Posts Tagged ‘Polydor Records’

Sea Girls have toasted a new record deal with a thumping new single. The four-piece have stormed across the country, releasing a string of indie rock bangers to electrify fans.

Polydor Records have swooped to sign the band, with Sea Girls also announcing their biggest ever UK tour.

Hitting London’s Kentish Town Forum on October 10th, the quartet have also shared brand new single ‘Damage Done’. It’s a song about “about young love and moving on” it’s an indie rock track that looks continually to the future.

Vocalist and songwriter Henry Camamile explains the track: “‘Damage Done’ is about young love and moving on. The night before the song was written I recognised that a part of my past was amazing, a bit flawed and broken all at the same time. I wanted to try to be at peace with it, and to realise that better things are to come rather than holding onto the past. I sort of told myself I’m singing to no one if I’m not thinking of the future.”

October 2nd Nottingham Rescue Rooms

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The Rolling Stones release a special, limited edition of “She’ s A Rainbow” (Live) at U Arena, Paris 25/10/17.

She’s a Rainbow is a song by the Rolling Stones and was featured on their 1967 album Their Satanic Majesties Request. It has been called “the prettiest and most uncharacteristic song that Mick Jagger and Keith Richards wrote for the Stones, although somewhat ambiguous in it’s intention.

The original song includes rich lyricism, vibrant piano by Nicky Hopkins and Brian Jones‘ use of the Mellotron. John Paul Jones, later of Led Zeppelin, arranged the strings of this song during his session days.

Backing vocals were provided by the entire band except for Charlie Watts. Notably, all of the vocals sound like soft background singing with the music overshadowing them to the point of the lyrics being difficult to hear. The lyrics in the chorus share the phrase “she comes in colours” with the song of that title by Love, released in December 1966.

The song begins with the piano playing an ascending scale, which returns throughout the song as a recurring motif. This motif is developed by the celesta and strings in the middle 8. Humorous and ambiguous devices are used, such as when the strings play out-of-tune and off-key towards the end of the song,

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Similar to Pink Floyd, The Bee Gees really didn’t become megastars until the next decade, though they did have a good deal of success as a psychedelic pop band in the late sixties. It’s not a stretch to say that Bee Gees 1st is the best album effort that the Bee Gees released during their entire career Bee Gees’ 1st was the group’s debut album for the UK Polydor label a psychedelic pop album. The album cover was designed by Klaus Voormann who had previously done the cover for Revolver .

The Gibb Brothers’ perfect harmonies match perfectly with the various psychedelic styles they use without any hiccups; in one album, the Bee Gees play off the Beatles, the Moody Blues, and the British pastoral style of the Kinks to keep your attention, but the Bee Gees were mainly focused on creating short, radio ready pop songs that were easily digestible and without any extended jamming or crazy instrumentation (no song on this album is over 3:45). For an album that’s based so strictly in pop, the Bee Gees have a surprising range of songs – from the Revolver-esque “In My Own Time” or the hazy “Please Read Me,” to the straight pop ballad “To Love Somebody,” to the gloomy “New York Mining Disaster 1941” or “Every Christian Lion Hearted Man Will Show You,” the Bee Gees do a great job in altering their sound over the course of just fourteen tracks.

Drummer Colin Petersen and lead guitarist Vince Melouney, both Australians, were hired to make the Bee Gees into a full band. Both played on the first English album and became official members of the group between its completion and release. Petersen had played with the Bee Gees at St. Clair studio in 1966 on the Spicks and Specks sessions and was officially added first,

Released 14th July 1967 (UK).

Reprise Records (sister label to Atco under Warner Music Group) reissued the album with both stereo and mono mixes on one disc and a bonus disc of unreleased songs and alternate takes. (This 2-CD set on Reprise corrected the fluttering on the lead-off stereo track “Turn of the Century”. The mono version never had this problem.)

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Bee Gees
  • Barry Gibb – lead, harmony and backing vocals, rhythm guitar
  • Robin Gibb – lead, harmony and backing vocals, organ
  • Maurice Gibb – harmony and backing vocals, bass guitar, piano, organ, harpsichord, mellotron, guitar
  • Vince Melouney – lead guitar
  • Colin Petersen – drums

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Rory Gallagher is the first solo album by Irish blues rock musician Rory Gallagher, released in 1971. It marked his departure from his previous band Taste. After disbanding Taste, Gallagher auditioned some of the best musicians available at the time including Noel Redding and Mitch Mitchell the bassist and drummer for the Jimi Hendrix Experience. He decided on two Belfast musicians; drummer Wilgar Campbell, and bass guitarist Gerry McAvoy to be the core of his new power trio band.

After practicing with Jimi Hendrix’s band Noel Redding, Mitch Mitchell and Belfast musicians Gerry McAvoy and Wilgar Campbell at a practice room in Fulham Road, the newly formed band with McAvoy and Campbell got underway with recording in Advision Studios.

With his first solo album Gallagher continued in the eclectic style that had exemplified his first band Taste. This album entered the UK album charts at number 32, an excellent beginning for a solo career. It contains 10 tracks, all of which are Rory compositions and clearly show the continued blues rock direction that he began with Taste. A trademark of Rory’s music is his inclusion into the fusion, jazz and folk instruments like alto sax and mandolin. “I’m Not Surprised” stands out on this album with it’s mellow “unplugged” feel and loosely based Blues structure.

 

The album begins with “Laundromat” which was to become a regular number in his live set. A blues rock song with a classic Gallagher riff, the song was inspired by the public laundromat located in the basement of his flat where he lived at the time in Earls Court. The next song, “Just the Smile”, is an acoustic number that was inspired by the British folk revival. It shows the influence of some of Gallagher’s favorite English folk musicians such as Richard Thompson, Davy Graham, and Bert Jansch. (Gallagher would later go on to record with Jansch.) “I Fall Apart” has a jazz feel to it and features a guitar solo that starts slow and introspective and builds to a powerful climax. The next two songs, “Hands Up” and “Sinner Boy”, were again blues rock and would also become standard numbers for his live show. “Wave Myself Goodbye” is another acoustic number, a talking blues song featuring New Orleans style piano provided by Vincent Crane from the band Atomic Rooster (Rory’s brother Donal had been acting as tour manager for them). Gallagher plays the saxophone in the next song, a jazz number called “Can’t Believe It’s True”. Also recorded at the time were two blues classics, Muddy Waters’ “Gypsy Woman” and “It Takes Time” by Chicago blues legend Otis Rush.

Rory Gallagher – ‘Rory Gallagher’ 180g vinyl LP remastered reissue. Originally released on the 23rd May 1971 This reissue LP is released on Friday 2nd March 2018.

Tracklisting

A1. Laundromat
A2. Just The Smile
A3. I Fall Apart
A4. Wave Myself Goodbye
A5. Hands Up
B1. Sinner Boy
B2. For the Last Time
B3. It’s You
B4. I’m Not Surprised
B5. Can’t Believe It’s True

rory brum ticket

 

 

The Jam regrouped and refocused for All Mod Cons, an album that marked a great leap in songwriting maturity and sense of purpose. For the first time, Paul Weller built, rather than fell back, upon his influences, carving a distinct voice all his own; he employed a story-style narrative with invented characters and vivid British imagery à la Ray Davies to make incisive social commentary all in a musically irresistible package. The youthful perspective and impassioned delivery on All Mod Cons first earned Weller the “voice of a generation” tag, and it certainly captures a moment in time, but really, the feelings and sentiments expressed on the album just as easily speak to any future generation of young people. Terms like “classic” are often bandied about, but in the case of All Mod Cons, it is certainly deserved.

All Mod Cons, released to wide acclaim in 1978, firmly cemented the group’s rise to extraordinary heights. Indeed, for many it was the first essential Jam album and listening to it now its impact has not diminished over time.” When I think about English records I think of The Kinks’ The Village Green Preservation Society, The Smiths’ The Queen is Dead, The Who’s Quadrophenia and The Jam’s All Mod Cons. To me all those albums are quintessential English
Recorded between 4th July 1978 to 17th August 197 at 8RAK (Upper London) and Eden Studios
It’s their third full-length LP. It took it’s title from a British idiom one might find in housing advertisements, is short for “all modern conveniences” and is a pun on the band’s association with the mod revival as well. Of Course it is also Paul Weller’s view on the music business as a ‘con’.

Film about the making of “All Mod Cons” by The Jam in 1978 with interviews from all involved including band members Paul Weller, Bruce Foxton and Rick Buckler

The single “Down in the Tube Station at Midnight” was one of the band’s most successful chart hits up to that point, peaking at #15 on the UK charts. In 2000, Q magazine placed All Mod Cons at number 50 in its list of the 100 Greatest British Albums Ever. I think it is The Jams most fully realised album, it is their best album.

British Invasion pop influences run through the album, most obviously in the cover of The Kinks’ David Watts and It’s too bad a song The Who would have been proud of.

To Be Someone (Didn’t we have a nice) time is an early jab at the rock’n roll lifestyle, about the hollow and empty life of a star, supposedly written after a horrible tour pairing in America with Blue Oyster Cult. The Bass line is a cool rip-of of Paul McCartneys bass line to “Taxman”.

All the tracks are really strong, great playing and great singing all around. The Production is unusually complex and sophisticated for a punk/new wave album.
The song “Down in the Tube Station at Midnight” is a first-person narrative of a young man who walks into a tube station on the way home to his wife, and is beaten by far right thugs. The lyrics of the song “All Mod Cons” criticise fickle people who attach themselves to people who enjoy success and leave them once that is over.

Track Listing:
1. All Mod Cons
2. To Be Someone (Didn’t We Have A Nice Time)
3. Mr. Clean
4. David Watts
5. English Rose
6. In The Crowd
7. Billy Hunt
8. It’s Too Bad
9. Fly
10. The Place I Love
11. A Bomb In Wardour Street
12. Down In The Tube Station At Midnight

This deluxe repackaged, remastered edition contains single b-sides, demos and rarities. It also features a new film, The Making Of All Mod Cons, with new interviews, promo clips, and previously unseen live footage.

The Who / The Polydor Singles 1975-205

Volume four of a four part set of classic Who singles by labels (Brunswick, Reaction, Track and Polydor), released to coincide with the band’s 50th Anniversary. 15 x 7” singles from the band’s Polydor Records era (1975-2015) – pressed on heavyweight vinyl with card picture sleeves (where applicable) reproducing the period graphics front and back. Includes classic hits –‘Squeeze Box / Who Are You / You Better You Bet / Eminence Front (scheduled for release in the UK where sleeves were printed but never released) / ‘Real Good-Looking Boy’ & ‘Be Lucky’  The single that never was Eminence Front is included here which is a standout song from the circa Kenney Jones era. Ive always preferred Who Are You album version opposed to the single edit. 5:15/I’m One is ok with remixed versions from the original 1973 sessions by Entwistle for the Quadrophenia film soundtrack

1. ‘Listening To You/See Me, Feel Me’ b/w ‘Overture’
2. ‘Squeeze Box’ b/w ‘Success Story’
3. ‘Who Are You’ b/w ‘Had Enough’
4. ‘Long Live Rock’ b/w ‘I’m the Face’, ‘My Wife’ (live)
5. ‘5.15’ b/w ‘I’m One’.
6. ‘You Better You Bet’ b/w ‘The Quiet One’
7. ‘Don’t Let Go The Coat’ b/w ‘You’
8. ‘Athena’ b/w ‘A Man Is A Man’
9. ‘Eminence Front’ b/w ‘It’s Your Turn’ (This single was scheduled for release in the UK. Sleeves were printed but it was never released. It was to have been Who 7.)
10. ‘Twist and Shout’ b/w ‘I Can’t Explain’ (Both live)
11. ‘Won’t Get Fooled Again / Bony Maronie’ (Live at Young Vic)
12. ‘Join Together’ b/w ‘I Can See For Miles’ and ‘Behind Blue Eyes’ (All three tracks live from 1989 US tour)
13. ‘Real Good-Looking Boy’ b/w ‘Old Red Wine’
14. WIRE & GLASS (EP) ‘Sound Round’, Pick Up The Peace’, Endless Wire’, We Got A Hit’, ‘They Made My Dream Come True’, ‘Mirror Door’. Polydor 1702801. Released 24 July 2006
15. ‘Be Lucky’ b/w ‘I Can’t Explain’ (remixed)

 Clean Cut Kid: Having just smashed CMJ, Liverpool's Clean Cut Kit is on track to break into the big leagues of indie-stardom. The band combine the preppy harmonies of Vampire Weekend and the melodic mastery of Paul Simon. With their limited discography it still feels like they haven't even begun to delve into the vast depths of potential this band are capable of.

Behind the glitz and the glamour of being in a band is meticulous planning, a punishing life on the road and innumerable hurdles to tackle if you’re seriously up for getting your music heard. So, like Hannibal Smith used to say, “I love it when a plan comes together.” Step forward Clean Cut KidLiverpool music’s current A-Team.

A collective who have morphed through various guises but their graft and guile has suddenly resulted in a genuine national buzz that’s seen them picked up by Polydor Records and land national radio and print press.

The story’s made all the more appealing by virtue of them being a *very* good band.

One listen to their opening two tracks and you’re sucked into a world of dirty melodies, infectious harmony hooks, glistening choral swells and reference points including US lo-fi pop, Gayngs and Fleetwood Mac. The latter of which is rather apt, given two of the band, Mike and Evelyn are married. Clean Cut Kid and we are Mike Halls, Evelyn Halls, Ross Higginson and Saul Godman.

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Final Who Singles Box Announced
The fourth instalment in The Who’s singles box set series has been released on 6th May. Tracing the final part in The Who’s singles story to date, from the years 1975 to 2015, it contains 15 7”s pressed on heavyweight vinyl, replete with picture sleeves and replica artwork, collecting the group’s A- and B-side releases on the Polydor label.

If The Who’s creative output up to 1975 hadn’t already made the case (they had, after all, released two groundbreaking rock operas, Tommy and Quadrophenia, along with a slew of classic albums, among them The Who Sell Out, Live At Leeds and Who’s Next), the four-decade period covered in Volume 4: The Polydor Singles 1975-2015 is a clear reminder of the group’s ability to evolve and adapt to any situation they found themselves in. As punk attempted to lay waste to the rock bands that emerged in the 60s, The Who more than held their own with the likes of ‘Who Are You’, issued in 1978. After the tragic death of drummer Keith Moon later that same year, Pete Townshend, Roger Daltrey and John Entwistle recalibrated themselves for the 80s, releasing Face Dances and It’s Hard at the beginning of the decade, flexing their hit-making prowess with the likes of ‘You Better You Bet’.

The group remained sporadically active as a live band across the next two decades, but when John Entwistle passed away in 2002, Townshend and Daltrey found themselves having to yet again roll with the punches and reboot their beloved band. The Wire & Glass EP emerged in 2006, a taster of what would become Endless Wire, The Who’s first studio outing in 24 years. Taking as its inspiration the Townshend novella The Boy Who Heard Music, Wire & Glass formed the core of the mini-opera that was itself at the heart of Endless Wire. Though new music wasn’t coming as fast as it had in previous decades, the Wire & Glass EP was followed, in 2014, by ‘Be Lucky’, a new song recorded for the group’s anniversary collection The Who Hits 50!.

A fitting celebration of one of the longest-serving bands to have emerged from the 60s,Volume 4: The Polydor Singles 1975-2015 brings the group’s story fully up to date. Though, as ever with The Who, you’d be unwise to count it as a full-stop on their remarkable career.

Scroll down to see the full tracklist, and purchase Volume 4: The Polydor Singles 1975-2015 

Disc 1:
‘Listening To You’/‘Se Me, Feel Me’/‘Overture’

Disc 2:
‘Squeeze Box’/‘Success Story’

Disc 3:
‘Who Are You’/‘Had Enough’

Disc 4:
‘Long Live Rock’/‘I’m The Face’/‘My Wife (Live)’

Disc 5:
‘5.15’/‘I’m One’

Disc 6:
‘You Better You Bet’/‘The Quiet One’

Disc 7:
‘Don’t Let Go The Coat’/‘You’

Disc 8:
‘Athena’/‘A Man Is A Man’

Disc 9:
‘Eminence Front’/‘It’s Your Turn’

Disc 10:
‘Twist And Shout (Live)’/‘I Can’t Explain (Live)’

Disc 11:
‘Won’t Get Fooled Again’/‘Bony Maronie (Live)’

Disc 12:
‘Join Together (Live)’/‘I Can See For Miles (Live)’/‘Behind Blue Eyes (Live)’

Disc 13:
‘Real Good-Looking Boy’/‘Old Red Wine’

Disc 14:
Wire & Glass EP: ‘Sound Round’/‘Pick Up The Peace’/‘Endless Wire’/‘We Got A Hit’/‘They Made My Dream Come True’/‘Mirror Door’

Disc 15:
‘Be Lucky’/‘I Can’t Explain (Remixed)’

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Years & Years are a London based electro-pop trio signed to Polydor Records. Current members are frontman and keyboardist Olly Alexander, bassist Mikey Goldsworthy and synth player/beat-maker Emre Turkmen.
Years & Years formed in 2010, after Mickey moved from Australia and met Emre online through ‘findabandmate.com’. Shortly afterwards, Olly joined the band as lead vocalist after guitarist Mikey heard him singing in the shower. Alongside 90s R&B, the band cite Flying Lotus, Diplo, Radiohead and Jai Paul as core influences, describing their sound as ‘dance music with heart’.
The band released their debut single,I Wish I Knew in the summer of 2012 through the label Good Bait. Their follow up single in September 2013 was picked up by Kitsuné Records with critical acclaim from The Guardian, Clash Music and The Fader.