Posts Tagged ‘Los Angeles’

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He never received the due he deserved, but blues guitarist Rory Gallagher was Ireland’s answer to Eric Clapton and Stevie Ray Vaughan. Emerging in 1969 as the leader of a blues/rock power trio Taste (they were signed by Ahmet Ertegun to Atco Records in 1968, but were overshadowed at the label by acts like Cream, Blind Faith and Led Zeppelin), the group made three albums before disbanding in 1970, in order for Gallagher to go solo.

By the time he embarked on the ’76 tour Gallagher had expanded his power trio to a four-piece band with the addition of Lou Martin on piano, organ and synths. They blast off with “Moonchild,” which borrows heavily from the riff The Moody Blues used in their hit, “The Story In Your Eyes.” Next up is “Secret Agent” (a different song than the one made famous by Johnny Rivers with the same name). The show moves forward with “Calling Card,” which was Gallagher’s new LP at the time. The rest of the show is a mix of tracks from Calling Card and staples that had long been part of his set list, including “Souped-Up Ford,” “Western Plain,”(featuring Gallagher on acoustic guitar), and the balls-out rocker, “I Take What I Want,” (which nicks The Beatles’ riff from “I Feel Fine” during Gallagher’s solo).

By the late 1970s, Gallagher’s brand of blues rock fell out of favor with radio programmers, and like artists such as Robin Trower and Steve Marriott, he had to focus on a smaller, but fiercely loyal, following. Although he never received the worldwide recognition of Eric Clapton, Duane Allman, and Jimmy Page, he certainly deserves to be remembered for the many excellent albums and tours he had during his career. Sadly, he died after receiving a liver transplant in 1995 at the age of 47.

Rory Gallagher – vocals, guitars, harmonica; Gerry McAvoy – bass; Rod De’ath – drums, percussion; Lou Martin – keyboards

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Azniv Korkejian, the Los Angeles -based artist who records as Bedouine, makes soft, delicate, beautiful folk music. There’s a long, rich tradition of musicians using soft, delicate, beautiful folk-music as a forum for the left-wing rallying cry, and it seems like Korkejian is getting in touch with that tradition right now. Last month, Bedouine released her version of the Vietnam-era protest song “The Hum.” Today, she’s dropped a gorgeous take on the old folk traditional “All My Trials.”

“All My Trials” is an old song of unknown origins. It’s a stark piece of writing about how those without money are destined for harder, shorter lives than those with it: “If living were a thing that money could buy/ The rich would live, and the poor would die.” Over the years, a number of artists (Harry Belafonte, Pete Seeger, Joan Baez) have recorded their own versions of the song. A Paul McCartney recording of it was a minor UK hit in 1990. Today, we get to hear Bedouine’s.

Azniv Korkejian recorded her take on “All My Trials” at her home. She’s done it as a hushed lullaby, with softly fingerpicked guitars and glowing Fender Rhodes tones. I don’t know who sings harmonies on her version of the song — maybe it’s just Korkejian’s voice multi-tracked — but those harmonies are a killer.

Bedouine – “All My Trials” from Mexican Summer’s Looking Glass series.

Released May 19th, 2020
Written by unknown / traditional
Recorded and produced by Bedouine
Recorded at home April, 2020

LA’s Death Valley Girls have made a name for themselves by churning out a desert-blasted blend of rowdy proto-punk and primitive heavy metal steeped in cosmic idealism and third-eye consciousness. Their first new offering since tearing a hole in the sky with their 2018 album Darkness Rains comes in the form of a two-song seven-inch, “Breakthrough.” The title track is a cover by Atomic Rooster, though the band discovered the track through a rendition by Nigerian outfit The Funkees.
With its grimy guitar riffs, fire-and-brimstone organ, and combative chorus, it’s as if the song was originally written with Death Valley Girls’ brand of stark transcendental rock in mind. But it wasn’t just the pulse and melody that drew the band to the song. “It spoke to me because of the lyrics about breaking free from an invisible prison… we all have invisible or visible prisons we are trapped in,” says vocalist and multi-instrumentalist Bonnie Bloomgarden. The song discovery coincided with the band’s interest in Damien Echols of West Memphis 3 and his ability to endure his imprisonment by learning to astral project through meditation.
The b-side is another cover—a ramped up version Daniel Johnston’s loud-quiet-loud anthem “Rock ‘N’ Roll / EGA.” It’s a total rager, but it’s also a bittersweet song for Death Valley Girls as they had the rare privilege to briefly serve as Johnston’s backing band. Ultimately, the two songs have a deep and profound connection to Death Valley Girls, both in their spirit and in their aural alignment.
Suicide Squeeze Records is proud to offer up the “Breakthrough” seven-inch in a limited edition one-time pressing of 750 copies on Half Purple & Half Black colored vinyl on June 12th, 2020.
Released June 12th, 2020

A compilation of a ton of covers we’ve done, from 2003-2020!, Be sure to check out the albums and singles these are from!. The Dollyrots are a female-fronted rock n’ roll band from California. Rockers Kelly Ogden and Luis Cabezas juggle the family business — their irrepressible pop-punk quartet The Dollyrots
Get this download for FREE for a limited time!.

Released June 12th, 2020

All songs performed by The Dollyrots

“Sidewalk” is the first full-length album from Frankie and the Witch Fingers. Originally released on cassette in 2013. Now, totally remastered, re-packaged, and re-imagined by Greenway Records, the Witch Fingers’ most fuzzed-out bubblegum nightmare looks and sounds better than ever! Limited edition “Cocaine Dream Swirl” coloured vinyl with an intense Spot UV treatment on the jacket and full color inner sleeve, for Record Store Day 2020.

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The garage psych brain poppers debut with a stonking great set of nimble riffs and clattering choruses that’ll have you regularly needing to pull up to catch your breath before gleefully diving back into the fray. Remastered from original source tapes, Record Store Day exclusive colour vinyl edition of 500. New art, spot uv covers + new full colour inserts that line up across the 4 reissues to combine 1 image. rsd hype sticker on shrink. It’s been out of print for years. newly acquired by Greenway Records, first pressing on new label.

Two years ago, No Age returned after a five year stretch without releasing a new album with the excellent Snares Like a Haircut. Alongside their newly reconvened independent status in signing with the truly autonamous Drag City Records, their fifth full-length effort heard Dean Spunt and Randy Randall putting together the best of their scratchy lo-fi ethos with enriched fever dreaming throughout their soundscape that made for a deliriously, caffeinated binge of art punk. A return to form it was, but without rehashing the past, if you will.

It’s not going to take another half decade to get new No Age, thankfully. This June, the heroes of the Los Angeles Smell scene era will return with their sixth studio effort Goons Be Gone. It’s being touted as their most direct statement yet, and that’s not a bluff when listening to its leadoff listen “Turned to String”. The hook-concentrated listen swirls in a woozy chug-along of thick-riffed wave riding and sunspot synths looping their way into the static. “But I already know too much / Not better now,” Spunts reflections wane into the sky, though this listen proves otherwise.

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No Age’s latest and greatest, Goons Be Gone, is finally out! Effortlessly raw and extravagant in one practiced swoop, Goons Be Gone sees No Age set their live/bedroom internal clock to get out early into a glorious wind-tunnel of naked beats and sunbaked guitars, forming a wave from which they hang eleven tunes.

No Age is Randy Randall and Dean Spunt.

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In these transformational times we must find new ways to connect and create together. Steve Gunn and Shannon Lay are on opposite sides of the country but exchanged recordings and covered this song in honor of John Prine and Blaze Foley. All proceeds on June 5th will go to the Black Visions Collective in Minnesota in support of racial equity. In this time of political and social upheaval we recognize the unstable foundation on which our society was built. We are long overdue for change. These moments are crucial for growth but they are not easy. When you feel overwhelmed with it all remember how impactful you can be as one person, realize every action creates an echo that inspires others. Remember how powerful you are; the way you use your money, the space you occupy, the energy you project into the world, the things you say, the things you don’t say, the way you treat others, the way you treat yourself, it all matters. Don’t focus on what you can’t do, focus on what you can do to help. Be the change you want to see. Be kind and persistent and loud as hell.

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released June 5th, 2020

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L.A. noise-punk outfit No Age have shared Goons Be Gone, the full-length follow-up to 2018’s Snares Like a Haircut, which described as “motion, motion, motion, noise, noise, noise” and “the musical equivalent of burying your head in the sand.” Goons Be Gone is exactly the kind of layered, invigorating clamour we’ve come to expect from No Age, but it still feels fresh. Their offbeat, self-recorded samples mingle seamlessly with their rugged human elements—it’s a cacophonous album, for sure, but don’t discount the grace of its rhythms and mindfulness of its construction

Track from “Goons Be Gone,” available on LP/CS/CD/Digital from Drag City on June 5th, 2020.

In early 2003 a young Steve McBean was living in Vancouver and in the midst of a transition from his sorely overlooked rock band Jerk With A Bomb into an auspicious new chapter. JWAB was his umpteenth band in as many years woodshedding as both a frontman and a supporting musician in countless punk & hard core bands in the Canadian wilds starting in his teens and going through his twenties. JWAB was arguably the band in which he’d finally found his signature singing voice and started collaborating with drummer Joshua Wells and vocalist Amber Webber.

Around this time his friend Dan Bejar (Destroyer, New Pornographers) sent to Jagjaguwar Records a demo tape of new songs that Steve had been writing. He wasn’t sure if it they were JWAB songs or something new entirely. The songs were randy & ribald, with a primitive drum machine beat and a Bo Diddley guitar swagger. They were scintillating and taught us things that our parents were too scared to teach.

These were the demos for the songs that would be re-recorded as the debut album by Pink Mountaintops, a sister project to the other McBean-fronted rock band that was being born at the same time — Black Mountain. This was an exciting time not only for McBean — who was bubbling with songs & ideas — but a turning point for Jagjaguwar, thrilled to sign two of its most significant projects simultaneously. We’re very pleased to be able to share these first demos which bred so much inspiration and provided a horny clarion call for things to come.

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Chris Swanson,

released May 1st, 2020

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Founder of paisley underground psych-rockers True West, Russ Tolman is a singer/songwriter in Los Angeles, California. His latest album release is Compass & Map, a 20 song retrospective covering 1986 – 2013.

As the son of a rancher and a former burlesque dancer, folk rock singer/songwriter Russ Tolman grew up in California and Arizona with a romantic view of the American West. Whether images of the open range of the cowboy, the hobo jungle of skid row, or the cross-country adventure of Kerouac’s On The Road, Tolman held a fascination with the freedom and promise of the West.

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Released May 29th, 2020
song by Jim Huie
produced by Russ Tolman
all instrumentation by Russ Tolman, except drums by Jim Huie
background vocals by Chris von Sneidern