s performance at the Royal Albert Hall from May 26, 1966 (two days after the artist’s 25 birthday)
Dylan is accompanied on these recordings by Robbie Robertson (guitar), Rick Danko (bass, backing vocals), Richard Manuel (piano), Garth Hudson (organ) and Mickey Jones (drums)
Last Saturday, September 25th, the legendary Morrissey returned to New York for a sold out performance at Kings Theatre in Brooklyn, for a much more intimate performance than his show at Madison Square Garden last summer.
It’s been two year since the release of his last album, World Peace Is None of Your Business, but Morrissey’s setlist at Kings was still heavily loyal to the album, along with the usual favorites from his solo career (“Everyday Is Like Sunday,” “Irish Blood, English Heart”). Being a smaller show, you had plenty of Morrissey die-hards quite literally rushing the stage trying to deliver a huge or a personal gift to Morrissey, only to be taken down by his well-placed and quick-moving personal security guards that stand to his side on both direction.
The 22-song set featured an encore performance in dedication to New York, with a rather surprising but welcome cover of The Ramones’ classic “Judy Is A Punk.” After his dramatic show-concluding performance of “IrishBlood, English Heart,” Morrissey tossed his shirt into the crowd as he always does. About half a dozen of fans each laid claim to a part of his shirt, and tried to rip it out of the others hand, or use a key to try and quite literally rip it into shreds so they could share. There are many big-time artists out there, but not many that have people quite literally fighting off one another for a piece of fabric.
There’s truly only one Morrissey.
Find some shots from his performance posted below, along with his setlist and a fan-recorded video of his Ramones cover.
https://www.youtube.com/watch?v=beAKwIOMpcI Morrissey Setlist:
1. Suedehead
2. You Have Killed Me
3. Alma Matters
4. Ouija Board, Ouija Board
5. The Bullfighter Dies
6. I’m Throwing My Arms Around Paris
7. World Peace Is None of Your Business
8. Ganglord
9. Speedway
10. Kiss Me a Lot
11. How Can Anybody Possibly Know How I Feel?
12. All the Lazy Dykes
13. Meat Is Murder (The Smiths)
14. Everyday Is Like Sunday
15. The World Is Full of Crashing Bores
16. All You Need Is Me
17. You’re the One for Me, Fatty
18. How Soon Is Now? (The Smiths)
19. Jack the Ripper
20. What She Said (The Smiths) Encore:
21. Judy Is a Punk (The Ramones Cover)
22. Irish Blood, English Heart
The Fat Angel Sings 