Posts Tagged ‘Van Morrison’

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Van Morrison has announced the details of his 37th studio album, Roll With the Punches, to be released this fall and supported with tour dates in the U.S. and U.K. . Due in stores on Sept.ember 22nd ., Punches arrives roughly a year after Morrison’s most recent effort, Keep Me Singing, which reached the Top 10 on both sides of the Atlantic. The 15-song track listing blends new original numbers with covers of classic blues numbers — a balance that, as Morrison argues in the press release announcing the new LP, reflects the approach he’s always taken to making music.

“From a very early age, I connected with the blues,” Morrison explains. “The thing about the blues is you don’t dissect it — you just do it. I’ve never over-analyzed what I do; I just do it. Music has to be about just doing it and that’s the way the blues works — it’s an attitude. I was lucky to have met people who were the real thing — people like John Lee Hooker, Jimmy Witherspoon, Bo Diddley, Little Walter and Mose Allison. I got to hang out with them and absorb what they did. They were people with no ego whatsoever and they helped me learn a lot.”

Calling the album as a whole “performance oriented,” Morrison says he focused on his interpretive approach while recording. “Each song is like a story and I’m performing that story,” he adds. “That’s been forgotten over years because people over-analyze things. I was a performer before I started writing songs and I’ve always felt like that’s what I do.”

Van Morrison, ‘Roll With the Punches’ Track Listing
“Roll with the Punches”
“I Can Tell”
“Stormy Monday/Lonely Avenue”
“Goin’ to Chicago”
“Too Much Trouble”
“Bring It On Home to Me”
“Ordinary People”
“How Far from God”
“Teardrops from My Eyes”
“Automobile Blues”
“Mean Old World”
“Ride On Josephine”


Van Morrison Bang Cover

These Recordings Van Morrison made for Bang Records in 1967, including an entire disc of tracks seeing official release for the first time, will feature on the upcoming reissue “The Authorized Bang Collection”. The compilation gathers songs the Irish singer-songwriter laid down during his brief period on legendary producer Bert Berns’ label.

The collection, due out April 28th, features three discs of music that Morrison recorded alongside Berns: The first disc focuses on the original masters from Morrison’s Bang sessions including original mixes of songs like “Brown Eyed Girl,” “T.B. Sheets” and “Madame George” while the second boasts rarities from the sessions.

The third disc dubbed the Contractual Obligation Session, as it closed Morrison’s tenure with the label – contains 32 short, stripped-down and less-refined songs that were oft-bootlegged over the years but presented here in its best sound quality to date.

After leaving Them for a solo career in 1967, Morrison aligned with Berns’ Bang Records; Berns, who wrote tracks like “Twist and Shout,” “Piece of My Heart” and “Cry to Me,” produced Them’s 1965 hit “Here Comes the Night.” However, after the recording sessions, Morrison and Berns‘ partnership fizzled. After Berns died unexpectedly in December 1967, Morrison entered a legal battle with the producer’s widow over his creative independence.

Bert Berns was a genius,” Morrison said in a statement. “He was a brilliant songwriter and he had a lot of soul, which you don’t find nowadays.”

The Authorized Bang Collection 3-CD set celebrating the 50th anniversary of Van Morrison’s first solo record and includes, for the first time on CD, the original mixes of the master recordings, including the hit “Brown Eyed Girl”. An additional 13 tracks of session outtakes (10 previously unreleased) complement the original masters, in both original stereo or mono mixes. Also included in ‘The Authorized Bang Collection’ is the first official release of Morrison’s “contractual obligation session.” He submitted 31 hastily composed, wryly humorous “nonsense” songs. This disc illustrates the depths of Morrison’s frustration at an early stage in his career.

Gloria (Them song) coverart.jpg


The song “Gloria” is built on just three chords that any garage band can play and that almost every garage band has. Yet the list of artists who have covered this tune include many bands Jimi Hendrix, the Doors, Patti Smith, Tom Petty, David Bowie, R.E.M., Iggy Pop, U2, Bruce Springsteen, Elvis Costello..even. Bill Murray strapped on a guitar and played it at Eric Clapton’s Crossroads Festival, the Grateful Dead used to jam on it, and it might be the only song that Jon Bon Jovi and Johnny Thunders have in common.

How has such a minimal song have had such a huge impact? Why does it still reverberate today, in arenas, at festivals, in bars and studios? And how did Gloria become such a resilient classic rock tune. Written more than fifty years ago by Van Morrison for his band Them , the story the song tells couldn’t be more archetypal: the singer (usually but not always male) knows this girl and he’s eager to tell us about her, but he doesn’t share much in the way of detail. She comes down the street, up to a room, knocks on a door, enters, makes the singer extremely happy.

She is, nearly all the time, about five feet, four inches tall (on the original demo, she was five feet). As physical descriptions go, that’s at once very specific and very incomplete. Dark-haired or light, curvy or slender, who knows? At just about midnight, she appears. There is, we can assume, something sensual about the way she moves, because the song itself slithers with an air of hypnotic mystery, those three chords (E-D-A) setting the scene.

The Shadows of Knight, version clocked in at a tidy two and a half minutes, but that was too constricting for other groups like the Hangmen, the Blues Magoos, and the Amboy Dukes, all of whom easily exceeded the five-minute mark and turned it into early psychedelic-rock classic.

On the debut studio recording by Them, Van Morrison takes the listener into his confidence, and it’s a little like bragging, He wants to tell us about his baby (on the demo, she’s his “gal”), but aside from her head-to-the-ground measurement, he doesn’t tell us much more. She makes him feel good. Also for some reason, he feels compelled to spell out her name before he says it, “G-L-O-R-I-A,” as though it were something exotic or complicated. so she does whatever she does with Van, and instead of describing what that might be, he spells her name out again. He wants to make sure we get that name right, This woman who’s about five feet, four inches, and her name is G-L-O-R-I-A.

“Gloria” was cut at Decca’s studio in West Hempstead in the summer of 1964, the first Them session. Them had been doing the song live for a while in Ireland clubs, but from all reports, they were not the most adept musicians in the studio, so the producer brought in some ringers, and here’s where the saga of “Gloria” gets a little fuzzy. It’s pretty clear from the audio evidence—compare the demo’s sluggish drumming to the finished studio version—that London’s top session drummer Bobby Graham was recruited. Graham told an interviewer for the Independent that Morrison “was really hostile as he didn’t want session men at his recordings. He calmed down but he didn’t like it.” In addition to Graham, The guitar playing was none other than Jimmy Page , Page: “It was very embarrassing on the Them sessions. With each song, another member of the band would be replaced by a session player…Talk about daggers! You’d be sitting there, wishing you hadn’t been booked.”

There’s something so compelling about the record, the rawness, the sudden startling instrumental leap midway through, Morrison’s intensity, the erotic momentum, the flurry of drums at the end. It was the sexiest thing. And it was stuck on a B-side, It was the flip side of Them’s second U.K. single “Baby Please Don’t Go In England, “Baby Please Don’t Go” charted at numer 10. In America, it was released on Parrot Records, But it was  “Gloria” that got a bit of attention, it was like that with “Gloria” it wasn’t a hit, but all around the world, local bands who discovered it found a Holy Grail. How many group rehearsals everywhere began with “Let’s try ‘Gloria’?” If you hadn’t been playing guitar for very long, this was an instant entry-level classic, and if you were playing gigs and didn’t have many songs in your live arsenal, you could stretch out on “Gloria” for a while, just keep that going. If you had a kid on Vox organ in your combo, it sounded even better.


Part of the brilliance of “Gloria” is in its vagueness and ambiguity. It feels explicit, but that’s a trick. The whole song is an ellipsis. Gloria the object of desire, someone who makes it all so easy: she comes up to your room, raps at your door (at a Bottom Line gig years ago, T Bone Burnett compared her knock to the drum beat of Al Jackson Jr. from the M.G.’s), no pining, no scheming. we don’t know if Gloria’s night ends satisfactorily.) The narrative is a sketch, but over the years, some of its interpreters have felt compelled to flesh it out. Leave it to Jim Morrison or Jimi Hendrix to make the goings-on considerably more graphic. It was a part of the Doors’s set since their early days on the L.A. club circuit (you can hear how the dynamics of “Gloria” got appropriated for the “Light My Fire” climax, the American Morrison went much further in his on-stage embellishments, some of which came out officially on posthumous Doors releases. He addresses Gloria directly, and sometimes there’s a predatory creepiness: “Meet me at the graveyard, meet me after school.” On one released version, he yells, “Here she is in my room, oh boy!” and for nine minutes it’s like a cautionary after-school special: her dad is at work, her mom is out shopping, and he’s giving her instruction: “Wrap your legs around my neck/Wrap your arms around my feet/Wrap your hair around my skin.” He continues  “Hey, what’s your name, how old are you, where’d you go to school?” What’s her name? Is he missing the whole point of this song? here.

Not to be outdone, Jimi Hendrix, on a slamming off the cuff version with the Experience from October 1968, also asks her name she replies (he says), “It don’t make no difference anyway…You can call me Gloria.” Is she a call girl? (That would explain the midnight knocking.) A groupie? More likely. Hendrix mentions that Mitch Mitchell and Noel Redding also have “Gloria”s, and there is some kind of “scene” going on that involves the arrival of a pot dealer and, subsequently, the police. “Gloria, get off my chest,” Jimi says. “We gotta get out of here.” Meanwhile, he’s playing some amazing guitar, and Mitchell is just on fire, and the song is a long way from its beginnings with Them.

The song still belonged to Van Morrison, who has had a notoriously ambivalent relationship with some of his earlier hits, but he has almost always stuck with “Gloria” it’s on his landmark live album “Its Too Late To Stop Now”, and he’s revisited it over and over through the years, on record with John Lee Hooker, live with U2 (who not only have done Morrison’s version, but wrote their own song called “Gloria”) and Elvis Costello, on TV with Jools Holland’s big band. But in 1975, Patti Smith found a way to radically reinterpret it by incorporating it into the lead track from her debut album “Horses”. The cut is in two parts, the first part “In Excelsis Deo” starts off with a stark statement of intent  “Jesus died for somebody’s sins, but not mine” and keeps building and building until Smith through a window, sees a “sweet young thing,” and she’s transfixed. It’s almost unbearably tense, the way Patti’s group coils around the melody, the rising excitement in her voice. It’s midnight (naturally: that’s when this always happens), and the woman comes up the stairs in “a pretty red dress” and knocks on the door, and you don’t even realize it, but the song is sneakily turning into Van Morrison’s: Patti asks the girl’s name. “And her name is…and her name is…and her name is…G…” you know the rest. With this performance, Patti’s done two things. She’s made a breathtaking breakthrough that’s completely new, and connected it with rock tradition (her guitarist Lenny Kaye is steeped in the era of “Gloria,” and compiled the essential garage-rock collection Nuggets). It was a tremendous cultural moment.

Nothing has been able to stop “Gloria” because the song is whatever it needs to be. It’s remained a rock staple. Iggy Pop  has done it live  (and singing “I-G-G-Y-P-O-P”), Joe Strummer’s pre-Clash band the 101’ers had it in their repertoire and so did Bon Scott’s group the Spektors,  On his 1978 tour, Bruce Springsteen often would include it as part of a medley with “She’s The One” and sometimes “Not Fade Away.” R.E.M. was performing it in the eighties, and so was David Bowie, in conjunction with his own “The Jean Genie” .

Some more recent live interpretations stand out. Rickie Lee Jones starts to play it, and after about a minute and a half, it turns into a reminiscence. The band keeps on riffing on those three chords, those chords that give the singer all the freedom in the world to amplify, to comment, to reflect. “I was twelve when this song came out,” she says, “and I have never forgotten, I would never forget, that’s why I will never get old, what it felt like to me as he described this [and here she pauses] girl.” “I’m gonna shout it all night, gonna shout it every day,” the song goes, and if you were around twelve years old when it came out, as Rickie Lee was, or you were more like fifteen or sixteen, as Bruce Springsteen and Tom Petty were, that shout of ecstasy was something that made possibilities open up for you. And that’s why Springsteen (who introduced it at a 2008 show by saying “Bring it back to where it all started! Follow me boys!”) and Petty can’t stop going back to it. It probably was where it all started, in their nascent rocking days.

Tom Petty makes it almost like a prequel. It became a set-piece for him and his band the Heartbreakers in the late nineties, played the song several times on his Highway Companion Tour in 2006, and he closed most of the shows with it during his twenty-night run at The Fillmore Auditorium in San Francisco in 1997.  Up to this century, and there are versions floating around, from German TV, from Bonnaroo, where he unspools a story about walking on an uptown street and approaching this woman: “Don’t walk so fast,” he tells her. “I’m a true believer and I loved you at first sight.” She spurns him, she bolts (in one version, she tells him he smells like marijuana), and he’s getting nowhere.

Like Springsteen in the song “Rosalita”  he plays the only card he has. “I got this little rock and roll band,” he says. “Things are going good.” We don’t know what happens, ultimately, except this: all he wants to know is her name, this tiny shred of information. And suddenly, he hears it. Not from her, but from the wind. The wind began to sing her name. At this point, Petty’s audience knows what its part is, and the band has been patiently waiting for this eruptive moment, and like a huge gust of wind, the name rises up from the crowd, louder and louder: “Gloria!” Because even five decades after she first appeared, there’s no one anywhere who doesn’t know who she is, and the power she has.

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A great many Southern rock bands sure know how to rock, The Allman Brothers Band was unique in that they didn’t just rock, they actually made magic and in the years leading up to their 2014 split that magic was never more apparent than when we got the privilege to see them, no longer the long haired young men that began this journey . In 2011, the boys converged on Boston’s Orpheum Theater where in addition to their own impressive song catalog, they dusted off a cover of Van Morrison’s dreamy, ethereal “Into The Mystic” and to the crowd’s delight delivered it with that gorgeous, swampy feel that makes their own music so special.

Written in 1970 and featured on Van Morrison’s album “Moondance”, “Into The Mystic” becomes a swirling, sweeping extended jam as Warren Haynes pulls double duty on guitar and vocals, supported by the ever talented Derek Trucks on slide guitar as he makes this classic sing in a way we’ve never heard before. The real magic happens at 4:48 when Haynes and Trucks team up for a twin guitar solo attack that can only be described as spellbinding, making for an explosive ending that you’ve got to experience for yourselves.

Complete Them 1964-1967

In 2015, Legacy Recordings acquired (most of) the catalogue of Van Morrison, releasing his library digitally and introducing a volume of the long-running Essential series.  But the most exciting release from the Morrison/Legacy union so far is this this 3-CD, 79-track anthology dedicated to Morrison’s first band, Them.  The Belfast-formed garage rockers’ complete discography was compiled along with a full disc of demos, session material and rarities, adding up to the first look at Them that can be considered truly exhaustive.  The icing on the cake?  Van the Man himself supplied the detailed liner notes, expressing a sometimes-surprising fondness for his earliest musical endeavors.

The new 69-track, 3-CD set from Legacy contains all of the group’s released recordings together with a disc of rarities and unreleased material.  Much of this material has been anthologized in the past, including on Deram’s 1997 compilation The Story of Them Featuring Van Morrison (although that release had some mono tracks rechanneled into stereo and did not have the complete recordings.) We’ve got Legacy’s press release below together with the full tracklisting and discographical information.  If you’d like to explore some of Van Morrison’s earliest work,

‘Cahoots’ celebrates its 45th Anniversary!, This whole album is a masterpiece. Seems to be much more appreciated now than the initial fan reactions. Cahoots is the fourth studio album release by the American/Canadian  rock group The Band . It was released in 1971 to mixed reviews, and was their last album of original material for four years. The album’s front cover was painted by New York artist/illustrator Gilbert Stone,

“Run away Run away”  it’s the restless age, sings the Band at the beginning of Cahoots (Capitol SMAS 651) and they mean it. They also mean it when they sing of the endlessness of the river, admonishing the listener that “You can ride on it or drink it,/Poison it or dam it,/Fish in it and wash in it,/Swim in it and you can die in it, run you river run …” Cahoots is about finding a place for yourself in the restless age.

The mood of the album is filled with a “tinge of extinction.” As the chaos of the carnival is played off against the timelessness of the river, the Band mourns, always more in sorrow than in anger, the passing away of the things they have grown old with and the failure of anything of consequence to rise up in their place. “How you gonna replace human hands?” they ask us in “Last of the Blacksmiths.” And, “How can you sleep when the whistle don’t moan?” in “Where Do We Go From Here.” “Your neighborhood isn’t there anymore,” they jeer in “Smoke Signal.” “Run away Run away — it’s the restless age,” but, “the car broke down when we had just begun.”

Very complex song structures and features some of The Bands best vocals.

Allen Toussaint and Van Morrison. Where on The Band we were made to experience a mythical view of the past as a present reality, Cahoots is merely sometimes about the past, and then only insofar as the past can be made to comment in a direct way on the present. Unlike The Band, Cahoots endistances us from the past, constantly reminding us of what was then and what is now.

In Cahoots, the notion of the commentator is stressed over that of the participant. The narrator of these songs is most often observing others and in the process drawing explicit contrasts, comparisons, and morals. Instead of seeing phenomenon in motion, as they were being experienced, we see them as fixed entities to be described or dealt with: the process is now less important than the conclusions to be drawn about the process. At the same time, the orientation and musical texture is constantly changing so that we are left with the feeling of experiencing things through a stylistic kaleidoscope.

“4% Pantomime,” another song about performing, is named after the fact that the difference between Johnny Walker Black and Johnny Walker Red is 4%. It is also for the 4% of Mr. Van Morrison’s performance which had to be seen, not heard. Unlike “Stage Fright,” which analyzed the artist’s dilemma, “4% Pantomime” is simply about being a working artist. Many of the Band’s songs have been in the first person but none of them literal representations of themselves. This one even uses real names on the choruses, as two old fashioned juicers  Van Morrison and Richard Manuel — coax as much feeling as they can out of each other.

“Last of the Blacksmiths” is a crucial song embodying more than any other the definition of the “tinge of extinction” and “isolated artist” themes of the album. Sung and played in a desperate style, the lyrics parallel the question of the blacksmith (“how can you replace human hands”) with the question of the musician: “frozen fingers at the keyboard, could this be the reward?” Unfortunately, the acuity of perception then trails off in a typical bit of over-writing and the rest of the song is sustained more by the excellence of the performance than by its lyrical content.

“Where Do We Go From Here” comes dangerously close to being merely topical. Cute rhymes like “Just one more victim of fate/Like California state” do nothing to add to what the song has. The music, while brilliantly put together, has a stiffness which makes it once again forbidding. Like every cut on the album there is something to recommend it: in this case, the opening lines of Rick Danko’s beautiful vocal.

“Shoot Out In Chinatown” is a fairly grim story that makes the point that things cannot be shoved under the rug, to wit: “Buddha has lost his smile/But swears that we will meet again/In just a little while.” The music has more momentum and freshness than most things on the album and the cut is sustained exceptionally well. One of the most enjoyable things on the record.

“Smoke Signal” is a light play on the extinction theme. In “Chinatown” Robertson is talking about deliberate actions of the state while on “Smoke Signal” the humorous allusions seem to be to the process by which people merely lose control, instead of being actively forced to surrender it. Musically, it is a powerful song with some brilliant lines that stick in the mind, especially: “When they’re torn out by the roots/Young brothers join in cahoots.”

If “Life In A Carnival” is an overture,  The song features a lively Dixieland horn chart courtesy of  Allen Toussaint then “The River Hymn” was surely intended as a finale, a sort of ceremonial piece, and on it one’s ultimate impression of Cahoots must rest. It is surely the most ambitious thing the group has ever attempted. Lyrically, it is the culmination of Robertson’s growing style. It is so cinematic, that as it is heard the movie possibilities flash in front of you uncontrollably. Everything described is not only easy to visualize but is, in the listener’s mind, inevitably visualized.

“When I Paint My Masterpiece,” a Bob Dylan song making its recorded debut here as the second selection, is another welcome track, buoyed by mandolin and accordion in a charming arrangement appropriate to its tale of an odd trip to Europe.

Several of the songs’ lyrics come across as half-baked film scenarios, but they fail to be evocative, and they are paired to music lacking in structure. The failure is solely in the writing The Band sounds as good as ever playing the songs, with singers Richard Manuel Levon Helm and Rick Danko all performing effectively and primary instrumentalist Garth Hudson filling in the arrangements cleverly.

Rick Danko – bass, acoustic guitar, vocals
Levon Helm – drums, mandolin, upright bass, vocals
Garth Hudson – organ, piano, accordion, tenor and baritone saxophones
Richard Manuel – piano, drums, organ, slide guitar, vocals
Robbie Robertson – guitars, piano
Additional personnel
Allen Toussaint – brass arrangements on “Life Is a Carnival”
Van Morrison – vocals on “4% Pantomime”
Libby Titus – backing vocals on “The River Hymn”[6]
Mark Harman – engineer

Van Morrison, 'Keep Me Singing'

At 71, Van Morrison says he makes records to please one person: himself. “If it’s not interesting, then I don’t do it,” he says. His first LP of new songs in four years includes a swing instrumental, a tribute to hero Bobby “Blue” Bland, who died in 2013, and “Too Late,” a doo-wop tune about making the most of one’s limited time (“It’s too late to start over again/Can’t complain,” Morrison howls). It’s the perfect mission statement of a rock star in twilight, though the song was written years ago. “I came across it in a notebook and thought, ‘What happened to this one?'” he says.

After spending the past few years revisiting and reissuing his storied catalog, Van Morrison will release Keep Me Singing”, his first collection of new music in four years, this September.

Van Morrison

Keep Me Singing, is due out September 30th, it follows Morrison’s 2015 LP Duets and is the singer’s first album of original songs since 2012’s Born to Sing: No Plan B. In the past year, Morrison has also digitally reissued much of his discography and released an extended version of his classic live album with Its Too Late To Stop Now  Volumes II, III, IV & DVD.

Van Morrison has released a new video for his song, “Every Time I See A River“.
The track – co-written with Don Black – is taken from Morrison’s new studio album, Keep Me Singing. Its Morrison’s 36th studio album,


“Into the Mystic” is a song written by Van Morrison and featured on his 1970 album Moondance. Also included on Morrison’s 1974 live album, It’s Too Late To Stop Now.
According to a BBC survey, because of this song’s cooling, soothing vibe, this is one of the most popular songs for surgeons to listen to while performing operations. Singer-songwriter Elvis Costello has identified this song as one of his favourite songs on Moondance, one of his 500 essential albums.

“Into the Mystic” was recorded during the Moondance sessions at A&R Recording Studios in New York City in September to November 1969. Elliott Scheiner was the engineer. The lyrics are about a spiritual quest, typical of Morrison’s work. “Bass thrums like a boat in motion, and the song comes back to water as a means of magical transformation.” At the very end Van sings: too late to stop now, suggesting that the song also describes an act of love.” Compared to “Yesterday” by The Beatles, it has been described as “another song where the music and the words seem to have been born together, at the same time, to make one perfectly formed, complete artistic element.“ Morrison remarked on the song: “‘Into the Mystic’ is another one like ‘Madame Joy’ and ‘Brown Skinned Girl’. Originally I wrote it as ‘Into the Misty’. But later I thought that it had something of an ethereal feeling to it so I called it ‘Into the Mystic’. That song is kind of funny because when it came time to send the lyrics in WB Music, I couldn’t figure out what to send them. Because really the song has two sets of lyrics. For example, there’s ‘I was born before the wind’ and ‘I was borne before the wind’, and also ‘Also younger than the son, Ere the bonny boat was one’ and ‘All so younger than the son, Ere the bonny boat was won’ … I guess the song is just about being part of the universe.”

van morrison - Pagan Streams

From my perspective, there are better sound-quality boots out there (Live In Montreux, for example), but no Van boot I have — and I have more than a few ,so integrates solid sound with a stunning performance: Live In Montreux comes close, at 150+ minutes, But Pagan Streams is the complete winner. This boot is so good, so valued, that much like the ancestral heir loom one only wears on special occasions, I listen to “Pagan Streams” infrequently. If I listened to it too often, I would quit my job, leave my wife and dog, and sell my soul to attend every one of the Van the Man’s concerts. I know it took me a while to track this boot down, and all I can say is: if you can find it, buy it.
The sound quality of this double CD is a very good audience recording. In fact it sounds a lot like a soundboard recording. There is some distortion in a few tracks but it isn’t a huge problem and is very listenable. Van Morrison actually “booted” some tracks from this boot for his Gloria CD single.
-Russell Parkinson (

Utrecht, Holland – April 1st, 1991

Van Morrison – vocal
Hajih Ahkba – flugelhorn & trumpet
Dave Early – drums
Georgie Fame – keyboards
Howard Francis – keyboards
Steve Gregory – saxophone
Ronnie Johnson – guitar
Nicky Scott – base
Candy Dulfer – alto saxophone

Out of Sight (2:43)
The Girl Can’t Help It (l. Richard) (2:53)
Ain’t That Lovin’ You Baby (Otis/Hunter) (2:43)
Satisfied (2:32)
Who Do You Love (G. Fame) (5:14)
And The Healing Has Begun 8:46)
See Me Through (8:39)
Moondance (10:31)
Some Peace Of Mind (4:36)
It´s All In The Game / Make it Real One More Time (5:45)
Enlightenment (2:36)
Whenever God Shiones [sic] His Light On Me (4:32)
It Must Be You (3:19)
Help Me (6:20)
Northern Muse (Solid Ground) -> When Heart is Open (6:07)
It Fill You Up (4:37)
So Complicated (3:22)
The Fayre Of County Down (2:25)
Orangefield (3:05)
Summertime In England 18:28)
Have I Told You Lately That I Love You (3:29)
Caravan (9:07)
In The Garden (8:27)
Send In The Clowns (4:42)
Gloria/Shakin All Over (9:28)
I Can’t Stop Loving You (R. Charles) (3:51)
Baby Please Don’t Go (Williams) / Who Do You Love (F. McDanials) / What D’I Say (R. Charles) (7:38)

Couple With Records

As Colvin & Earle, longtime friends and admirers Shawn Colvin and Steve Earle have united to record their self-titled debut, a true standout in careers already filled with pinnacles and masterpieces. Produced by the masterful Buddy Miller and recorded in his living room studio, Colvin & Earle contains six co-written originals plus some truly inspired covers, including The Beatles’ “Baby’s In Black,” the Rolling Stones’ “Ruby Tuesday,” and Emmylou Harris’ “Raise the Dead.” Few things can touch the magic of artists so in tune that they seem to be able to read each other’s minds, and Colvin & Earle is a prime showcase for the duo’s inimitable vocals and mesmerizing guitar playing – a flawless example of the creative process gelling into a gorgeous, cohesive whole. For this pair, both considered to be among America’s greatest living songwriters, Colvin & Earle showcase one of the finest records of these hardcore troubadours’ storied careers.


Very Limited copies come with a A3 Band Of Horses print. Everyone’s favourite American indie export, Band of Horses, are finally Back and bigger and better than ever! Releasing their fifth studio album on the 10th year anniversary of the incredible ‘Everything All The Time’ is fitting as it hearkens back to the vulnerability present on the first album but this time is shaped by the experience of writing at home in between caring for his four daughters. The album was produced by Jason Lytle from alt-rock icons Grandaddy and spurred on by Rick Rubin. ‘Why Are You Ok’ combines universal sentiments with expertly crafted storytelling wrapped in lush melodic textures that have long been the bedrock of Band of Horses‘ sound.
LP – Heavyweight vinyl with download code.


Shelflife Records is proud to bring you the Limited Blue vinyl 10″ ‘Black and Blue EP’, the first release by London and Brighton-based group The Fireworks since their debut LP, 2015’s ‘Switch Me On’. Following a handful of fantastic 7″ singles and a self-titled EP, the quartet exceeded already high expectations on their debut album. ‘Switch Me On’s 13 tracks soar by in a blur of warm, fuzzed-out feedback, infectious hooks and pure unadulterated energy.  Fans old and new of The Fireworks will not be let down by their new ‘Black and Blue EP’. The release may only be four tracks long, but you’ll be needing to take a breather after it’s done. These songs mark the most rocking we’ve heard The Fireworks thus far, while still keeping the catchy melodies and pop sensibility we’ve come to expect from them. The driving opener ‘All the Time’ is an instant favourite, and the dynamic track tells listeners right off the bat that this is no mellow, passive listen. ‘The Ghost Of You’ features jangly guitar work and fantastic dual vocals from Matthew Rimell and Emma Hall, making the track a shimmering pop gem. Of course, the distortion that smattered ‘Switch Me On’ is still present, and tracks like ‘Bury Me’ will have you jumping around in a fit of uncontrollable vigor (perhaps why they chose to name this the ‘Black and Blue EP’). The band touches down on all bases on this new release, making it an essential listen whether or not you’ve been a fan in the past. For fans of: Razorcuts, Buzzcocks, Girls At Our Best!, Revolving Paint Dream, The Shop Assistants, Meat Whiplash, Bubblegum Splash. Vinyl with Download.

vImage of Spring King - Tell Me If You Like To

Whipping up a frenetic, fun-filled brew of surf pop and garage rock, this Manchester quartet have been creating quite a stir with a handful of great 7″ singles and high octane live shows over the last few months.

“Tell Me If You Like To”, is their debut album and it’s choc full of garage-punk gems (including their three 7″ single tracks) as you’d expect – think The Ramones covering The Beach Boys, OD-ing on Haribo’s!
“the most promising band of 2016”

Image of Christine And The Queens - Chaleur Humaine - Clear Vinyl Edition

Christine And The Queens is Nantes-born Héloïse Letissier. Moving to London to study in 2010, Letissier instead found herself drawn to the art and theatre underworld of Soho, where she met the drag queens of Madame JoJo’s who inadvertently helped birth Christine And The Queens. The following year she released the first of a series of three EPs, each one building praise and demand for her utterly individual brand of pop. Chaleur Humaine, her French-language debut album produced by Ash Workman (Metronomy) with multi-instrumentalist brothers Michael Lovett and Gabriel Stebbing, arrived in 2014 and has already gone more than five-times platinum to propel Letissier – named Female Artist of the Year at the Victoires de la Musique earlier this year – to phenomenon status in her homeland.

Already coveted by those in the know, last year Christine And The Queens took a step further into the international spotlight with a number of high profile European shows and scene-stealing performances at SXSW, a major 16-date North American run with Marina and The Diamonds and a solo sold-out headline show at New York’s Webster Hall. She capped a stunning year by joining one of her all time heroes Madonna on stage in Paris last week. She released her debut, self-titled UK EP in November and now ‘Chaleur Humaine’ makes its long-awaited UK debut. The album features EP tracks ‘Jonathan’ (feat. Perfume Genius) and ‘No Harm Is Done’ (feat. TunjiIge), and has been completely reworked for its UK release, featuring all-new English versions of French runaway hits ‘Saint Claude’ and ‘Christine’, amongst others.

Image of Augustines - This Is Your Life

“This is Your Life”, the new album from anthemic rock trio, Augustines, is an urgent, resonant wakeup call, taking stock of where we are now and what the future holds… an open road ahead.

‘A Youthful Dream’ the debut album from Yung is a revelation. Angst makes space for wisdom, youthful exuberance begins channelling road-tested experience, and a blur of basement shows and self-produced bromides becomes something more. Where the previous releases such as ‘These Thoughts Are Like Mandatory Chores’ found Silkjær masterfully running through buzzsaw riffs, recalling The Replacements and Jay Reatard, ‘A Youthful Dream’ finds Silkjær reshaping his DIY vocabulary and experimenting with a larger sonic palette, in ways that may make fans do a double take. Richer melodies, pianos, and even trumpets made their way into the recording sessions at Sound Studio in Sweden, where Silkjær, Frederik Nybo Veile (drums) and Tobias Guldborg Tarp (bass) decamped with a handful of guest musicians. Consider the airy, self-referential ‘The Child,‘ a reverie or languid guitar lines punctuated by a horn line; the mid-tempo swagger of ‘Uncombed Hair,’ suddenly amping up without losing control; or the slow build of ‘The Hatch,’ its anthemic scope and chugging drums lines showing a new compositional mastery without losing the immediacy and energy of past efforts.
LP – Black Vinyl with Download.
LP+ – Limited Clear Coloured Vinyl with Download.

Remastered reissue of the original ‘It’s Too Late to Stop Now’. The three-month tour, which launched just months before Morrison released his 1973 LP ‘Hard Nose the Highway’, featured the singer backed by the 11-piece Caledonia Soul Orchestra, Morrison’s tight knit backing band. ‘It’s Too Late to Stop Now’ is a live album that was originally released in 1974. Frequently named as one of the best live albums ever recorded, ‘It’s Too Late to Stop Now’ was recorded during what has often been said to be Morrison’s greatest phase as a live performer. The double album is composed of performances that were recorded in concerts at the Troubadour in Los Angeles, California, the Santa Monica Civic Auditorium and at the Rainbow in London from a three-month tour with his eleven-piece band, the Caledonia Soul Orchestra, from May to July 1973.

Van Morrison’s 1973 tour that spawned the singer’s classic live album ‘It’s Too Late to Stop Now’ is the focus of an 3CD / 1DVD archival release. Titled ‘It’s Too Late to Stop Now… Volumes II, III, IV and DVD’, the collection boasts three previously unreleased concerts from Morrison’s trek – recorded at Los Angeles‘ the Troubadour, the Santa Monica Civic Auditorium and London’s Rainbow Theatre – along with a July 24th London gig that was filmed for a BBC Sight and Sound special but never commercially released.