San Francisco alt-rockers Third Eye Blind will celebrate the 20-year anniversary of their eponymous debut in June with 2CD and 3LP deluxe editions of the 1997 album.
Both new editions combine the original album with a unreleased demos and some new recordings. For example, for this anniversary release, the band recently recorded Alright Caroline and Scattered, two songs that were written for their debut, but were never fully realised in the studio, until now.
Among the demos is the band’s version of the Velvet Underground’s Heroin and an early version of Slow Motion, with lyrics. As can be seen above, this anniversary edition features black cover art.
Third Eye Blind“20th anniversary edition” will be issued on 9th June 2017.
“Interstellar Overdrive” is an instrumental composition written and performed by Pink Floyd. The song was written in 1966, and is listed on their debut album, , released in 1967, clocking in at almost ten minutes in length.
With crazed musical mastermind Syd Barrett at the helm, Pink Floyd started the space race with this full tilt cosmic cacophony, and from there established an acid-soaked sound that would inspire generations of surreal psychedelic ensembles to come. Culled from their groundbreaking debut album The Piper at the Gates of Dawn, it created a wash of distortion, improvisation and sonics that set heads spinning and audiences spiralling skyward.
The song originated when guitarist Syd Barrett heard the band’s manager Peter Jenner humming a song, which Barrett tried to interpret by playing it on his guitar. Musically sharing the same theme with “Astronomy Somine”, the piece was recorded in several takes between March and April 1967. An earlier, longer recording of the song can be heard on the soundtrack to the film “Tonite Lets All Make Love In London” which was recorded at Sound Technique Studios in early 1967, and was released in the same year. In October 31st anotherr session yielded a demo version of “Interstellar Overdrive” that eventually served as the soundtrack for “San Francisco”, a 15-minute documentary by filmmaker and Syd Barrett’s acquaintance Anthony Stern. Aside from its inclusion in the film, this recording, indeed, has never been officially released.
Pink Floyd will release this special 12-inch single to mark Record Store Day 2017.
They’ll launch Interstellar Overdrive – a previously unheard mono instrumental recording of the 1966 track – on April 15th on heavyweight 180-gram vinyl. It’ll play at 33⅓ RPM and will come with a fold-out poster and an A6 postcard featuring a classic image of the band taken while they were recording their debut single “Arnold Layne”.
A statement reads: “Written and performed by Syd Barrett, Roger Waters, Richard Wright and Nick Mason, Interstellar Overdrive is an unheard recording from 1966, running at a hefty 14 minutes 57 seconds long.
“The original recording was done at the Thomson Studio in Hemel Hempstead, Hertfordshire, on November 31st, 1966, before the band were signed to EMI. “A different, shorter version of the track appears on the band’s debut album “The Piper at the Gates of Dawn.” Other versions of the track appear on various bootlegs.
The piece has been covered by acts such as T.Rex, Pearl Jam Hawkwind the Melvins, and Simon House.
Trump is like a horrible car crash with a bad comb-over. When he can’t be bothered to keep up that bird’s nest on his head, he wears a stupid hat that was most definitely made in China. He loves the sound of his own voice, but his breath smells like dog shit. He wants to bring all the glamour of professional wrestling to Washington. But most importantly, and seriously, Trump might be a Manchurian Candidate for Russia. A real comrade to the Kremlin.
To combat apathy, entertain the citizenry, and provide a soundtrack to resistance, over the next four years, the producers of 30 Days, 30 Songs will assemble a playlist of 1,000 songs. One song every day to get us through what promises to be a tumultuous and frequently dispiriting and certainly bizarre presidency. The playlist will feature original tracks, unreleased live versions, remixes, covers, and previously released but relevant songs that will inspire and amuse and channel the outrage of a nation.
Despite the results of the election, we still believe it’s possible to build a more inclusive, equal, and just America. The world will not end on January 20th. It will continue to move forward, and it is up to us to chart its course. In the coming weeks, we plan to raise money for this endeavor through a crowdfunding campaign.
She’d been a New Yorker since moving to the city in 1967, aged 21. She had a child that she gave up for adoption, met and started a relationship with photographer Robert Mapplethorpe – with whom she shared a room at the infamous Chelsea Hotel for some time – and she discovered the work of French symbolist poet Arthur Rimbaud. She appeared in Warhol Superstar Jackie Curtis’s play Femme Fatale with Wayne County, and – for one night only – in Cowboy Mouth which she co-wrote with Sam Shepherd. She was considered for the role of lead vocalist in Blue Oyster Cult, but instead contributed lyrics to many of the band’s songs, and she started a relationship with BOC keyboardist Alan Lanier. She contributed articles to rock journals Rolling Stone and Creem. By 1974 she was performing rock music herself, initially with guitarist, bassist and rock archivist Lenny Kaye, and later with a full band comprising Kaye, Ivan Kral on guitar and bass, Jay Dee Daugherty on drums and Richard Sohl on piano. The group released the self-financed single ‘Hey Joe’/’Piss Factory’ the same year and in 1975 recorded their debut album “Horses” for the label to which they were by then signed, Arista; the album was released in December ’75 to near unanimous high praise. Two months later, on February 15th 1976, the group played at the Boarding House in San Francisco – a performance which was broadcast live on FM radio. This CD captures this concert in its entirety and illustrates perfectly the strange power of this pioneering band and its dynamic, talented and foresighted lead singer and main songwriter. 1976 was also the year that the United States of America celebrated 200 years of independence from the British Empire, a celebration that culminated on July 4th – the date in 1776 on which the Declaration of Independence was adopted. Whether or not this event had any impact or bearing on Patti Smith is not recorded.
A few months on from the arrival of her epic Horses album and Patti Smith is on stage in San Francisco. It is February 1976 and a seminal sonic storm is starting to soar. Bicentenary Blues released on Good Ship Funke has Patti display positive elements from her own catalogue but she honours those forces that helped shape this aural assault. That means that this performance CD originally recorded for FM Radio also has Smith cover tunes by the likes of The Who, Velvet Underground and The Rolling Stones.
The sound quality is not always of a superior nature but there is no doubt the intentions are honourable. Smith is spearheading a new breed but these fresh faces are taking their lead from a series of rock n roll rebels in order to carve their own niche for a new generation. There are several highs and of particular impact is the reggae tinged self penned Redondo Beach (later to be covered by Morrissey) and the ferocious Free Money (which also became a Penetration favourite). However, a poetic interlude has the gig take its foot off the pedal before a barnstorming close of Gloria Part 1 & 2 plus My Generation.
To capture the mood of a potent past influencing a powerful present this work is a fine representation of a changing sonic landscape. Punk and its urban cry is a developing genre and on either side of the Atlantic there is major movement in the direction of dissent towards the establishment. This is a warts and all example of a spirit that was to alter the balance of order and send shockwaves amongst the hierarchy.
The She’s have been playing together since elementary school. Their early music is a reflection of their social and musical lives colliding- coming out of a unique perspective for high school students having been tossed into the music industry at such a young age. Today, their songs develop into themes of nostalgia, the exploration of solitude, love, and heartache
With a new singer, Grace Slick, who also happened to bring a pair of classic songs with her (“Somebody to Love” and “White Rabbit”), Jefferson Airplane’s second album in part defined the Summer of Love. The band was one of the best in San Francisco, whose scene helped shape an entire era. ‘Surrealistic Pillow,’ is a pinnacle of that period.
Surrealistic Pillow was the second album by the American psych rock band, released on February 1st, 1967, by RCA Victor. It is the first album by the band with vocalist Grace Slick and drummer Spencer Dryden.
Original drummer Alexander Skip Spence had left the band in mid-1966. He was soon replaced by Dryden, an experienced Los Angeles jazz drummer and the half-nephew of Charlie Chaplin. New female vocalist Slick, formerly with another San Francisco rock band The Great Society , joined the Airplane in the fall of 1966. Slick,Dryden, lead vocalist Marty Balin, guitarist-vocalist-songwriter Paul Kantner, lead guitarist (and occasional vocalist) Jorma Kaukonen , and bassist Jack Casady formed the core of the best-known line-up of the group, which remained stable until Dryden’s departure in early 1970.
Jefferson Airplane singer Grace Slick is also known for that powerhouse voice – responsible for classics like ‘White Rabbit’. At a time when studio production was limited and live concerts were almost always dominated by an incredibly loud band in direct competition with an even louder audience, it made it difficult to fully appreciate voices like Grace Slick’s; but it’s in this isolated vocal track from ‘White Rabbit’ that we’re able to finally concentrate on the star of the song .
The album is considered to be one of the quintessential works of the early psychedelic rock.
As the long term percussionist of The Brian Jonestown Massacre, Joel Gion has helped pioneer the current Psychedelic Rock movement. Now as a songwriter, he steps up to the mic to deliver his own tunes
Released January 27, 2017
Written by Joel Gion
Joel Gion: vocal, rhythm guitars, maracas, tambourine
Collin Hegna: bass, guitar, backing vocals
Paul Dillon: guitars
Brian Gardner: drums
Written by Joel Gion
Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock & roll, the Brian Jonestown Massacre formed in San Francisco, California in 1990. Some 40 different members passed through the group’s ranks over the next half-decade, but the focal point always remained singer/guitarist Anton Newcombe, who, along with bassist Matt Hollywood, guitarist Dean Taylor, organist Mara Regal, accordionist Dawn Thomas, drummer…These tracks give an idea of the changing rhythms of The Brian Jonestown Massacre for the new album. Heavy hypnotic beating drums , with very odd twists and pitchshifting at the extreme
Open Minds Now Close is the second of 3 singles from the forthcoming album “Don’t Get Lost” released in February 2017. The first track Open Minds Now Close is on the album and features Dan Alliare on drums.
The 2nd track Melody’s Actual Echo Chamber features Ryan Van Kriedt & Dan Allaire this version of this mix is available on this single only & it is pitchshifting mind bending messy .
The third track is a Swedish version of Open Minds Now Close called Öppna sinnen stängs nu featuring Jocke from Les Big Byrd on vocals which is also not available on the album.
Empty Cellar Records is proud to release the newest album by Magic Trick,“Other Man’s Blues”. This offering from the band finds songwriter, Tim Cohen at a crossroads. It was written and recorded during a year that split his time between two lives, in two worlds. The newer of these worlds was on a horse ranch in the northern Arizona desert where he and his partner spent their first year with their newborn daughter. The other was the music world. The latter took place on the road, on tour with Magic Trick or with the Fresh & Onlys. And in the case of Other Man’s Blues, it took place for one week at Phil Manley’s Lucky Cat Studios in San Francisco.
Tim arrived at the studio with a color-coded composition book of songs he’d been writing while bouncing to and fro. This book would have to suffice in lieu of rehearsal time with the 13 other musicians who appear on the tracks. About half of the tracks feature James Kim on drums, the other half James Barone (Beach House). Alicia Van Heuvel (Aislers Set) and Paul Garcia split time on bass. Joel Robinow (Once and Future Band / Danny James) contributes on keys. Emmett Kelly (The Cairo Gang / The Muggers / The Double) provides a couple stunning guitar solos. There are omnipresent vocal harmonies from Alicia, Noelle Cahill and Anna Hillburg, the latter of whom also plays some trumpet. San Francisco standbys Dylan Edrich, Tom Heyman, and Marc Capelle all contribute. It was a loose, largely improvised affair.
Cool Ghouls is the rock’n’roll project of four lifelong Bay Area residents, weaving together cosmic influences from the future, past and present. By utilising traditional garage rock rhythms and tones in their music, the band manage to create dexterous, Cali-bred psych-rock in a similar vein to such bands as The Troggs.
Mastered by fellow Bay Area maestro Kelley Stoltz, Cool Ghouls release their third full-length in 2016 through Empty Cellar Records.
The Fat Angel Sings 