Posts Tagged ‘London’

Bruce Springsteen is continuing his ongoing Archive series.  Last month, he released a concert from 1978 that was promoting theDarkness on the Edge of Town album.  This month, he jumps forward three years to a gig to promote The River album: June 5th, 1981 at Wembley Arena in London, England.

The River was released on October 17th, 1980.  Springsteen and the E Street Band spent nearly a year on tour to promote the double album which had been their first to top the charts.  The first two legs of the tour had concentrated on the U.S. and Canada.  The third leg, which kicked off in April, 1981 saw the band playing dates in western Europe.  This was their first foray overseas since 1975 and the first time they had played a significant amount shows in the area.  Many European fans were introduced to Springsteen during this tour and he and the E Street Band have played overseas frequently in the decades since.

The June 5th concert was the final concert of a six-show stand at Wembley Arena and came at the very end of the European leg of the tour (only two shows in Birmingham, followed this concert).  The setlist of course features many cuts from The River album, but also throw in some interesting covers.  The first is a re-imagined version of Elvis Presley’s “Follow That Dream,” taken in a stark fashion with some new, original lyrics and an interpolation of Roy Orbison’s “In Dreams.”  Springsteen would record a studio version the tune during the Born in the USA sessions but ultimately leave it in the vaults.  Bruce would then further eulogize Presley with “Johnny Bye-Bye.”  The song is based upon Chuck Berry’s “Bye Bye Johnny,” taking a few lines from that tune.  A studio version would later show up as the B-side to “I’m On Fire.”

The band also tackles Creedence Clearwater Revival’s “Who’ll Stop The Rain?,Woody Guthrie’s “This Land Is Your Land,” another Presley tune with “Can’t Help Falling in Love” and “I Fought The Law,” made famous by The Bobby Fuller Four and covered by The Clash just a couple of years prior.  Another cover was that of the traditional Cajun song “Jole Blon.”  Springsteen had played on and produced Gary U.S. Bonds’ version of the song for Bonds’ Dedication album earlier in 1981.  The show wraps up with the familiar “Detroit Medley.”  Please note that the last 95 seconds of this medley are taken from a fan recording as the multi-track recording had stopped.

Perfect mix, super powerful performance. Almost every song sounds fresh and new. The ballads are full of feeling, the rockers are sung like there is no tomorrow. Bruce phrases the lyrics different at times, the band plays slightly different riffs

The concert was recorded live with the Mobile One Recording truck by Andy Rose with assistance from Tim Wybrow.  It has been mixed by Jon Altschiller from a 24 track 2″ 30 IPS tape source with additional engineering by Danielle Warman.  It has been mastered to DSD and PCM by Adam Ayan at Gateway Mastering in Portland, ME.

  • Bruce Springsteen – Lead vocals, guitar, harmonica; Roy Bittan – Piano; Clarence Clemons – Tenor and baritone saxophones, percussion, backing vocal; Danny Federici – Organ, glockenspiel; Garry Tallent – Bass, backing vocal; Stevie Van Zandt – Guitar, backing vocal; Max Weinberg – Drums

All previous volumes of The Bruce Springsteen Archive Series are available at Springsteen’s official live store for download and physical purchase.

Bruce Springsteen, Wembley Arena, London, 1981

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Earlier in the decade there was one band championing the South London scene. That band was Palma Violets and with their brand of swashbuckling indie-punk they paved a way for many others south of the river. The band though, after some work on maintaining their ‘ones to watch’ status, sadly went down the Thames with many others before them.

That hasn’t stopped Sam, Will and Phil of the band finding their sound again, and now with the help of guitarist Adam Brown alongside The Big Moon’s Celia Archer, they’ve got a brand new project underway by the name of Gently Tender. They arrive with some new tricks, some old traits and a brand new song, ‘2 Chords Good’.

Luckily, the project is still dabbled with the chaos and ramshackle charm of Palma Violets, but are offering more melody and texture as the spoken-word croon details the nugget of truth at the centre of their new song.

Sam explained “The song is essentially me replaying that moment in my mind, and almost kicking myself about my average and weak response [‘Probably yeah’] to her question, ‘Are you going to put some more chords on your new album?’”

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He continues: “The song is me talking to myself … and making excuses like I was feeling ‘kinda stressed that day’. I had been suffering with anxiety at the time of the meeting, but as I gradually formulate what the answer should have been, I cultivate pictures in my mind of visions and scenes that move me; memories of ‘golden evenings’ and ‘sunlit canals’ and songs that I have loved.”

The Ramones performing at the Roundhouse in England, 1976

On this day in 1976, the Ramones perfomed their first UK show at the Roundhouse in London, where they are credited with bringing the punk genre to the mainstream in England.

Just four months after the release their highly-influential self-titled debut, the Ramones made their international debut, performing in England as a support for The Flamin’ Groovies on a bill that also includes The Stranglers.

While legend states that members of The Clash and the Sex Pistols were in attendance (in actuality, the former were playing their debut show in support of the latter that same evening), a number of other musicians, including members of The Damned, were in fact there, and the gig is considered as one of the most influential moments in punk history.

A sold-out show the following night does manage to attract members of The Clash, the Sex Pistols, The Damned, and Chrissie Hynde of The Pretenders, marking the moment at which punk went mainstream, and the aforementioned musicians found themselves able to break down the barriers that held them back, eventually changing the face of music forever.

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New from London singer-songwriter Carmody is Singing Your Love, an uptempo love song that represents a further string to the bow of this versatile new artist.

Of the inspiration behind the song, Carmody says: “‘Singing Your Love’ feels like my first love song. I read somewhere that songwriters are always documenting each phase of their lives through their music. I had never thought of it like that before, but it felt important to write about a moment beyond the battles that can exist when you fall in love. I’ve always struggled to write about happiness without stumbling into cliché, but it felt like something worth celebrating, something worth dancing about, beyond the scrutiny that I usually put my relationships under.

“It also came from a conversation I had on the Are We Live podcast, where I started talking about how there are no songs that objectify men, no videos with men washing cars in little cute boxers. So it also stemmed from a desire to see and write about the male form as a muse and sexual object.”

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Carmody has recently appeared at festivals including The Great Escape in Brighton and Liverpool’s Sound City, with appearances at Barn on the Farm and Wilderness still to come this summer.

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London’s Teleman have long been favourites, and now the foursome have unveiled details of their third studio album; Family of Aliens, set for release in early September

To mark the occasion, they have offered another insight into their flourishing electronic-inspired sound, with new single Cactus. Flaunting the harmonious marriage of their classic pop sensibility accompanied by pulsating electronic undertones, the single is anchored by an unrelenting riff that crescendos to a cacophony of thrashing guitars and unbridled synth-sounds, bound by a palpitating, monotonous drum-loop. It’s danceable, psychedelic and completely infectious, burbles of synth and distorted guitar competing for space over the disco groove at its core.

The video  ‘Cactus’. Directed by Prosper Pictures and Lone Taxidermists, it’s a warped Frankenstein tale that sees a mass of wires, cables, rubber gloves and god knows what else form itself into a gigantic half-dancing, half-flailing cactus monster. Set in what looks like the basement level of a car park and created using a mix of physical and digital animation the creature’s birth is a sight to behold with floating astroturf and strange amorphous blobs abound.

‘Cactus’ from Teleman’s forthcoming new album ‘Family of Aliens’

“All That Remains” is the fifth album by Walthamstow’s finest duo The Left Outsides since at least the halcyon days of Bevis Frond’s Inner Marshland.
Hard to pin down with any certitude, the music created by The Left Outsides varies from track to track and even moment to moment. Alison Cotton’s vocals, harmonium and viola blend with Mark Nicholas’s voice, bass, guitar, piano and drums in ways that recall everything from Kendra Smith and David Roback’s drony duo, Opal (on “Down to the Waterside”), to PJ Harvey covering an old Blondie tune as a dirge (on “Naming Shadows Was Your Existence”).
But the basic pulse of All That Remains most often reminds me of either current work by Massachusetts’ estimable Damon and Naomi, or the sound of Pearls Before Swine around the time of their third LP, These Things Two. Like those combos, The Left Outsides manage to swap and mix male and female vocals without altering the elegiac dream-heft of their overall sound. They do this while maintaining a vibe that feels indebted to the mists of wood and dale far more than the bustle of London. 

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And the instrumental arrangements are never too far from the light touch of the folk-rock classicism perfected in the UK and Holland as the ’60s slid into the ’70s. Most of the sounds seem more like meditations upon this period than any attempt at recreation, however, which also aligns the band with certain threads that emerged in the ’80s uk psych underground just before raves took over.
All of which makes this a beautiful and outstanding record, and one that especially rewards the deep concentration of what is euphemistically called “late night listening.” It’s a very special spin. 

VALUE VOID

Young London-based trio Value Void share the intriguing first glimpse into their forthcoming debut LP, due later this year on Tough Love Records. On their sneakily infectious debut single “Back in the Day“, the group, comprised of Paz Maddio (guitar + vocals), Marta Zabala (drums), and Luke Tristram (bass), rides that taut, moody post-punk groove into a soaring chorus that feels like pure, sweet catharsis. The brief parting of the clouds is fleeting, though, as Maddio’s almost sunnily anthemic kiss-off — “Without any rules, I don’t want to play” — is enveloped by the return of her wiry riff, the song sliding back into tension and uncertainty. Listen below + grab the song now on Value Void’s bandcamp page:

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London five-piece Post Louis’ new self-produced track “Stress Fracture” is fuzzy lo-fi washed in a neon purple light, and its forceful, jangly groove is perfect for driving fast or stomping down the street. Frontwoman Stephanie Davin’s otherwise confident vocals still allow for tiny cracks of messy emotion; for example, each time she wonders the line “will you come and see me?” her usually rich voice becomes more delicate and airy with every drawn-out repetition.

Compared to their old stuff, there’s a darkness to “Stress Fracture,” a broken, painful energy packed into this new iteration of their classic indie sound. Their art rock influences come through during surges of a scattered sax or a short, dissonant guitar solo.

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Davin speaks of the song’s experimental flare:

We wanted Andy’s backing vocal and Alex’s saxophone parts to tumble in out of nowhere, like a car falling off a highway. This song tracks the moment when panic sets in, temperature rises and emergency begins – when something fundamental gives way entirely, whether a bone or a belief.

Listen to “Stress Fracture” below, where you can also hear recent single “Little Jack.”

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For the final lullaby recording during South by Southwest 2018, the London-based singer Nilüfer Yanya for her performance in the memory-filled world of Uncommon Objects. It’s a shop in Austin, Texas dedicated to sentimental curiosities of a world gone by. With that in mind, the relatively new musician with a bright future tackles a tune about something old and familiar: fond memories overwhelmed by the pain of love gone wrong.

“Baby Luv” can be found on Nilüfer Yanya’s 2018 release Do You Like Pain?The EP’s title is a line she repeats multiple times on “Baby Luv,” while her choppy guitar punctuates a weary, clock-like rhythm. That ticking beat is then amplified by the saxophone of her bandmate, Jazzi Bobbi while a camera pans a literary world of books that all seem blood-red. Objects once shiny and proud are worn and somewhat torn, with a future as uncertain as the love in this song

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Teenage sensations Girl Ray draw heavy influence from the classic indie era of C86 and bring all that lofi goodness bang up to date. The North London indie trio specialising in wan, winsome heartache have ambitions to rival the song writing greats. Having just released their first LP , they now headline their shows giving you the chance to hear the new material live. Catch them live .

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This last summer saw the release of their debut album Earl Grey. Released through cult indie label Moshi Moshi, it is receiving widespread critical acclaim and is becoming the underground album of the year.

The idea that actual teenagers made an album this sharp and sophisticated and interesting is the kind of thing that should make the rest of us feel bad. – Stereogum

Girl Ray tickets