Posts Tagged ‘Love’

Image result for images of the band love

One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday only lasting all of three albums. They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the ’60s. They were stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour.

Love was formed by Lee in the mid-’60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with various bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love’s repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.

Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra Records, the noted folk label that was just starting to get its feet in rock (it had recorded material by early versions of the Byrds and the Lovin’ Spoonful, and had just released the first LP by Paul Butterfield). Love released three albums with core members Lee, Echols (lead guitar, vocals), Bryan MacLean (guitar, vocals), and Ken Forssi (bass). The drum chair revolved between Alban “Snoopy” Pfisterer (Love, “7 and 7 Is”) and Michael Stuart (all tracks on Da Capo except “7 and 7 Is”, Forever Changes). Pfisterer reportedly found the demanding drum parts on “7 and 7 Is” so exhausting that he and Arthur Lee alternated takes on the first recorded outtakes, but on the final take used for the record, Pfisterer performed the entire track Da Capo also included Tjay Cantrelli, who was added on saxophone and flute while Pfisterer moved to organ and harpsichord. Both were out of the group by the time Forever Changes was recorded

Love  –  Love (1966)

Love’s debut is both their hardest-rocking early album and their most Byrds-influenced. Arthur Lee’s songwriting muse hadn’t fully developed at this stage, and in comparison with their second and third efforts, this is the least striking of the LPs featuring their classic lineup, with some similar-sounding folk-rock compositions and stock riffs.

A few of the tracks are great, though: their punky rendition of Bacharach/David’s “My Little Red Book” was a minor hit, “Signed D.C.” and “Mushroom Clouds” were superbly moody ballads, and Bryan Maclean’s “Softly to Me” proved that Lee wasn’t the only songwriter of note in the band.

Love   –   Da Capo  (1967)

Love broadened their scope into psychedelia on their second effort, Arthur Lee’s achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock “Seven & Seven Is” (their only hit single), the manic jazz tempos of “Stephanie Knows Who,” and the enchanting “She Comes in Colors,” perhaps Lee’s best composition (and reportedly the inspiration for the Rolling Stones’ “She’s a Rainbow”).

It’s only half a great album, though; the seventh and final track, “Revelation,” is a tedious 19-minute jam that keeps Da Capo from attaining truly classic status.

Love  –  Forever Changes (1967)

Love’s “Forever Changes” made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc’s themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love’s first two albums, and they make occasional appearances here on tunes like “A House Is Not a Motel” and “Live and Let Live,” but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies.

The punky edge of Love’s early work gave way to a more gentle, contemplative, and organic sound on Forever Changes, but while Arthur Lee and Bryan MacLean wrote some of their most enduring songs for the album, with the lovely melodies and inspired arrangements. A certain amount of this reflects the angst of a group undergoing some severe internal strife, but Forever Changes is also an album that heralds the last days of a golden age and anticipates the growing ugliness that would dominate the counterculture in 1968 and 1969; images of violence and war haunt “A House Is Not a Motel,” the street scenes of “Maybe the People Would Be the Times or Between Clark and Hillsdale” reflects a jaded mindset that flower power could not ease, the twin specters of race and international strife rise to the surface of “The Red Telephone,” romance becomes cynicism in “Bummer in the Summer,” the promise of the psychedelic experience decays into hard drug abuse in “Live and Let Live,” and even gentle numbers like “Andmoreagain” and “Old Man” sound elegiac, as if the ghosts of Chicago and Altamont were visible over the horizon as Love looked back to brief moments of warmth. Forever Changes is inarguably Love’s masterpiece and an album of classic enduring beauty.

Image result for images of the band love

Advertisements

Image may contain: 1 person, playing a musical instrument and guitar

Aztec Camera  a Scottish Indie/pop/new wave band was formed by Roddy Frame, the group’s singer, songwriter, and only consistent member. Formed in 1980, Aztec Camera released a total of six albums: “High Land, Hard Rain” (1983), “Knife” (1984), “Love” (1987),“Stray” (1990), “Dreamland”(1993) and “Frestonia”(1995).The band garnered popular success for the songs “Oblivious”, “Somewhere in My Heart” and “Good Morning Britain” (a duet with former Clash guitarist Mick Jones).

The band’s first UK single release was sold in a 7″ vinyl format by Postcard Records a Glasgow-based independent record label co-founded by Edwyn Collins and Alan Horne—in 1981. The single featured the song “Just Like Gold” and a B-side entitled “We Could Send Letters”; an acoustic version of the latter song appeared on a collectable compilation album, entitled C81, that was released on cassette in 1981 through a partnership between NME magazine and Rough Trade Records. Frame, was just aged 16 years, He met Collins for the first time during the Postcard period when the latter was 21 years old.

A second single, also released in 1981, featured the songs “Mattress Of Wire” and “Lost Outside The Tunnel”. Following the two 7″ vinyl releases with Postcard, the group signed with Rough Trade Records in the UK and Sire Records in the United States for their debut album. At this point, the band was officially a quartet: Roddy Frame (vocals, guitar, harmonica), Bernie Clark (piano, organ), Campbell Owens (bass) and Dave Ruffy (drums, percussion).

Aztec,Camera:,High,Land,,Hard,Rain.,Gatefold,LP,and,7,EP,High Land, Hard Rain; Aztec Camera

High Land, Hard Rain (1983)

When it appeared in the spring of 1983, Aztec Camera’s debut album, High Land, Hard Rain, was an acoustic-driven breath of fresh air. Led by teenaged singer/songwriter/guitarist Roddy Frame, the Scottish band offered a batch of memorable songs that deserved a broader audience than they reached at the time, from the infectious “Oblivious” and “Pillar to Post” to the introspective “The Bugle Sounds Again.” Frame went on to release another five Aztec Camera albums before recording under his own name.

Aztec Camera’s debut album, “High Land, Hard Rain” was produced by John Brand and Bernie Clarke for the Rough Trade record label. The album was released in April 1983 and was distributed in different formats on Domino Recording Co. The album was successful, garnering significant critical acclaim, Frame later revealed that the song “Oblivious” was consciously written as a Top of the Pops type pop song and received a corresponding degree of popularity.

During the recording process for the album, Frame used a different guitar for every song. For the song “Orchid Girl”, Frame explained in 2013—during the 30th anniversary tour that he was attempting to merge the influences of his favorite guitarist at the time,  jazz player Wes Montgomery, and punk rock icon Joe Strummer. In a late 1990s television interview, Frame explained that a “boy” image was associated with him during this era, and that he was annoyed by it at the time, as he was taking his music very seriously—”you don’t want to be called ‘boy’; especially when you’re listening to Joy Division” but he eventually stopped caring about it.

After “High Land Hard Rain”, Bernie Clarke left the band, and was replaced by Malcolm Ross on second guitar and backing vocals. Aztec Camera changed record labels once again for the release of their second album, “Knife”, which was released through Warner Music .

Frame revealed in a May 2014 BBC radio interview that he was not informed of the ownership arrangements of the record deal, stating that he was unaware as an 18-year-old that the record company would own the rights to all of his corresponding recordings.  After “High Land, Hard Rain”, Frame spent a significant amount of time living in New Orleans, listening to Bob Dylan’s album “Infidels”. Upon reading that Dire Straits’ guitarist and singer Mark Knopfler produced the album, Frame began writing songs based on a sound that he thought Knopfler could work with.

Knife (Expanded)

Knife (1984)

Frame signed the band to the WEA record label—at the time his manager was Rob Johnson  and he secured Knopfler as the producer for Aztec Camera’s second album,“Knife”, which was released in 1984; Frame explained in 1988 that Knopfler was very “professional” and efficient during the recording process. Frame’s experimental mindset in relation to music emerged on “Knife”, as the duration of the titular song is nearly nine minutes and synthesizers appear throughout the album. Prior to the album’s release, the band previewed a selection of songs as part of a performance for the BBC television show Rock Around The Clock and the song “All I Need is Everything” received radio airplay subsequent to release. In a 2007 interview alongside Collins, Frame explained further:
He’s [Knopfler] a great guitarist. recording techniques were great—you [Collins] would have liked him, ‘cos that was then, it was quite a thing. ‘Cos everyone was going digital, and going MIDI and all that, and his thing was all about using the right microphone. If you use the right microphone, then you don’t have to use too much EQ and all that stuff, and it was all about that. Yeah, I kinda liked that—the right mic[rophone], the right amp[lifier], the right kind of board and stuff.

Love“Love” (1987)

At the time that the band’s third album “Love”(1987) was created, Frame was the only original member of the band involved with the project; Love and future Aztec Camera albums were written and recorded by Frame under the “Aztec Camera” moniker, and session musicians recorded with Frame on a track-by-track basis.

Frame explained in August 2014 that he contemplated the conception of “Love” during a three-year hiatus following the release of “Knife”. Frame said that he moved even further away from the British “indie ethic” and was listening to the “pop end of hip hop”, Frame wanted to make a record based on such influences and “Working In A Goldmine” the first song to achieve this aspiration.

Frame relocated to the US to record the album—”pretty much against the wishes of Warner Brothers“, who were unsure of his decision-making at the time—and was primarily based in Boston, Massachusetts, and New York. Frame recorded with American session musicians, like Marcus Miller and David Franke, and explained that his audience was “mystified” by the transformation of the band, but he was “too far gone” to care and just wanted to do his “own thing” by that stage. Due to the significant change of musical direction, the album’s first three singles did not make a strong impression in the marketplace.

The “Love” album produced the popular song “Somewhere In My Heart”, recorded by Frame with dance, R&B and pop producer Michael Jonzun in Boston. Frame said in 2014 that the song has been “great” for him, but at the time of creating the album, the song was not “in keeping” with the rest of “Love”, Frame revealed in a radio interview with the “Soho Social” program, presented by Dan Gray, that he considered “Somewhere In My Heart” an odd song and initially thought it would be best as a B-side.

“Somewhere in My Heart” is the twelfth single and biggest hit by the Scottish band. It was released as the third single from their 1987 studio album “Love”.

Frame was asked during a television interview, following the release of “Love”, about the new sound of the album, and he referenced artists like Anita Baker and Luther Vandross. When asked if the album could be labelled “Middle of the road (MOR)”, Frame replied: “Call it what you like. I don’t really mind.”

Stray [Deluxe Edition]

Stray (1990)

For the band’s fourth album, “Stray”, Frame collaborated with the Clash’s Mick Jones on the song “Good Morning Britain”, He and Jones also toured with the band following the album’s release. Jones performed as Aztec Camera at the Glasgow Barrowlands and the Ibiza Festival in 1990.

In a 1990 interview, Frame explained that he wrote “Good Morning Britain” in 45 minutes after a two- to three-hour conversation with Jones in the canteen of a London rehearsal studio that both Big Audio Dynamite and Aztec Camera were using.  In an August 2014 radio interview, Frame elaborated further, stating that at the time he wrote the song, Jones lived near his London home; Frame had visited Jones after recording the song and said to the Clash guitarist, “You’ll either sing on it, or you’ll want to sue me”, as Frame believed the song was so similar to Jones’ previous work.

Dreamland

“Dreamland” (1993)

Frame then recorded the next Aztec Camera album,”Dreamland”, with Japanese composer Ryuichi Sakamoto. Released in 1993, While mixing the album at Hook End Manor, an 18th-century red-brick building that had been converted into a studio in the Berkshire countryside of England, UK, Frame explained that he waited for a lengthy period of time to work with Sakamoto, due to the latter’s busy schedule. Frame finally met with Sakamoto in Ibiza and both eventually recorded the album in New York City, US over a four-week period. Frame’s interest in Sakamoto was elaborated upon in a latter interview.
I liked what he did when he was in the Yellow Magic Orchestra, and I also liked that album where he plays the music from Merry Christmas Mr Lawrence on piano. That’s where you realise that the atmosphere around his compositions is actually in the writing. Frame’s routine consisted of: working in the studio from the early afternoon until around 2. a turkey sandwich at a deli off Times Square (“because it was possible to get one at two in the morning, and for no other reason”); a cab-ride back to the Mayflower Hotel, where he was staying; an hour of listening to Shabba Ranks; and then bed.

“Frestonia” (1995)

For Frame’s final album under the Aztec Camera moniker, and the last original studio recording for the WEA label, Frame worked with renowned production team Langer-Winstanley, who had previously worked with Madness and Elvis Costello. “Frestonia” was released in 1995 and the Reprise Records label issued it in the US. “Sun” (1996) was the only one song from the album that was released as a single. After the release of “Frestonia”, Frame finally decided to record under his own name in the future and was no longer a Warner artist.

There has been three Aztec Camera “Best of” compilations released: “The Best Of Aztec Camera” was released in 1999 by Warner ESP. that specialised in compilations; in 2005,Deep and Wide and Tall was released by the Warner Platinum series; and “Walk Out To Winter: The Best Of Aztec Camera” , a two-disc collection that was released by the Music Club Deluxe label in 2011.

Since the Stray Tour in 1990, Frame has merged a segment of the Bob Dylan song “It’s Alright Ma (I’m Only Bleeding)” into “Down The Dip”, from “High Land, Hard Rain”, and this version of the song was played by Frame at subsequent live shows, Around 2012, Frame included a segment of the Curtis Mayfield song “People Get Ready” in live solo versions of the song “How Men Are”, from the “Love” album. In October 2013, a book entitled The Lyrics: Roddy Frame containing the entirety of Frame’s lyrical work with Aztec Camera.

amendunes-300_large

After Amen Dunes released their third album, “Love”; a spiritual record of sorts, it was heralded as a far more popular, accessible work than the much lower-fi obfuscation of its two predecessors. Yet for all of its greater clarity and openness, “Love” did take some eighteen months, a similar number of musicians and five different studios before it finally came to fruition. “Cowboy Worship”, is a six track Extended Play recording, is, in essence, what was swept up off the cutting room floor from those extensive sessions.

Four of “Cowboy Worship’s” tracks – ‘I Can’t Help Myself’, ‘I Can’t Dig It’, ‘Green Eyes’ and ‘Love’ – are alternative takes of songs that first appeared on Love. The self-protection of ‘I Can’t Find Myself’ and Love’s beautiful, reverential title track – as if Nina Simone had somehow been joined in holy matrimony with Traffic’s jazz-inspired epic ‘The Low Spark of High Heeled Boys’ – differ by degrees, those nuances of detail that can only change with a shift in time and place.

‘Green Eyes’ does not stray too far from its version on Love either. It still reminds you of what Syd Barrett may have sounded like had he not fallen into that deep abyss of emotional meltdown. But ‘I Can’t Dig It’ – an angry outburst of wracked failure on Love and a song seemingly at odds with the devotional serenity of the rest of the albumis finally granted absolution on “Cowboy Worships”.

Another song to be reincarnated is ‘Lezzy Head’. First appearing on Amen Dunes’ second album Through Donkey Jaw, it is given the full band treatment on Cowboy Worships without losing any of its spectral core. This leaves ‘Song To The Siren’ as the only “new” track to appear on the EP. With Ben Greenberg’s elliptical guitar and Damon McMahon’s echoing voice, it drifts in the ether that lies somewhere between the This Mortal Coil version of the song and Tim Buckley’s original recording.

It would be very easy to dismiss Cowboy Worship as a mere collection of outtakes that add little or nothing to the purity that embraces the Love album. Yet if the six songs that comprise this EP are evaluated in their own right, they do somehow distil Love’s essence into something that feels, if anything, even more redemptive.

http://

The Cowboy Worship EP will be released via Sacred Bones on 19th January 2015

Arthur Lee and LoveArthur Lee was a famously mercurial bandleader. He turned down the Monterey Pop Festival, Woodstock and the Ed Sullivan Show, believing his music should have top billing or none at all. His hardline go-it-alone policy ensured Love’s cult status for all time. But he was as chaotic as he was dogmatic: he once sacked a Love guitarist (Jay Donnellan) for suggesting the band should aim to arrive at gigs more promptly – or at least on the day they were scheduled to take place .

This set is a collection of rare live recordings, from a variety of venues, that originated between 1970 and 2004 . Produced by renowned archivist David Skye, with the blessing and participation of Diane Lee, Arthur Lee’s widow. This is the first time a large collection of Arthur Lee & Love career spanning live recordings are being made available to the public. Eight of the 14 songs on the first disc have been released before – either on Studio/Live (1982) or The Blue Thumb Recordings (2007) – but six from Copenhagen and the Fillmore West, while known to bootleggers, are previously unissued. None would score high on subtlety. Sensitive listeners may quail at a turbo-charged “Bummer In The Summer” (at Waltham Forest Technical College), but that’s got to be better, surely, than Lee’s off-key caterwauling on “Good Times” in Denmark a fortnight later.

We next encounter him at the BBC in 1992, promoting a comeback album (Arthur Lee & Love – Five String Serenade) with an acoustic session for Radio 1’s Richard Skinner. Feted by a new generation, Lee would see his fortunes improve. Disc Two follows him on the promo trail to Amsterdam (for a shaky “Alone Again Or” and a half-remembered “Hey Joe”) and to 1993 and 1996 gigs in Massachusetts and Odense. Close-up microphones intrude on every faltering guitar chord (“Signed D.C.”), but they also bear witness to Lee’s rediscovery of his golden voice. That majestic, heavenly warble! This, we sense, is a vision of the old Arthur. When a young flautist is brought onstage for “She Comes In Colors” – the 48-year-old Lee was happy to revisit Da Capo by 1993, much to the audience’s delight – her songbird trills seem to sing of a musical renaissance. “7 & 7 Is”, tackled at thrilling speed in Odense, is further evidence of a prodigal return. Within months, however, Lee was in a California prison, gaoled for illegally discharging a firearm.

This vinyl package contains a 16 page booklet and cover artwork was designed by illustrator William Stout, internationally renowned as one of the first rock n roll bootleg cover artists. Stout also designed legitimate album covers for The Who, The Beach Boys, The Ramones, and The Smithereens and the original Rocky Rhino mascot.

DISC ONE, SIDE ONE: 1. August, 2. My Little Red Book, 3. Love Is More Than Words or Better Late Than Ever, 4. Doggone, 5. Good Times DISC ONE, SIDE TWO: 1. La Caloca, 2. That’s the Way It Goes, 3. She Comes In Colors, 4. Signed DC, 5. Orange Skies DISC TWO, SIDE ONE: 1. 7 & & Is, 2. Your Mind And We Belong Together, 3. Alone Again Or, 4. Maybe the People Would Be The Times Between Clark and Hilldale, 5. The Red Telephone DISC TWO, SIDE TWO: 1. Andmoreagain, 2. The Daily Planet, 3. Old Man, 4. The Good Humor Man, He Sees Everything Like This, 5. Everybody’s Gotta Live – Instant Karma

Image result for vinyl records pictures images

Huge release List this week and the big reissue of the week is  St. Jude by Manchester darlings, The Courteeners, plus grab a listen to the beautifully accomplished LP and CD version of the acoustic reworks of the very same album. It’s a testament to their flexibility that the instruments can be stripped back and still be every bit as anthemic . Daniel Avery, whilst not necessarily rocking the spring vibes, has kept his sound concise and melodic, with a few surprises thrown in there for good measure on his latest, ‘Song For Alpha’. Goat Girl have blown all of us away with their rocking but finely balanced blend of punk rock, garage and indie rock and/or roll. It’s a superb debut album, and one that will be played for a long time to come catch them on tour this week.

There’s the new Unknown Mortal Orchestra album too, it is everything you’d expect. Riffs, brilliantly athletic vox and grooves throughout, all bolstered by their singular instrumental style. Another stormer in this week is the new one from Hinds, pitting their snarling three-part vocal onslaught against the clashing, fuzzed-out guitars and snappy, insistent drums, much like in their previous iteration, but injected with the experience of dealing with and touring their hit debut album.

Goatgirl rgb 4000px logo

Goat Girl  –  Goat Girl

Across 19 tracks in just 40 minutes, Goat Girl’s self-titled debut creates a half-fantasy world out of a very dirty, ugly city reality.

Goat Girl belong to a burgeoning, close-knit south London scene, born in venues like The Windmill in Brixton and including bands like Shame, Bat-Bike, Madonnatron, Horsey, Sorry, and many more. “We help each other – I put you on, you put me on – because we genuinely like each other’s music. We’d played gigs all over before but never really settled in a comfortable environment, which is what The Windmill is. It’s an important place for us, it was the first space that our music made sense to exist within. It’s a safe space where music is genuinely listened to and appreciated, and where laws and licensing haven’t reached over to ruin the venue.”

This live freedom enabled the band to think without constraints when it came to recording. Goat Girl enlisted producer Dan Carey (The Kills, Bat For Lashes, Franz Ferdinand) to help them capture their vision, set a goal to write and record a piece of music in a day in effort to capture that raw first-creation moment, and chose to record to tape.

It’s a very English album — sharp-eyed observations like The Kinks, louche rage like The Slits — but it’s also full of swampy, swaggering guitars and singer Lottie’s filthy drawl. Each member brings a diverse range of influences and contributions, ranging from krautrock to bossa nova, jazz to blues. They resist being boxed in to an indie, guitar-based genre, and focused intensely on the layers and textures of each song as well as the different contexts they could sit within.

The result, Goat Girl, succeeds in conjuring a complete world all unto itself, and is arranged in segments — divided by improvised interludes — that offer glimpses of an even stranger parallel universe. With each song acting as its own story of sorts that features different settings and characters, listeners are transported therewithin. It’s dark yet cheeky, varied yet cohesive, and striking in its vision; this world is populated by creeps and liars, lovers, dreamers, and wonderful lunatics. Lead single “Cracker Drool” is at once jaunty and sinister, a foreboding tale full of swirling guitar, echoing vocals and synthetic drum hits that stumbles and gurgles straight into “Slowly Reclines,” an equally menacing and considerably heavier track. “Creep” is, predictably and grimly enough, inspired by actual events: Creep on the train / I really want to smash your head in.

On “Country Sleaze,” she sings about sex in a way that embraces visceral reality and defeats shame. “If you say you’re sexually free, as a woman, society still deems that a bad thing. But really it’s a beautiful thing to be confident in yourself – to know that you can have sex and it doesn’t have to mean anything and that doesn’t make you a bad person.” Ellie smiles: “That song is quite disgusting, in a good way. It’s not trying to be nice, it’s not a love song.” Goat Girl is altogether an album crafted with intention, and invites imaginations to run wild; it draws listeners in to its half-fantasy world from the slow fade, eerie instrumental intro “Salty Sounds,” to the gorgeous, unsettling closer “Tomorrow” — a rendition of the song featured in Bugsy Malone — which ends with dawn-chorus birds and the feeling of new possibilities after a long and messy night.

Shacks haze cd lp

The Shacks  –   Haze

One of the best debut albums of 2018. Fronted by 19-year-old singer / bassist Shannon Wise and 21-year-old guitarist / producer Max Shrager, The Shacks are already well on their way to becoming one of the year’s big breakouts, and their remarkable debut album, Haze, solidifies their status as a band with ability to deliver on the well-deserved buzz.

Produced together by Shrager and Big Crown co-founder Leon Michels (who’s played with Bradley, Sharon Jones, and Fields in addition to working with The Arcs, Lana Del Rey, and countless others), the album was recorded in bits and pieces between Shrager’s basement and Michels’ Diamond Mine studio, which the Observer dubbed “the Shangri La of Soul.” Haze opens with the title track, which is, appropriately enough, the first song Shrager and Wise ever wrote together. It’s a spare, smoky tune that shimmers and sparkles as it shifts in and out of focus, and it’s an ideal gateway into the immersive world of The Shacks.

The 13 songs featured on Haze plays out like the soundtrack to some long lost 16mm film, beckoning you into their grainy, saturated world of analog beauty. In the short time that they’ve been together, The Shacks have already made an impressive mark. Their hypnotic cover of Ray Davies’ This Strange Effect soundtracked a global iPhone commercial, one which actually stars Wise herself, and their self-titled EP earned the band dates with St. Paul and The Broken Bones, Chicano Batman, and their Big Crown Records label mates Lee Fields and The Expressions.

3CD – Rough Trade Exclusive Version. CD one is the album. On the second CD is The Shacks Self-Titled EP, Selections Previously Issued Only On 7″ Vinyl And Complete Instrumentals From Haze. And on CD three is the Rough Trade exclusive bonus 9 track CD – The Shacks EP Instrumentals.

LP+ – Rough Trade Exclusive. 1000 Copies only on Coke Clear Vinyl with Download (featuring just the main album) and Rough Trade Bonus CD.

LP – Black Vinyl with Download (featuring just the main album) and Rough Trade Bonus CD.

Island feels like air

Island  –  Feels Like Air

Following the release of their hypnotic new single Try, the London-based Island release their debut album Feels Like Air on Beatnik Creative and French Kiss Records. Mellow, not melancholy, their deep rhythms roll with light and shade that’s uplifting and makes you want to move, but no sooner will have you stood still and beguiled in their scenic musicality. It’s totally captivating, hypnotic and emotional. It mixes the intensity and stadium filling potential of U2 with delicate soundscapes and an intense, throaty vocalist.

Son volt the seach %28deluxe reissue%29 ts2018lp %281%29

Son Volt  –   Search – Deluxe

Led by the songwriting and vocals of Jay Farrar, Son Volt was one of the most instrumental and influential bands in launching the alt-country movement of the 1990’s. Originally released in 2007, and out of print for the past several years, this deluxe reissue of The Search features bonus content. The Search takes Jay Farrar’s signature juxtapositions of the arcane and the modern to provocative extremes, contrasting the blue highways of a disappearing cultural landscape with a perilous world in which the center no longer holds – a world of information overload, of clueless leaders carrying out sinister agendas, of “Hurricanes in December – earthquakes in the heartland / Bad air index on a flashing warning sign,” as the artist sings ruefully on The Picture. The Search’s 14 songs locate and vividly portray the prevailing modes of the human condition in the first decade of the 21st century: cynicism (Beacon Soul), reflection (The Search), restlessness (L Train, Highways and Cigarettes), yearning (Adrenaline and Heresy), paranoia (Automatic Society), despair (Methamphetamine) and conditional hopefulness (Underground Dream, Phosphate Skin). By turns melancholy and exhilarating, the album further cements Farrar’s status as one of rock’s most eloquent chroniclers of contemporary existence.

A2722198111 16

Haley Heynderickx’s   –  I Need to Start a Garden

Haley Heynderickx’s highly anticipated debut album. Haley has a wonderful voice and the lyrics are poetic and heartfelt. Musically it’s sometimes reminiscent of early Velvet Underground in that many of the songs quickly build into frenetic and emotive climaxes. The difference here is that these crescendos dissolve into tender moments of unabashed vulnerability, rather than fragmenting into splinters of drug-fueled confusion. It’s beautiful and heartfelt. For fans of Velvet Underground, Angel Olsen and Cat Power.

Eels thedeconstruction cover 3000x3000

Eels  –  The Deconstruction

After a four year wait, Eels release their highly-anticipated new album The Deconstruction via E Works. “Here are 15 new Eels tracks that may or may not inspire, rock, or not rock you. The world is going nuts. But if you look for it, there is still great beauty to be found. Sometimes you don’t even have to look for it. Other times you have to try to make it yourself. And then there are times you have to tear something apart to find something beautiful inside.” Eels singer-songwriter E (Mark Oliver Everett).

2×10″ – Double Translucent 33rpm Yellow Vinyl.

2LP – Double 45rpm Translucent Pink Vinyl Deluxe Boxset. Printed box on uncoated paper. CD Digitpack. 28 page perfect bound lyric booklet with exclusive photos. 12” artwork print. A4 digital handwritten Rusty Pipes lyrics signed by E and E Tip and Strip pen.

Kcxp5002 cover

King Crimson  –  Live in Vienna, December 1st 2016

Three CDs featuring the complete concert from Vienna on Dec. 1st 2016 mixed from the original multi-track tapes. CDs Presented in concert sequence with discs 1 and 2 featuring the complete first and second sets. CD 3 features Vienna encores plus the long awaited live recorded debut of Fracture by the 2016 line-up as performed in Copenhagen. CD3 also features a series of soundscapes edited into newly sequenced pieces. Drawn from the introduction music (composed / improvised afresh for each night) and featuring Robert Fripp, Mel Collins and Tony Levin, this essential component of current live King Crimson shows also receives its most complete presentation to date. Presented in a 4 fold-out digifile package with 16 pages booklet featuring tour photos and notes by David Singleton and housed in a slipcase

Sbr197 zolajesus 300 1024x1024

Zola Jesus  –  Okovi – Additions

Limited Gray and Black Starburst Vinyl. Zola Jesus’ Okovi: Additions LP offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists. Johnny Jewel turns Ash to Bone into a late-night cinematic torch song, Tri Angle Records composer Katie Gately’s Siphon is a dark choir of warping angels, black metal band Wolves in the Throne Room’s take on Exhumed makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes Soak feel like an aching classical standard – until it starts warping in on itself and goes somewhere else entirely. The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

100000x100000 999

Fenne Lily  –  On Hold 

Over the last couple of years Fenne Lily has made a real name for herself as a songwriter, surpassing over 30 million streams for her five self-released singles and supporting the likes of Marlon Williams, Charlie Cunningham and many more across Europe. Despite the first song she wrote at the age of 15 proving an almost instant hit upon release, she’s not rushed into releasing her debut collection, instead taking time to perfect her songs and develop her sound while living in Bristol and continuing to perform around the continent. Deciding she wanted to get out of the city to record the album, Fenne travelled to see some musical friends on The Isle of Wight where she formed a band and recorded a number of tracks in a basement studio with upcoming producer James Thorpe. Returning to Bristol to finish the tracks with long-time collaborator Dave Dixon (Tamu Massif) and Ali Chant (Youth Lagoon, Perfume Genius, PJ Harvey) her debut album has taken shape and is now ready for release.

Lbj 263 large preview.jpeg

Hop Along –  Bark Your Head Off, Dog

Written over the course of 2016 and 2017 and recorded in the summer of the latter year by Frances Quinlan (songwriter/vocalist/rhythm guitar), Tyler Long (bass), Joe Reinhart (guitar), and Mark Quinlan (drums), the album addresses disappointment, particularly in man’s misuse of power, and relates accounts from the periphery — one’s attempts to retreat from the lengthening shadows of tyrants, both historical and everyday. It considers what it’s like to cast off longheld and misguided perceptions, yet without the assurance of knowing what new ones will replace them. Much like on Hop Along’s first and second records, Get Disowned and Painted Shut, Quinlan seeks in real time to work through these issues.

Throughout the album, one gets the sense that Quinlan is wandering in the thicket of a forest—a state of being that will feel familiar to long time listeners—and on this outing, she hasn’t left a trail of breadcrumbs behind her. The album’s artwork, which Quinlan painted herself, invites the listener into that forest, as well. “There is a terror in getting lost,” she says, “the woods are at the same time beautiful and horrifying.” This curious wandering gives the album, both lyrically and musically, a heightened dimensionality.

Bark Your Head Off, Dog is, without question, Hop Along’s most dynamic and textured record yet. Self-produced and recorded at The Headroom in Philadelphia by Reinhart and Kyle Pulley, Bark Your Head Off, Dog features the familiar sounds that have always made the band allergic to genre: grunge, folk, punk, and power pop all appear, with inspiration from ELO to Elvis Costello to ‘70s girl group vocal arrangements. This time around, they’ve added strings, more intricate rhythms, lush harmonies (featuring Thin Lips’ Chrissy Tashjian), along with a momentary visit with a vocoder. In more than one place, Mark Quinlan drums like he’s at a disco with Built to Spill.

Most significantly, Bark Your Head Off, Dog shows the band at its strongest and most cohesive. Hop Along (which originally began as Quinlan’s solo project under the moniker Hop Along, Queen Ansleis) has never sounded so deliberate, so balanced. “So strange to be shaped by such strange men” is a line that repeats on more than one song on the album. “I’ve been thinking about that a lot. That I just deferred to men throughout my life,” Quinlan says. “But by thinking you’re powerless, you’re really robbing yourself. I’m at a point in my life where I’m saying instead, ‘Well, what can I do?’”

73dc16c7 fee7 473c 82e4 8cc54270018a

Wye Oak –  The Louder I Call, The Faster It Runs

The Louder I Call, The Faster It Runs – the triumphant fifth album by Wye Oak – begins with an explosion. For a few seconds, piano, drums, and a playful keyboard loop gather momentum; then, all at once, they burst, enormous bass flooding the elastic beat. “Suffering, I remember suffering,” sings Jenn Wasner, her voice stretched coolly across the tizzy. “Feeling heat and then the lack of it, but not so much what the difference is.” The moment declares the second coming of Wye Oak, a band that spent more than a decade preparing to write this record – their most gripping and powerful set of songs to date, built with melodies, movement, and emotions that transcend even the best of their catalogue. Louder is the third record that Wasner and Andy Stack, who launched Wye Oak in Baltimore, have made while living in separate cities – she in Durham, North Carolina, he in Marfa, Texas. They flew to one another for a week or so at a time, hunkering in home studios to sort through and combine their separate song sketches. These shorter stints together produced less second-guessing and hesitation in their process, yielding an unabashed and unapologetic Wye Oak. The result is the biggest, broadest, boldest music they’ve ever made. Louder pursues a litany of modern malaises, each track diligently addressing a new conflict and pinning it against walls of sound, with the song’s subject and shape inextricably and ingeniously linked.

A2723464100 16

Mien  –  Mien

Debut album by MIEN, the exciting new four piece band comprised of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, Elephant Stone’s Rishi Dhir and The Earlies’ John-Mark Lapham. The seeds were sown for this collaboration as long ago as 2004, when Rishi Dhir (Elephant Stone) found himself in a chance encounter with Black Angels frontman Alex Maas whilst performing sitar with his former band on a bill at SXSW in Austin with The Brian Jonestown Massacre. Not long afterwards, he would also stumble across electronics guru and producer John Mark Lapham from Anglo-American band The Earlies, via a shared love for one song – the ‘classic sitar banger’ by The Association, ‘Wantin’ Ain’t Gettin’.

Some years later, another piece of the puzzle came into place, when Dhir was now playing bass with The Black Angels in 2012, and found the band sharing several bills with The Horrors. Thus he made the acquaintance of Tom Furse, and yet another pact was made to work together. Several traversals of the globe by both plane and audio-file later, the result is an album that sees this quartet transcending their origins whilst maintaining a cohesive unity borne of a desire for outward exploration.

John Mark’s vision, as he puts it, was “imagine the Black Angels as Nico in her 80’s industrial phase mixed with George Harrison and Conny Plank.” – true to form, it’s an album that finds equal room for radiant groove-based propulsion and ambient dreamscapes alike – as comfortable with the murky hallucinogenic voyage of ‘You Dreamt’ as the powerful widescreen sweep of ‘(I’m Tired Of) Western Shouting’, yet with songwriting acumen as potent as the production values are expansive and exploratory. This may have been a record put together at a distance – yet the chemistry between these four figures is manifest amidst a kaleidoscopic series of atmospheres and excursions whereby the fertile songwriting of the golden age of ‘60s psychedelia is transmitted into a transcendental realm above and beyond the second decade of the 21st century.

Screen shot 2018 02 01 at 10.12.35

Unknown Mortal Orchestra  –  Sex and Food

Where are we headed? What are we consuming, how is it affecting us, and why does everything feel so bad and weird sometimes? These are some of the questions posed on Ruban Nielson’s fourth album as Unknown Mortal Orchestra, Sex and Food. Recorded in a variety of locales from Seoul and Hanoi to Reykjavik, Mexico City, and Auckland, Sex and Food is a practical musical travelogue, with local musicians from the countries that Neilson and his band visited pitching in throughout.

Sex and Food is the most eclectic and expansive Unknown Mortal Orchestra release yet, from the light-footed R&B of Hunnybee to the stomping flange of Major League Chemicals. If You’re Going to Break Yourself and Not in Love We’re Just High chronicle the effects of drugs and addiction on personal relationships, while the lyrics Ministry of Alienation drip with modern-day paranoia like the silvery guitar tones that jewel the song’s structure. The modern world, and all the thorny complications that come with living in it, loomed large on Ruban’s mind while making Sex and Food. A statement of selflessness, to be sure-but make no mistake: Sex and Food reaffirms the vitality of Ruban’s voice in today’s musical landscape.

2zhcrpla

The Courteeners  –  St Jude Re:Wired

Courteeners mark the 10th anniversary of their debut album with a new, fully re-recorded version of the seminal record. St Jude Re:Wired has been produced by Liam and Joe Cross. Originally released in April 2008, St Jude charted at no 4 in its first week and went on to win the inaugural Guardian First British Album award, beating albums by Duffy, Adele and Glasvegas. The record saw Courteeners present to the world outside a first set of songs that perfectly soundtracked modern life in the UK.

B0797m1qdk

Suede  –  Suede – 25th Anniversary Edition

Brett Anderson believes that Suede’s debut album, winner of the Mercury Music Prize in 1993, probably has more cultural resonance than any other of their albums, as a pre-cursor to Britpop and a supplanter of grunge. It is also home to four ground-breaking singles. This deluxe edition features the album; the b-sides; a CD of demos, monitor mixes (several previously unreleased) and the band’s first BBC radio session, arranged chronologically; plus a concert from February 1993. The DVD features six contemporary TV performances (including their first ever TV appearance), and an hour-long film of Brett and Bernard Butler discussing the writing and recording of the album, all issued for the first time. Also included is a new note by Brett about his memories of the recording of the album, along with the lyrics, hand-written lyric drafts, tape boxes, and photos from the band’s collections.

Love forever changes cover

Love  –  Forever Changes (50th Anniversary Edition)

Love’s Forever Changes is the psychedelic folk-rock pioneers’ finest achievement. Mostly overlooked when it was released in 1967, today the album is considered an indispensable masterpiece. In 2008, it was inducted into the Grammy Hall of Fame, and – in 2012 – the Library of Congress added it to the National Recording Registry. Love celebrate the acclaimed album’s golden anniversary with an extensive 4CD / DVD / LP collection housed in a beautifully illustrated 12 x 12 hardbound book that features a newly written essay and track-by-track notes by music historian Ted Olsen. Recorded during the Summer of Love in Hollywood, CA, Forever Changes is the group’s most fully realized studio effort, featuring Arthur Lee (vocals, guitar), Johnny Echols (lead guitar), Bryan MacLean (rhythm guitar, vocals), Ken Forssi (bass) and Michael Stuart (drums, percussion). The original album introduced classics like Andmoreagain, Red Telephone, A House Is Not A Motel and Alone Again Or. The set features a few firsts for the album, including the CD-debut of a remastered version made by its original co-producer and engineer Bruce Botnick, as well as the first-ever release of the mono version on CD. Also included are alternate mixes of the album, as well as a selection of rare and unreleased singles and studio outtakes. Botnick’s stereo remaster of the original album makes its vinyl debut on the LP included with this set. It was cut from high resolution digital audio by celebrated audio engineer Bernie Grundman. The DVD that accompanies the anniversary collection includes a 24/96 stereo mix of the album version of the original album remastered by Botnick. Also featured is Your Mind And We Belong Together, a rare promotional video directed by Elektra producer Mark Abramson that was originally released in 1968. Forever Changes: 50th Anniversary Edition boasts more than a dozen rarities, including single versions of Alone Again Or and A House Is Not A Motel that are available now for the first time since 1967. Two other recordings on the set have never been released: the backing track for Live And Let Live and an outtake backing track for

Spacemen 3 recurring orbit055cd hi res front cover artwork

Spacemen 3 –  Recurring

The fourth and final Spacemen 3 studio album Recurring; the follow up to their seminal Playing with Fire album. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts; the first seven tracks written and performed by Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.), and the last seven tracks written and performed by Jason Pierce (Spiritualized) punctuated by the cover version of Mudhoney’s When Tomorrow Hits the only track on which both Kember and Pierce appear together.

CD – Presented in a shrink-wrapped 6 panel fold out card wallet featuring the original vibrant cover artwork used on the original US release of this album.

R 11190059 1511547827 4467.jpeg

Richmond Fontaine  –  Don’t Skip Out On Me

Richmond Fontaine and Deline’s singer / songwriter, Willy Vlautin releases his fifth novel, Don’t Skip Out On Me on Feb 1 2018 (Faber and Faber). Like his previous novel Northline it will have an accompanying soundtrack included with the book on CD. While the CD will be included with the book, Décor release the album on vinyl. Don’t Skip Out on Me is magnificent. Willy Vlautin is now one of America’s great writers.’ The Don’t Skip Out on Me soundtrack was recorded early 2017 just after the band called it quits on their final European tour.

LP – 180 Gram vinyl – limited edition of 1000 copies.

Katie von schleicher glad to be here fth317s

Katie Von Schleicher  –  Glad To Be Here

Glad To Be Here / Party Dawn is the first material the Brooklyn-based songwriter has shared since her critically acclaimed debut album, Shitty Hits, last year. Katie said the following about the tracks: “On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smashed by silence, and it was lonely, so I made these songs. Glad to Be Here is where I find myself right now. Party Dawn is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it.”

27972680 10151001728859990 6984818013370149813 n

The Lucid Dream  –  SX1000

Very limited 12’’ single in yellow disco bag, single sided. The Lucid Dream return in April with the release of new single SX1000, the first taster from the recently completed 4th album. The track is a slice of pure acid house, and will again see them acknowledged for venturing into pastures new, setting themselves apart from ‘genres’, ‘scenes’ or what any other band are currently doing. SX1000, as with the whole album, was penned over the summer by Mark Emmerson (vocals / guitar / synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing.
Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. 5 months on from those writing sessions and The Lucid Dream have competed their 4th album in 5 years, this track a perfect indicator as to what awaits. A record made for the dancefloor.

AMEN DUNES – ” Love “

Posted: February 26, 2018 in ALBUMS, MUSIC
Tags: , ,

While the previous Amen Dunes records had all been largely improvisational first-take affairs, recorded in a matter of weeks at most, the forthcoming full-length, “Love”, is the product of close to a year and a half of continuous work.

Damon McMahon (aka Amen Dunes) chose to hold the main recording sessions in Montreal with Dave Bryant and Efrim Menuck of Godspeed You! Black Emperor. In addition to recording the sessions that McMahon produced, members of Godspeed also played on several of the songs, along with Colin Stetson on saxophone and Elias Bender-Ronnenfelt of Iceage, who duets with McMahon on two tracks. The result is definitively the most substantial Amen Dunes record to date. These are elemental songs about time, love and memory, as much about the listener as they are about the writer: pure, open, and beautiful.

http://

originally released May 13th, 2014

Love

Love have unearthed four previously unheard Arthur Lee songs for a remastered deluxe reissue of their final LP, 1974’s ‘Reel to Real’ . Pioneering psychedelic band Love are reissuing their final LP, 1974’s Reel to Real, in remastered deluxe format with 12 bonus tracks (including four newly discovered Arthur Lee originals). High Moon Records – the same label responsible for last year’s limited-edition reissue of the band’s lost-then-found 1973 LP, Black Beauty – will release the first-ever CD/digital versions of Reel to Real on November 27th; vinyl editions, available for the first time in over four decades, will be available February 19th, 2016.
The CD version will be packaged in a deluxe custom Digipak with the full-color, 32-page booklet. The LP edition, pressed on “high-quality RTI vinyl,” features a 28-page booklet and download card for all tracks. The digital version comes with a 26-page PDF booklet.


The deluxe Reel to Real will include a booklet featuring an essay from Rolling Stone contributor David Fricke and unpublished photos. The set will also feature 12 bonus tracks, 11 of which are previously unreleased; these include alternate takes and mixes, live-in-the-studio rehearsal versions and four newly discovered Lee songs (“Do It Yourself,” “I Gotta Remember,” “Somebody” and “You Gotta Feel It”). A statement describes the tracks as “three fully-produced rockers and a spare, Imagine-era John Lennon-by-way-of Sly Stone studio sketch.”
The CD version will be packaged in a deluxe custom Digipak with the full-color, 32-page booklet. The LP edition, pressed on “high-quality RTI vinyl,” features a 28-page booklet and download card for all tracks. The digital version comes with a 26-page PDF booklet.

High Moon Records, the label behind the recent releases of Love’s Black Beauty and Gene Clark’s Two Sides to Every Story, has announced its next title. On November 27th, High Moon will reissue Love’s 1974 album “Reel to Real” as a newly-expanded Deluxe Edition in the following formats:

Expanded CD packaged in a deluxe custom digipak with a full-color, 32-page booklet;
LP pressed on high-quality RTI vinyl with full-color, 28-page LP-sized booklet;
LP includes download card for high-quality album plus bonus tracks; and
Digital Download includes full-color, 26-page PDF booklet.
Reel to Real was the first album from Arthur Lee’s groundbreaking rock band since 1970’s Blue Thumb album False Start. Originally released on Robert Stigwood’s RSO label and produced by Skip Taylor, it featured Lee alongside his Black Beauty band (drummer Joe Blocker, guitarist Melvan Whittington, and bassist Robert Rozelle) and presented a more soulful side of the frontman. He wrote or co-wrote every track on the album other than a cover of William DeVaughn’s “Be Thankful for What You Got.” Long the rarest item in the Love catalogue, Reel to Real has never previously been available on CD. Sweetening the pot, High Moon’s upcoming deluxe edition will feature 12 bonus tracks, 11 of which are previously unreleased.

These bonus cuts encompass alternate takes and mixes, live-in-studio rehearsals, and four newly-discovered Arthur Lee originals: “Do It Yourself,” “I Gotta Remember,” “Somebody” and “You Gotta Feel It.” Other bonus track highlights include an extended, alternate mix of “Busted Feet,” the single mix of “You Said You Would,” and an impromptu studio rehearsal of Forever Changes outtake “Wonder People (I Do Wonder).”

The album has been remastered from the original tapes, and the CD features a 32-page booklet with a new essay by David Fricke of Rolling Stone as well as a number of candid, previously unpublished photos. The CD edition is due on November 27, while the LP is scheduled for release on February 19, 2016. Both editions are currently available for pre-order at the links below!

Love, Reel to Real (RSO SO 4804, 1974 – reissued High Moon Records, 2015)

CD: Amazon U.S. / Amazon U.K. TBD
LP: Amazon U.S. / Amazon U.K. TBD

Time Is Like A River
Stop The Music
Who Are You?
Good Old Fashion Dream
Which Witch Is Which
With A Little Energy
Singing Cowboy
Be Thankful For What You Got
You Said You Would
Busted Feet
Everybody’s Gotta Live
Do It Yourself [Outtake]
I Gotta Remember [Outtake]
Somebody [Outtake]
You Gotta Feel It [Outtake]
With A Little Energy [Alternate Mix]
Busted Feet [Alternate Mix]
You Said You Would [Single Mix] (RSO single SO-506, 1974)
Stop The Music [Alternate Take]
Graveyard Hop [Studio Rehearsal]
Singing Cowboy [Alternate Take]
Everybody’s Gotta Live [Electric Version]
Wonder People (I Do Wonder) [Studio Rehearsal]
Tracks 12-23 are previously unreleased except Track 18 as indicated above

The late, great, self-proclaimed “first black hippie” gets a deluxe reissue. “Black Beauty”, the never-before-released masterpiece by Arthur Lee’s legendary band Love is making its first-ever official release in any format, anywhere! Chosen as one of Time Magazine’s most anticipated releases, critics are hailing the album as an instant classic. ‘Black Beauty’ is that rarest of rock artifacts: an unreleased, full-length studio album, from an undisputed musical genius. It represents the missing link in a catalog that also includes ‘Forever Changes’, the seminal 1967 Love album the New York Times called “one of the most affecting and beguiling albums of all time. With ‘Black Beauty’, Arthur Lee manages to combine searing ’70’s rock with gorgeous melodies and stellar songwriting – topped off by his most distinctive, snarling, soulful vocals ever. With unparalleled sound, and a wonderfully eclectic collection of songs, the album offers Love fans a rare glimpse into a previously undocumented phase of Arthur Lee’s career, while shining a light for new fans to discover the unique genius that is the music of Arthur Lee and Love. David Fricke wrote about the album in Rolling Stone: “Black Beauty” might have been received as a strong comeback for Lee, a turn to steamy R&B, with heavy-guitar punch – if it had come out.” High Moon Records is honored to finally grant Arthur Lee’s wish for ‘Black Beauty’ to be available to music fans worldwide.

Before his untimely death in 2006, Arthur Lee claimed that without him, there’d be no Jimi Hendrix or Sly Stone. Sure enough, the extended Black Beauty rocks loud and funks hard. By 1973, Love was a vacuum-tight all-black band. Vestiges of their early psychedelic sophistication surface in “Lonely Pigs.”

The legendary Love perform their most celebrated album Forever Changes at the Royal Albert Hall in 2003.
Originally released in 1967, Forever Changes  album a fusion of acid-folk and psychedelia has mesmerised generations of musicians and fans.
Packaged in a deluxe rigid digi-book, this CD features the entire album plus 8 additional Love classics, while the DVD features the entire concert, plus an exclusive Arthur Lee interview and tour documentary.

‘It’s almost impossible not to be blown away. Even the ushers get the shivers.
‘From the mariachi fanfares of Bryan Mclean’s Alone Again Or through to a devastating version You Set The Scene, perfectly reproduced.

Tracklist

1. Alone Again Or
2. A House Is Not A Motel
3. Andmoreagain
4. The Daily Planet
5. Old Man
6. The Red Telephone
7. Maybe The People Would Be The Times Or Between Clark And Hilldale
8. Live And Let Live
9. The Good Humor Man He Sees Everything Like This
10. Bummer In The Summer
11. You Set The Scene
12. Orange Skies
13. She Comes In Colors
14. Listen To My Song
15. August
16. Seven and Seven Is
17. Your Mind And We Belong Together
18. Signed DC
19. My Little Red Book

Disc Two DVD:

1. Alone Again Or
2. A House Is Not A Motel
3. Andmoreagain
4. The Daily Planet
5. Old Man
6. The Red Telephone
7. Maybe The People Would Be The Times Or Between Clark And Hilldale
8. Live And Let Live
9. The Good Humor Man He Sees Everything Like This
10. Bummer In The Summer
11. You Set The Scene

EXTRAS :-
Bonus Tracks :-
Seven & Seven Is
Orange Skies
Listen To My Song
She Comes In Colours
Always See Your Face

– Arthur Lee Interview
– Tour Documentary

 

 

 

More classic psychedelic lettering by our good friend here in “Posterville”, and acclaimed father of the style and legendary BIG FIVE artist, Wes Wilson. WE have poster #61 in the old Fillmore poster series. This poster dates back 46 years ago. On this date in 1967, Buffalo Springfield, The Steve Miller Band and Freedom Highway played for a revved up audience at the Fillmore Auditorium here in the city by the bay. There are several variation of this poster due to the fact that the colors of inks were changed during the press run. I wish I could put up a few of the different colored posters as they are all really beautiful. This one is my favorite though.
The image here is of a fantasy face of a figure with a long head dress which forms the lettering. In one way,it is very unfortunate that Wes was about to have a dispute with Bill Graham which led to him no longer producing posters for the Fillmore concerts because most of the designs he created at this time were some of the most brilliant works of graphic artistry created in the 20th century. I truly believe that …..wouldn’t you agree? Alas, he went onto create a vast amount of posters long after that, and continues to this day producing some incredible pieces. Look up his website to see just what he’s been up too.

In spite of artistic differences, Family Dog’s “Top Dog” Chet Helms and Master Big FIve rock artist, Wes Wilson collaborated on the beginnings of what led to a revolutionary explosion of creativity in Psychedelic Poster Art. Both Helms and Wilson are credited with the artwork on this poster. The image on this piece certainly screams at the viewer… “Strange things are going to happen at this concert advertised on this Poster”! This is probably exactly was Chet wanted, and is one of the main elements of psychedelic art, …an appeal to weirdness.


It was 49 years ago (holy crap) on this day back in 1966, that Love, The Sons of Adam and The Charlatans played at the Fillmore Auditorium for the last Family Dog event to take place there. After that it was mostly ALL Avalon Ballroom with a couple of exceptions. Lights that night provided by Tony Martin’s Light Sights. This “Poster From The Past” is Family Dog poster #4 in the original series. It was printed three times.

Wes Wilson (Robert Wesley Wilson). Grateful Dea, Junior Wells, Chicago Blues Band, and The Doors. 1966. Offset Lithograph, 22 3/4 x 14" (57.8 x 35.5 cm). Gift of Joseph H. Heil; Wes Wilson (Robert Wesley Wilson). Jefferson Airplane / Grateful Dead. 1966. Lithograph, 20 x 14 1/4" (50.8 x 36.2 cm). Gift of the designer

Consider the design work of  Wes Wilson, the unofficial father of the 1960s concert poster: the Jefferson Airplane / Grateful Dead concert at the Fillmore, or The Grateful Dead, Junior Wells, Chicago Blues Band, and The Doors concert. Wilson, who dropped out of school for forestry, found himself in the right place at the right time—San Francisco, just before the “Summer of Love” working for a printer. His only formal design training was a few night school art classes and trips to the library for inspiration from the likes of Alphonse Mucha, Gustav Klimt, and Alfred Roller—excellent choices by anyone’s standard. Making the scene brought him in contact with concert promoters Chet Helms and the Family Dog and Bill Graham, and one thing led to another.