Posts Tagged ‘London’

Following their hugely successful second album ‘The Age Of Immunology’ (roundly raved over by The Line Of Best Fit, PopMatters, Pitchfork, Q, MOJO, The Quietus and Uncut) and one of Rough Trade, MOJO and Uncut’s albums of 2019. Fire Films announces the first in our ‘Baptism Of Fire’ series of live streams for 2021, beginning with the transcendent psychedelic pop of Vanishing Twin and brought to you via Noonchorus on 20th January.

Vanishing Twin present ‘Pensiero Magico’ (Magical Thinking), a surreal document of their live show, augmented for 2D in a one-hour live performance special. Vanishing Twin will explore all sides of its schizophrenic self, from hypnagogic jazz to quixotic squidge pop to peeling electronic thunder, all set in multiple monochromatic worlds. Viewers will have access to exclusive merchandise designed by the band for the event including screen-printed hoodies and t-shirts and will also be entered into a raffle to win one of two dubplates created for the performance.

Check out Vanishing Twin’s newly released show trailer, a production by Tentacle and recorded by Gareth Finnegan, for a taster of their arresting live show later this month. Our ‘Baptism Of Fire’ live series will bring special performances from Fire Records artists direct to your living room throughout the year

Cocktail umbrellas and chlorinated fantasies! It’s time to get cool in the pool with Vanishing Twin. “Fantastical soundscapes that are as welcoming as they are unusual.” All Music

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Released March 6th, 2020

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It’s tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn’t quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically and culturally.

Posing as many questions as it answers, “Uppers” is a thunderous opening statement that continues the UK’s recent resurgence of grubby, furious post-punk music. It says something very different though – something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was born out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band’s years of pursuing “real life” and “real jobs,” something those teenagers never had.

In November 2019, the band – vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Bueth, and drummer Ed Kelland – played their first show, to a smattering of friends in what they describe as an “industrial freezer” in the warehouse district of Hackney Wick. “It was like the pub in Peep Show with a washing machine just in the middle…” Charlie laughs, Unsurprisingly, there isn’t a precedent for introducing an album during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest’s entrance in April with the release of debut single “House of York” – a searing examination of the Monarchy – served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation’s fried brains.

It’s the same continued global sense of anxiety that will greet the release of Uppers, and it’s an album that has a lot to say right now. Taking musical cues from The Fall and Protomartyr as well as the mechanical, pulsating grooves of Kosmische Musik, it’s a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman.

“Decoration,” Uppers’ center-piece, has a streamlined groove soundtracking Charlie’s lyrical vignettes that captures the absurdity and mundanity of life. Its opening and closing line (“I’ve never seen a dog do what that dog does”) is a misremembered quote by Simon Cowell about a performing dog on Britain’s Got Talent. Charlie says, “We often said it in the studio as a kind of in-joke when someone did something good or unexpected. Having already toyed around with the ‘Through to the next round’ line,’ this seemed too good to leave out.” And the chorus “It’s all just decoration” is credited to 2-year old niece of Alex’s fiancé, who reassured him after he pretended to be scared by Halloween decorations.

“Press Gang” is inspired by Charlie’s grandfather’s life’s work as a photojournalist and war correspondent on the UK’s Fleet Street from the 1950s to the early 1980s. The song is about the shifting role in the dissemination of information and ideas, and how the prevailing narrative that the “Death of Print Media” has contributed to a “post truth” world.

Album closer “Saintless” is the most personal and raw moment on Uppers. Charlie wrote a note to his son after his birth, following a difficult period his wife had faced during and after the pregnancy. The song is about how as parents we’re fallible and human, and while the world can be a difficult place at times the one thing that gets you through is giving your love to those that need and appreciate it. “Saintless” rides a motorik beat, with guitars, bass and synths building layers of intensity and emotion that replicate and swell with the message of the track. 

Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It’s a band and a record that couldn’t arrive at a more perfect time.

“Press Gang” is Out now – our new one from our album ‘Uppers’, out on Sub Pop Records next month. “Uppers” It’s about Charlie’s grandad, news cycles, truth, chip paper, and information. It’s also pretty loud. Lots of love to Joe Wheatly for another wild ride making the video & big love to all the crew who helped us out over a very cold weekend.

“Press Gang” by TV Priest from their album “Uppers” (Release Date: 02/05/2021)

Born of the same South London scene that’s produced the likes of black midi, PVA and Squid, white-hot septet, Black Country New Road found their band name using a random Wikipedia page generator. The transparent artifice of that is actually fitting: With only three singles to their rather unwieldy name, including 2019’s “Athens, France” and “Sunglasses,” and this year’s “Science Fair,” the U.K. up-and-comers are growing and changing before our eyes, already reimagining the few songs they’ve released for their debut album For the first time, due out February 5th, 2021. Frontman Isaac Wood’s hypnotic speak-singing shifts subtly away from “speak” and towards “sing” on the album, so as to more effectively meld with the band’s mercurial instrumental outbursts. Their thunderous post-punk, spiked with discordant jazz, feels both explosively raw and carefully, ingeniously crafted.

Our new single, ‘Science Fair’ is out today with a new video directed by Bart Price.

The post-punk scene has been nothing but great so far… Idles, Shame, Black Midi, Sorry, Fontaines D.C, Protomartyr, Iceage, Parquet Courts, Guerrilla Toss, SQUID, Shopping, Viagra Boys, Ought… and now Black Country New Road ..2021 is going to be a great year

After just two singles they were declared “the best band in the world” by The Quietus, with glowing reviews from The New York Times, NPR, and The Guardian. Debut album, ‘For the First Time’ is due on 5th February 2021. Black Country New Road is Lewis Evans (saxophonist), May Kershaw (keys), Charlie Wayne (drums), Luke Mark (guitar), Isaac Wood (vocals/guitar), Tyler Hyde (bass) and Georgia Ellery (violin)

Taken from the album ‘For the first time’, To be released 5th February on Ninja Tune:

Debut album on Specialist Subject from the partly California-raised ‘anarcuties’ Charmpit. Quietly subversive cultural politics with a barrelful of musical sugar to ease the medicine down. File under femme, not twee (then burn the filing system; they’re anarchists). “Cause A Stir” by Charmpit (by Emma Prew) London via California DIY pop(star) punk band Charmpit are gearing up to release their much anticipated debut full-length on the 3rd of April. Titled Cause A Stir, the album is being released by the always excellent Specialist Subject Records and follows on from Charmpit’s previous releases on Keroleen Records and Everything Sucks.

This London x California 4 piece, Charmpit, deliver Pop(star) Punk in a queer, DIY “Anarcutie” package. Through playful harmonies, sparkling guitar and to-the-point lyrics, they place a high value on friendship, the power of femme, and FUNctional social justice politics. Their debut LP Cause A Stir is a shining showcase of powerful song-writing twisted up in their hot couture and glittering vision. Charmpit got their start in 2016 during the DIY Space For London’s ‘First Timers’ project; an annual series of workshops, skill-shares and first time performances that ‘celebrates demystification’ and pours fresh, diverse, new talent into the UK music scene. They are what ‘First Timers’ dreams are made of! Releasing their first 7” vinyl single,

New single from upcoming CHARMPIT LP ‘Cause A Stir’ out 3rd April, 2020 on Specialist Subject,

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Released April 3rd, 2020

London-based band Dry Cleaning have shared their new single “Scratchcard Lanyard,” which also serves as their debut release with 4AD Records and should appear on their debut album, which is on the horizon soon.

The band has shared the creative music video for the song which marks the directorial debut of artist duo Rottingdean Bazaar which sees vocalist Florence Shaw singing in a miniature nightclub that is shot in a stylistic fashion. The song itself is a compelling art-punk rock effort that has some sharp angular guitar riffs that perfectly set the table for Shaw’s delivery that feels like a mix between Protomartyr, U.S. Girls and Parquet Courts. All good things.

‘Scratchcard Lanyard’ is a treatise on the joy of life’s little pleasures, where air fresheners become mighty oaks and Instagram filters are glamourous holiday destinations. The South London band explain further – “In the search for your true calling in life, it’s easy to try so many things that you end up confused. It can lead to an enormous build-up of frustration. You may fantasise about exacting revenge upon your real or imagined enemies. Ephemeral things and small-scale escapist experiences can provide some relief!”

The companion video for ‘Scratchcard Lanyard’  riffing on the song’s celebration of the humdrum – inserts vocalist Florence Shaw into her own miniature night club. Rottingdean Bazaar are artists James Theseus Buck and Luke Brooks. Their work includes design, creative direction and fine art practices, and the duo live and work in Rottingdean, East Sussex in the UK.

Dry Cleaning is Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals). Firm friends for years, they only started making music after a karaoke party in 2017 inspired a collaboration. They wrote instrumentally to begin with and six months later Shaw, a university lecturer and picture researcher by day, joined on vocals with no prior musical experience. 

Dry Cleaning’s music is simple – direct and uncomplicated. The Feelies, the Necessaries, the B52s and Pylon all served as inspirations when the band first came together. The small and intimate garage / rehearsal space had a huge influence on the sound; both of last year’s EPs Boundary Road Snacks and Drinks and Sweet Princess were written here. The quartet have finished work on their debut album, with details to follow soon. 

Dry Cleaning share the song ‘Scratchcard Lanyard’, the group’s first release on 4AD Records.

Good match … the covers of 5 and 7, the two albums released in 2019 by Sault.

Sault and the incredible ‘untitled (black is)’ double album from the band of mystery themselves has just this minute landed!

Mystery is a rare commodity in rock and pop these days. The internet has made investigative journalists of us all, and an artist who expends a lot of effort creating an enigmatic aura will almost invariably find themselves revealed online. So hats off to Sault, who managed to release two albums in 2019 – titled “5” and “7” – without anyone managing to conclusively solve the puzzle of who was behind them.

The incredibly elusive band Sault released their debut album “5” on Vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6’s Lauren Laverne and USA’s KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves.

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It was not for want of trying. Some people suggested the involvement of a London-based musician called Dean Josiah, whose CV boasts co-writing and production credits for Michael Kiwanuka, the Saturdays and Little Simz – the last of whom raved about Sault on social media. Others have posited that British soul singer Cleo Sol and Chicago-based rapper and sometime Kanye West collaborator Kid Sister – both signed to Sault’s label, Forever Living Originals – are the vocalists. But no one has confirmed or denied anything. Sault’s 2019 release is an incredibly strong collection of tracks, a near perfect blend of Soul and Post-Punk aesthetics that works powerfully and seamlessly together.

Political and thought provoking, “5” challenges existing structures and forms while simultaneously keeping listeners moving and dancing.

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Without pausing for breath and hot on the heels of their exhilarating debut album 5, the elusive Sault returned with their sophomore full length titled 7. The signature hybrid of funk, dance, post-punk, soul and disco is front and centre once again, confidently delivered with their typical fearless nature. If 5 had you out of your seat, 7 will have you dancing in the streets….Spread the word, Sault are back at it!. “7” is a great album with strong percussion and vocals, tight production and solid song writing, really great music that’s catchy, accessible, and all around awesome…

Released September 27th, 2019

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You can understand why people are intrigued, because both of Sault’s albums are fantastic, walking an idiosyncratic path that zig-zags between ESG-esque post-punk funk, early 80s boogie and something approaching neo-soul, without ever really fitting into any of those categories or sounding like straightforward homage. Whoever is on drums is clearly a big fan of Can’s Jaki Liebezeit: their playing adds a strange, hypnotic intensity to tracks even as laidback and sunlit sounding as 5’s We Are the Sun. Elsewhere, the dubbed-out spaciness of the production consistently gives everything a weird, disorientating edge, no matter how poppy the melodies get. The mysterious Sault returned with album number three that was announced when the whole album was played on BBC 6 Music’s Gilles Peterson’s show. This is the most essential album for 2020. The 18 track album is an absolute joy whilst delivering a powerful message. Each tracks title nods towards revolution, expression and a celebration of black culture. The sound once again mixes R&B, funk, soul and hip-hop together. For fans of classic soul, ESG and groove.

For all the sparseness of the arrangements – drums and bass, the odd wash of electric piano or blast of fuzzed-out guitar and synth – Sault seem as interested in writing songs as constructing grooves. Virtually every track is concise and to the point, rarely tipping over four minutes, and even the furthest-out moments – 7’s Red Lights or 5’s warped closer BABE – come with really powerful hooks woven through them. The net result feels simultaneously exploratory and confident, a really appealing, intriguing combination. Whoever they are, Sault sound like they know what they’re doing.

Depending on your definition of “supergroup,” Adulkt Life are either a handpicked ensemble of some of the U.K.’s most fondly recalled punk acts—spanning the culty riot grrrl of Huggy Bear to the overcast take on West Coast American garage rock of Male Bonding—or just another collection of nobodies who stumbled into each other’s lives at a record store. Either way, Book of Curses sounds as complex as its individual band members’ back stories, fusing the influences of grunge, post-punk, and post-hardcore icons like Flipper, Wipers, and Nation of Ulysses with modern sensibilities.

With their debut record out today, Chris Rowley—co-vocalist for Huggy Bear coming off a quarter-century musical hiatus—gave us an enlightening and frequently cryptic breakdown of each of the record’s tracks, touching upon moral decency, “hopelessfullness,” and raising kids in a world that struggles with such concepts. Reading Rowley’s scattered thoughts on the project, that silent “K” in the band’s name starts to make a little more sense.

1. “Country Pride”

Simply put, it’s an escape song, it’s the embodiment of too much casual racism and sexism and the need to stop accepting it as part of your day-to-days’ poisons that’s not going to kill you necessarily but… We should all get a sense of humor, right?

It’s a reverse-engineered anthem with all the jingoistic bits and flag-waving burned and buried—our protagonists aren’t ideally suited in a perfect world, but as we said, it’s a messed up one, so tradeoffs in car parks and behind supermarkets better count for something!?

2. “JNR Showtime”

Maybe we’re becoming too mistrustful or cynical about decency and morals and goodness in the world!? The little things that used to give us hope and make us want to love our neighbors—working for a children’s charity for a good few years we’ve heard and seen some stories you would not want in your head…and having children myself you can’t help but become more repelled and vigilante in your thinking however wrong this is to admit. The scumminess of wrongness turned out to be shown for what it is. Cowards and liars should be scared. Always hurts to play this dark rager out, but that’s what you do with poison, innit? Suck then spit!

3. “Whistle/Country”

John’s guitar part translated to the drums and bass so quickly it unlocked a feeling in the room as we practiced it. It’s a plea for authenticity, whatever that means, a song about illusions or cutting through bullshit. Who knows, it’s a series of images linked to what it says in the lyrics—old guys round fires, wanting to be real/looking from a slightly (?) younger point at experience and rich lives lived. But who decides what that is, and if things are tough like they have been for us at points? Is anything better? But this is optimistic, a stone skimmer for the lost generations…

4. “Taking Hits”

This is the Adulkt Life (please don’t worry about pronouncing the “K”) “battle anthem.” We needed to write a song that lifted us up, and the KO’d and arisen scream for deliverance got us there. We were and are a lot of the time about boxing—fights, failures, movies, writing—and this became our backdrop, complete losers (as the idealistic and too sensitive can be) finding a glint or glimmer of something to believe in again! We’ve traded the Joyce Carol Oates book around us a good few rounds, so this is a thanks to no one and for nothing.

5. “Flipper”

I used to love the weird second Flipper album Gone Fishing and really didn’t understand it in the context of what I was listening to at the time, and it’s haunted me a bit with my probable misreadings.

Anyway, John wrote a guitar part that was akin to how I thought the Flipper record was. So it had the subterranean feel and we knew it was going to be a sodium light noir journey of a track, episodic and about revenge, making do, looking after family but risking it all because of your postcode or what yer famz do. The clapping coda is the triumph in the murk if you like…and so we had to name it “Flipper” in homage.

6. “Stevie K”

Kevin’s bass tearing into this idea with Sonny rocking after him set the touch paper for a cyclone of a track that John sabotages beautifully from a chronological sense with feedback lacunas. It’s meant to be a mod anthem, but who cares about the mods anymore anyway?

So it’s a cool song for Steve Kroner from Nation of Ulysses, a band that we loved and that was ruined for regular life by (they were/are just “too much”) and wanted to cast Kroner as a catcher-in-the-rye type figure, literally beyond good and evil…ice-cream under the pier as bottles fly.

7. “Room Context”

One of the first Adulkt Life songs that sort of arrived fully formed—a paranoia anthem casting spells and occulting damage against those who would trespass against us. The album was originally called “Deliver Us From Evil” for a host of reasons we won’t go into. “Room Context” is against power structures and authority charlatanism. It’s for misfits and outcasts, it reminds me a bit of, like, a record biz version of the De Palma movie The Fury, but I’ll get over that in a week or two. Being an older band, I felt not just like we’d be tarred with an ageist brush maybe, but there were whole swathes of audiences/fans who were not allowed or were shunned from feeling part of something. We don’t hate “the kids,” but we definitely don’t get them anymore.

8. “Move”

In the context of feeling separated from activism or rebellion or underground action, because of age or class or gender roles, I tried to write a Wipers song for the disenfranchised using the Kelly Reichardt film Night Moves as the inspirational germ for the narrative. I say all this loosely, but we’re all big film fans and lovers of cinema discourse in Adulkt Life, and that film/filmmaker is “the bomb” as they say—and aptly—here. To move forward we have to get rid of guilt impulses and relationships to past failures or success/require new dialogue. The changes in this are always hard to play if you’ve seen us play the two times so far we have. You’ll know what I’m talking about.

9. “Clean (But Itchy)”

This was Sonny’s defining moment in the young Adulkt Life story. His epic movement of boulders and rock face to scrape and bash this wild styler into shape. John was conducting hot lab sources and Sonny went after him with little concern for his well being. Maybe you can hear this? It’s a lovers’ quarrel played out large—the worst curses, the can’t-take-it-back moments, the no apologies stuff all rolled into one, but perversely it all sounds weirdly sexy, too. Who would’ve thought?

10. “New Curfew”

This ends the Adulkt Life record Book of Curses. Everyone—well, the three people that’ve heard it—think it’s strangely prophetic, and that we were ahead of a curve with prophesying this one, out of the sound dust and word play. Who would’ve wanted to predict where we are now, for goodness sakes, so this is an urban/suburban paean to disappointment, fear, hopelessfullness. In the face of age and responsibilities—the law, your belief/our belief in it, or turning away from it—at a certain point we/you will be replaced and our energies and counter intuitions gone. When you have children of your own or are around kids, you’ll know. They are the future, whether you like it or not. It’s a parents’ prayer in the smoke and petrol. 

Adulkt Life’s debut LP Book Of Curses available November 11th.

It will likely turn a few heads that ‘The Mirror’, a dark, brooding track around halfway through this latest from Hey Colossus, features an appearance by the one and only Mark Lanegan. A bonafide alternative rock titan, his reputation for collaborative work is well known, but so are his exacting standards. Only working with the best, the fact he’s even here says volumes about where this shapeshifting, hardcore-cum-post punk noisemakers are at.

Dances / Curses is loud when it needs to be, for example the growling riffs of Tied In A Firing Line, or the stadium-filling, doom-laden frenzy of Dead Songs For Dead Sires, but isn’t afraid of intimacy either. Stylites In Reverse’s delicate melodies, or Blood Red Madrigal’s hazy, woozy, melancholic air. A broad brushstroke that confirms Hey Colossus are among the most vital we’ve currently got.

Hey Colossus is an English rock band formed in London in 2003. Since its inception, the band has undergone several line-up changes, revolving around founding members Joe Thompson and Robert Davis. Longterm Hey Colossus fan Mark Lanegan makes an appearance amidst the languid and sun-soaked denouement of ‘The Mirror’, the existential gravitas of his tones entirely at home in these revelatory surroundings.

The band is characterised by its ‘heavy’ sound, DIY ethic, prolific output, and stylistic experimentation.

New double album ‘Dances / Curses’ on Ltd Clear 2LP/2CD/DL released on November 6th via Wrong Speed Records (UK/Euro) & Learning Curve Records (US).

At last, a new studio album from superb London duo, The Left Outsides, to follow up on 2018’s amazing All That Remains.

The basic building blocks remain the same — half of the sound is Alison Cotton and her viola and keys, the other half is Mark Nicholas with a stunning array of guitars — but the structures they create this time are darker and more forbidding than their antecedents. This album feels very much a piece of the season in which it is being released, as the leaves strip themselves from trees and the sky grows colder, greyer by the hour. More than once while “Are You Sure I Was There” spun I was put in mind of the classic Rainy Day LP, masterminded by Kendra Smith back in 1984. The Left Outsides possess the same sure grasp of that place where sorrow, ecstasy and psychedelics meet in a shower of dying stars.

The tunes here are wonderful. Most are new, although a few have been heard before in different forms (if you knew where to listen.) “The Wind No Longer Stirs the Trees” (with its glorious blend of backwards and forward motion) was on a 7” lathe, backed with “As Night Falls” (a beautiful ode to the promise of winter.) The track “Seance” was first recorded as part of a celebration of Help the Witch, the debut novel by former music critic Tom Cox (whose words were used for most of the lyrics.) And “My Reflection Once Was Me” (which recalls The Trees’ epic tunes by combining massive blocks of raging guitar with Alison’s steady vocals) was featured on the live A Place to Hide LP.

The other compositions are all-new and utterly great. The tunes that Mark sings tend to evoke a certain ’60s whisp. Whether it’s the Floydian lilt of “Only Time Will Tell,” the freakbeat pop of “November on My Mind,” or “Pictures of You,” which stacks a dreamy ’60s overlay upon contempo pop structuring. Alison’s vocals often display a more folky essence. “The Stone Barn” has a vibe very similar to some of Sandy Denny’s later solo work, grounded by stately piano chords. “Things Can Never Be the Same” centers on a gorgeous mid-paced vocal performance, encased in spinning webs of very elegant guitar. And the conjoined vocals on “A Face in the Crowd,” sit atop a huge fuzz riff, sounding like the perfect anthem for the new Slow Music Movement. They wont back down!.

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And you shouldn’t either. I’m not exactly sure where anyone gets their records these days but wherever that is, you should march there tout de suite (even if only figuratively) and demand a copy of Are You Sure I Was There? today. And yes, I am sure. Today!

Buy Online Humble Pie - Official Bootleg Collection Vol 2 RSD 2020

Following last year’s Humble Pie’s “Official Bootleg Collection Volume 1” double LP comes the “Official Bootleg Collection Volume 2”, collating rare and previously (officially) unreleased live shows that were illicitly recorded between 1971 and 1981.

Originally emerging from the remnants The Small Faces, Humble Pie formed in 1969 when guitarist and vocalist Steve Marriott joined forces with Peter Frampton, drummer Jerry Shirley and bassist Greg Ridley, and began their assent to conquering the theatres and then arenas of North America, culminating in 1972’s double live “Performance: Rockin’ The Filmore”. Frampton left in 1971 for a highly successful solo career, replaced by Colosseum’s Clem Clempson, and it was this line-up that was captured in New York in 1971 at one of Clem’s first shows with the Pie.

The extemporisations of “Performance: Rockin’ The Filmore” became the basis for much of Humble Pie’s live repertoire for the remainder of the 1970s, but this 1971 New York show does include their unique take of Eddie Cochran’s ‘C’mon Everybody’ and ‘I Wonder’ from the soon to be released “Smokin’” LP. Side Two find The Pie backed up by the soulful backing vocals of The Blackberries; Venetta Fields, Clydie King & Billie Barnum, who appear on ‘Oh La-De-Da’, ‘I Don’t Need No Doctor’ and ‘30 Days In The Hole’ Humble Pie split in 1975 following their Street Rats LP, but not before Side Three’s Philadelphia show on March 15, 1975, featuring ‘Four Day Creep’ and ‘I Don’t Need No Doctor’.

The Pie would eventually reform for 1980’s “On To Victory” comeback record, this time with a line-up featuring Bobby Tench from the Jeff Beck Group on guitar and vocals and bassist Anthony “Sooty” Jones. Side Four from Privates Club, N.Y.C. on March 25, 1981 features the epic 23 minute take of ‘30 Days in the Hole’ / ‘I Walk on Gilded Splinters’.

Housed in a gatefold sleeve, as well as plenty of rare memorabilia, the booklet features an essay from based on new interviews with Pie drummer, Jerry Shirley.

Whilst every effort has been made to produce the best possible audio, limitations in the material drawn from various, non-standard, and un-official sources means that the quality may not be up to the standard usually expected. All tracks have been included for their historical importance, and to present an anthology of Humble Pie live on stage from 1971- 1981.

The Official Bootleg Collection Volume 2 is a raw testament to what this band did best; playing bluesy, gutsy, soulful hard rock, live on stage.

Drawn from a variety of mainly audience recordings that have previously only been available as “under the counter” pirate releases, this is an honest, often unforgiving, tribute to a classic and much missed ’70s supergroup. Housed in a gatefold sleeve, the artwork features two essays, one of which is based on new interviews with Humble Pie drummer, Jerry Shirley.