Posts Tagged ‘Various Artists’

Various: Box Of Pin-Ups – The British Sounds Of 1965 – album review

Having stated in the recent box set “Think I’m Going Weird review that 1966 was a hugely important year in UK music, along comes Box Of Pin-Ups. This new 3CD set which puts forward a case for 1965 perhaps being of equal merit, offering a bright array of different sounds. Merseybeat, which had been the driving force in the UK for the early part of the 1960s, was more or less over and done at this stage, with The Beatles having moved well away from their roots by the time of Rubber Soul, their second album of 1965. This left a great number of acts who needed to piece together a new attitude in order to survive.

In addition rhythm & blues rave-ups had become a powerful force on the live circuit and US soul had also made a big impact. The mods, who with speed-fuelled energy filled the all-night clubs, also wanted edgy bands that reflected their fast moving lifestyle of ever-changing sharp fashions, scooters, pep pills and violence. Up and down the country fledgling outfits modified their approach by the day, as falling “behind the time” was tantamount to resigning oneself to the dreaded cabaret circuit. Even some pretty middle of the road pop music had give some ground to the now sound if they wanted to cut it in the wilder mid-60s. All this activity ended up instigating some exciting times and a selection of it is captured on this new collection.

As far as starting things with a bang goes, “Box Of Pin-ups” opening salvo of The Pretty Things’ “Midnight To Six Man”, an alternate take of “What’cha Gonna Do About It” by The Small Faces and The Eyes’ snotty majesty on I’m Rowed Out is hard to beat. The Pretties and The Faces of occupied positions as premier r&b punk hoodlums and mod fashion plates respectively, something that is borne out by Midnight To Six, one of the great moments of rock & roll attitude and the sawing pop art feedback antics on a wild take of What’cha Gonna Do About It. The Pretties also crop up later on disc three with an exuberant “Get A Buzz”. Ealing’s own The Eyes were also important in their own way, perfecting a sound that would be retrospectively termed freakbeat on “I’m Rowed Out“.

Donovan’s work tends to polarise attitudes, but his Hey Gyp (Dig The Slowness) surely must have influenced a young Marc Bolan and Lulu & The Luvvers’ sparky soul number Surprise Surprise follows on with a bundle of youth vim. Belfast band The Wheels’ rough and ready version of garage standard Gloria speeds gloriously towards its dénouement and beat veterans Brian Poole & The Tremeloes attempt to jump into the future in similar style with their take on The Strangeloves’ I Want Candy. The Poets, from Glasgow, furnish us with a genuine cool 1965 classic in That’s The Way It’s Got To Be, with the dramatic and energetic “Unto Us” by The New Breed, a Hampstead group previously know as Thee (featured on disc two of this set with the poppy There You Go!), also impressing. Then a young Ron Wood pilots The Birds to freak heaven on a mean and moody “Next In Line”, full of chilled guitar brutality and fluid drums.

Paul Jones was near the end of his stint in Manfred Mann by EP track “Tired Of Trying, Bored Of Lying, Scared Of Dying”, but this is a tough and enjoyable slice of blues with a nice rolling piano sound and great guitar fuzz. Dave Berry weaves a more measured web on an alluring This Strange Effect, written by The Kinks’ Ray Davies and there are early sightings of Elton John and Rod Stewart. The former features in recognisable vocal fashion on Bluesology’s soul-flecked “Come Back Baby” and Rod on a solo “Why Does It Go On”. Brian Auger had previous with Rod The Mod and his Trinity and their Fool Killer positively reek (in a good way) of exciting and hot dance all-nighters

Vashti (Bunyan) is now better-known for Just Another Diamond Day, but Some Things Just Stick In Your Mind is ice-cool folk pop and The Searches jangle as only they knew how on I’ll Be Doggone. It is a shame that not long after this they were left behind by the changing times, despite their obvious performing talents. A busy r&b number called “Done Me Wrong” by The Couriers is enjoyably frantic and mod band The Frays contribute a punchy “Keep Me Covered“, with their singer eventually going on to front Canadian new wave band Battered Wives. The punky lurch of Glenn Athens & The Trojans’ Let Me Show You How” is a real bolt of pure 1960s sneering attitude, it is an absolute gem. This disc concludes with the crunchy rave-up of I’m Leaving by The Mark Four, who would soon mutate into The Creation and The Syndicats’ much heard but still fab “Crawdaddy Simone”.

Disc two Of Box Of Pin-Ups begins with the garagey rumble of The Yardbirds “Evil Hearted You” and Coventry freakbeat kingpins The Sorrows with “No No No“. Mod heroes The Action bring Land Of One Thousand Dances vividly to life and “I Can’t Get Any Joy” by Rolling Stones proteges The End packs a neat pop punch. The Hollies often showed they had all the tools to be major players, when they finally managed to assert themselves as self-contained unit not dependent on outside writers. “Their Put Yourself In My Place” is the kind of beat pop nugget The Beatles had specialised in, but has a charm and gusto of its own.

The Afex hailed from Dagenham, but were sadly not due any real success with only a couple of singles by them emerged. However their freewheeling, youthful-sounding “Too Many Things” is a tonne of fun and the echo-laden with slightly surf drums You Got What I Want by Boys Blue is chaotic enough to start a riot of its own. Having checked in with Ron Wood on disc one, brother Art’s band The Artwoods strut into view here with the cool r&b of “She Knows What To Do”. The Graham Bond Organisation follow in a similar mode with Neighbour Neighbour and while it is very tempting to mention a certain contemporary garage rocker when talking about The Downliners Sect, I won’t and will just say their “Leader Of The Sect” is simply enjoyable silliness of the first order.

I’m a big fan of Zoot Money’s Big Roll Band and brassy, live feel of I’ll Go Crazy is the perfect fit for the keyboard Lord of Looning. Harrow’s Bo Street Runners had a brush with success when they won a Ready Steady Go TV competition to find the new Beatles. With that weight on their shoulders they didn’t have much chance, but their “Get Out Of My Way” is a decent and fast tune with a marked soul influence. Having mentioned Marc Bolan earlier, the bopping elf is present on this disc with the 1965 single version of “The Wizard“, which shuffles along enigmatically and even though The Uprooted were in truth an amateur school band, they sound pretty cool and sharp on “It’s Just You“.

Diamond Girl by The Kingpins is a real powder-keg of 60s punk excitement and The Ugly’s were an early vehicle for Brum rock & roll legend Steve Gibbons. They are represented here by “It’s Alright”, a proto-psych pop breeze. A fast version of the Chuck Berry standard Don’t Lie To Me by Four + One featured one Keith Hopkins aka Keith West and it’s fun to hear The Moody Blues in pure soul mode on “And My Baby’s Gone“. The bluesy beat of Reelin’ And Rockin’ by The In-sect seems slightly anachronistic but is still quite good and “There You Go” by Thee finishes off this section of Box Of Pin-Ups.

The third and final part of this set ensues with The Animals’ tough as nuts “It’s My Life” – if you wanted the hard-boiled North East attitude in one addictive musical hit, here it is. The ultra fuzz of Jump And Dance by The Carnaby has been often compiled, but in order to give as clear a picture of 1965 as possible I suppose a few familiar items have to be included. An excellent Bring It To Jerome, a Joe Meek production by David John & The Mood, acts here as the perfect prelude to The Pretty Things’ fine Get The Buzz. Breakneck r&b is also the order of the day on The Primitives’ You Said.

A more ornate pop approach is displayed on Robb Storme & The Whispers’ Where Is My Girl and John Bryant’s gleaming sound “Tell Me What You See”. But of course St Albans’ favourite sons The Zombies were masters at that game and their piece included on Box Of Pin-Ups “Tell Her No” is as smooth a slice of mid-60s pop that one could imagine. Of course The Hollies were no slouches in that particular field either. Their second contribution “I’ve Got A Way Of My Own” is a real charmer of rough harp blowing and harmony vocals and James Royal & The Hawks’ Doug Sahm cover “She’s About A Mover” follows with a solid dance groove.

The moody, sorrowful blues of “I Found Out” by The Cops ‘N’ Robbers overflows with lowkey menace and Leatherhead combo The Silence, soon to become psychedelic act John’s Children, inject the lo-fi sound of Forgive Me If I’m Wrong with a churning but agreeable fuzz. A rough audio quality also marks Arthur Brown with The Diamonds’ “You Don’t Know”, but even so it underlines Art’s prowess as a soul shouter. The Sheffields’ Plenty Of Love is lively and explosive and we find ourselves back firmly in rhythm & blues rave-up country with The Betterdays’ hard driving “Honey What’s Wrong” and the organ glide of “Stupidity” by Guy Darrell. This set reaches its finale with The Kinks’ peerless “Where Have All The Good Times Gone”, which is a hell of an evocative way to go out on

Box Of Pin-Ups is, for the vast majority of its running time at least, an invigorating and entrancing listen which reflects the rapidly changing times it documents. This set comes with the usual very thorough sleeve notes that give you the full S.P. on each of the acts famous or obscure and the whole thing is pretty well packaged. 1965 seemed to me to mark the end of beat and the beginning of something new in UK music – a voyage of adventure was ahead and among the 92 tracks here you can hear the storm approaching. But even at this stage of development, there is much to delight.

• A 3-CD, four-hour celebration of the post-Brumbeat late ‘60s/early ‘70s rock scene in the West Midlands.

• Tracing the evolution and development of that scene as local musicians embarked on an epic journey that embraced mod pop, psychedelia, blues, progressive rock, glam-rock and heavy metal, inspired by the emergence of chief catalysts The Move.

• Revolving around the area’s big hitters, with key selections from The Move, The Moody Blues, The Spencer Davis Group, Traffic, The Idle Race, Slade, The Electric Light Orchestra, Roy Wood and Wizzard, Judas Priest and others.

When the beat/R&B explosion died out around 1965, so did the influence of cities like Liverpool and Manchester. However, the live scene in Birmingham and surrounding towns went from strength to strength. By the end of the decade, the West Midlands had become the smelting house of the nascent hard rock/metal revolution.

Including a bunch of classic cult 45s (The Craig, Locomotive, Medicine Head, The Ghost) and essential cuts from enduring local legends like Steve Gibbons and his band The Ugly’s, Denny Laine, The Montanas and Jimmy Powell.

Also featuring several previously unreleased tracks, including music from post-World Of Oz outfit Kansas Hook, Big Bertha, Cathedral and the first-ever recording (made in 1967) to feature future Magnum vocalist Bob Catley.

Housed in a stylish clamshell box that includes a heavily illustrated and annotated 48- page booklet, ‘Once Upon A Time In The West Midlands’ is a fascinating microcosm of the post-beat/pre-punk development of British rock music that will be of huge appeal far beyond its narrow geographical focus.

Released November 26th, 2021.

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“Think I’m Going Weird: Artefacts From The British Psychedelic Scene” 5CD box set (Grapefruit UK)

Grapefruit’s landmark 100th release.

A definitive overview of the British psychedelic scene, an epic five-CD/book set that includes more than 50 minutes of previously unreleased music from the halcyon period 1966-68.

Including the major acts of the era (The Who, Traffic, Small Faces, The Move, Procol Harum, Incredible String Band, Family, Crazy World of Arthur Brown etc), ‘Think I’m Going Weird: Original Artefacts From The British Psychedelic Scene 1966-68’ features many bands who also played London’s underground dungeons during the Summer Of Love.

Featuring studio demos from the likes of Tintern Abbey, The Soft Machine, Mabel Greer’s Toyshop, Genesis, Mandrake Paddle Steamer, Dantalian’s Chariot and others plus numerous cult 45s (July, Caleb, Vamp, Blossom Toes, Sweet Feeling, etc) and fascinating album cuts from such scene stalwarts as Tomorrow, Fairport Convention, Kaleidoscope, The Deviants and Elmer Gantry’s Velvet Opera.

Perhaps most enticingly of all, the collection includes a number of hitherto-unknown recordings by bands who are only now gaining their first public exposure including Eyes Of Blond, Tinsel Arcade, Crystal Ship (whose contribution features lyrics from Pete Brown) and the semi-mythical 117, such a legendary name from the era’s handbills and posters that they even had a UK psych fanzine named after them in the ‘90s.

A dazzling feat of licensing and research, ‘Think I’m Going Weird…’ comes in a 60-page A5 book format with 25,000-word track-by-track annotation with some extraordinary and rare photos and memorabilia.

For anyone even remotely interested in British psychedelia, it’s simply an essential purchase.

At the end of July, celebrated R.E.M.’s fortieth anniversary as a band with a week of coverage, we were thrilled the band’s social media got involved in sharing our content, and the participation from fans was awesome!

To round off the celebrations, on the 20th of August we are releasing a compilation entitled “A Carnival of Sorts: A compilation of R.E.M. covers” by various artists. Featuring talented artists from independent labels, self-releasing, and musicians who are just fans of the band.

The entire album is now available to purchase for a very reasonable £6 on Bandcamp and all profits will go to Help Musicians ( who have done great work

Especially over the last few years funding musicians when they couldn’t tour due to the pandemic. If you pre-order now you will get four tracks to download instantly, including awesome covers by Desperate Journalist, Taffy, Body in the Thames, and Celestial North.

The eclectic 40 strong tracklist was mostly recorded for this project, featuring artists from across the globe, from Wales, Athens, London, Edinburgh, Sweden, Japan, Australia and beyond – each act taking on R.E.M. in their own distinct styles, affectionately paying tribute to one of the most important alternative rock bands of our era.

I am astounded and really pleased at the outcome, there are superb versions of classic R.E.M. songs here, in really unique styles. It also includes covers by The Darling Buds, Mark Morriss, Bugeye, Ritual Cloak, Bandicoot, I,Doris, Aderyn, Quivers and many more.

We would like to thank each and every act who have specially recorded a version of a R.E.M. track for our compilation album and the producers who lent their time to mix them. Plus the labels such as Libertino, Reckless Yes, Fierce Panda, Bubble Wrap recordings, and Mike Turner at Happy Birthday To Me Records plus Samantha Chamberlaine and Chris from the Waiting Room podcast, who have helped and worked with us and or allowed their artists to appear on the release! Also to artist Kevin Alvir who is a big R.E.M. fan and worked with us to create this beautiful artwork for the release.

Leading up to the release we will feature each participating artist and their reasons why they chose the song they covered. Thank you to all of the acts and labels and of course Stipe, Buck, Berry and Mills for their songs.

R.E.M. endorse this covers compilation: “All of these renditions are noteworthy— enthusiastic thumbs up!
So proud that younger groups got what we were goin’ for. Thanks” — Bill Berry

“Tell em its cool. I’m in the studio” — Peter Buck

“I’m listening now, and I’m blown away by the energy and voices that
are coming through this project—what an honor!” — Michael Stipe

Bill Cummings, editor of GIITTV Zine

Releases August 20th, 2021

The Music of the Neal Casal will be honoured with a 41-song tribute album box set, Highway Butterfly: The Songs of Neal Casal, featuring J Mascis, Phil Lesh, Bob Weir, Steve Earle, Cass McCombs, Fruit Bats, Hiss Golden Messenger, Vetiver, Warren Haynes, Jonathan Wilson w/ Hannah Cohen, Jonathan Rice, Eric Krasno, Susan Tedeschi & Derek Trucks, The Allman Betts Band, Puss N Boots (ft. Norah Jones), Neal’s own band Circles Around The Sun, and many more.

The album comes out November 12th, and all proceeds will benefit the Neal Casal Music Foundation, a “501c3 non-profit formed in 2020, which provides musical instruments and lessons to students in New Jersey and New York state schools where Casal was born and raised, while also donating proceeds to mental health organizations that support musicians, including MusiCares and More info on the box set, via press release:

‘Highway Butterfly: The Songs of Neal Casal’ is a tribute to the life and music of the gifted singer, songwriter, musician, and friend to many.

Featuring 41 of Neal’s songs on 5 LPs or 3 CDs, the collection brings together a galaxy of rock and roots music luminaries to reimagine the body of work he left behind, while celebrating his enduring impact as an artist. Within the limited edition vinyl and CD box sets are sleeves with rare and previously unpublished photos of Neal, a booklet presenting song lyrics, Neal’s own iconic photography and an essay by early career champion Jim Cardillo. Additional collectibles include a poster and baseball card with photos of Neal by photographer Jay Blakesberg and stickers designed by poster artists Alan Forbes and Marq Spusta.

The music was co-produced by Widespread Panic’s Dave Schools and 7-time Grammy-Winner Jim Scott. Song previews: Bob Weir / Jay Lane / Dave Schools, “Time And Trouble” Jimmy Herring with Circles Around The Sun, “Bird With No Name” Leslie Mendelson, “Feel No Pain” Shooter Jennings, “Maybe California” Billy Strings with Circles Around The Sun, “All The Luck In The World” Susan Tedeschi and Derek Trucks, “Day In The Sun” Beachwood Sparks & GospelbeacH, “You Don’t See Me Crying”

Beachwood Sparks & GospelbeacH – “You Don’t See Me Crying” from ‘Highway Butterfly: The Songs of Neal Casal’

In addition to 41 performances of Neal Casal songs by 130 participating musicians, the box set includes LP sleeves with rare and previously unpublished photos of Casal, a 48-page booklet presenting song lyrics, Casal’s own iconic work as a photographer and an essay by early career champion Jim Cardillo.

Additional collectibles include a poster and baseball card with photos of Casal by photographer Jay Blakesberg and stickers designed by poster artists Alan Forbes and Marq Spusta. The Neal Casal Music Foundation and record label Royal Potato Family who partnered to release the collection will also be working with ClimeCo to voluntarily mitigate the carbon emissions from the manufacturing and shipping of the box sets.

There are a few ups and downs here, like in every Springsteen tribute, but I think that Glory Days as a pub singing song is simply genius!.

It’s a mouthful of a title for a mouthful of an album. At a colossal 38 tracks, Play Some Pool… is more of a Now That’s What We Call Broooce. And helpfully there’s nary a part of the Bruce canon untouched for any long term fan who wishes to be offended/ delighted by the homages contained herein.

Usually found in order of importance to an artist’s reputation beneath live albums and remix compilations, tribute albums are notoriously iffy affairs at the best of times. Lots of phoned-in performances by big(ish) names, or just downright weird-bordering-on-insulting pastiches, as anyone who has sat through one will attest.

Despite no actual presence of recent Bruce torchbearers such as The Hold Steady or The Gaslight Anthem, all manner of semi-known indie herberts line up to doff a cap. Probably the best known acts here concern fans of Art Brut – singer Eddie Argos fronts Glam Chops’ version of “Born In The USA” (done, as you’d imagine, in the style of the Glitter Band fronted by Mark E Smith, all deeply unsober at a kebab house) and ex-Hefner youngster Darren Hayman.

Highlights? The splendid Butcher Boy’s delicate reading of Streets Of Philadelphia; Help Stamp Out Loneliness’ gorgeously electro I’m On Fire; School’s C86-y take on Hungry Heart; ‘Allo Darlin”s rippling indie makeover of Atlantic City and the superbly named Swedish Chef’s glistening weaklingness take on Used Cars. Unfortunately Linda Black Bear’s banjo-assisted version of Born To Run sounds like Neil Young at a music workshop, and The WinterSleep’s half awake meander through Dancing In The Dark doesn’t really add anything to your life, other than sucking away what seems like two hours.

There’s actually nothing completely horrendous on here, although the chances of you wanting to sit through it all again are slim. Instead there’s a good dozen or so tracks here to be selected by everyone, Springsteen fan or not.

Originally Released September 23rd, 2009

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Before he became Patti Smith’s bass player, Lenny Kaye compiled the 2 album set, “Nuggets: Original Artyfacts from the First Psychedelic Era”. Released in 1972, the two-LP set covered American garage rock and psychedelia from the years from 1965-1968, and was a major influence on punk rock. Rhino Records reissued an expanded version of the set in 1998, with 118 tracks in total. I’m profiling and rating each of these 118 tracks, working backwards.

Iowa teenager Craig Moore formed a high school band, The Pagans. The band’s bassist, he initially learned two songs – ‘Last Night’ by The Mar-Keys and ‘Steppin’ Out’ by Paul Revere and The Raiders. He added a third song to his repertoire -‘Gloria’ by Them – but inadvertently spent the first six months playing the three note riff backwards. Nicking some members from another local band, The Rogues, The Pagans changed their name to GONN. Why? Guitarist Rex Garrett’s mother didn’t approve of the name The Pagans.

As with many bands featured on Nuggets, the compilation features their signature song. The title was inspired by a 1942 mystery thriller by J. B. Priestley, The Blackout At Gretley. There’s a thrilling opening – Moore intones “The universe is permeated with the odor of kerosene” over creepy organ. The rest of the song doesn’t quite match the introduction, but it’s an enjoyable bluesy riff-rocker that recalls the mid-1960s Rolling Stones. The shaggy dog story of the lyrics is a nice touch.

GONN seemed destined to land in obscurity – a second single, ‘Doin’ Me In’, wasn’t released. They courted controversy by playing in front on a large Nazi flag, didn’t progress far beyond playing Iowa state fairs, and they broke up in 1969.

‘Blackout of Gretely’ belatedly gained a following, especially after it was featured on the CD reissue of Pebbles, Volume 1 in 1992. By the mid-1990s copies of the original single were selling for US$1,000. The band reunited in the 1990s, and recorded their only studio album, Gonn With the Wind, in 1996.

4AD - Final Four 'Bills & Aches & Blues' Tracks Out Now

In 1980, a new British independent record label was christened Axis, but discovered after its first batch of releases that another Axis already existed, so a new name was necessary to avoid legal problems. New name: 4AD.

Now, 41 years after its inception, 4AD came up with the idea to celebrate the label’s glorious past with current artists covering a song of their choice from 4AD’s impressive catalogue of releases.

In 2020, 4AD Records turned 40 years of age. Never one to be on time for a party, the label is commemorating that landmark this year with the release of “Bills and Aches and Blues”. The compilation features 18 of its current artists covering a song of their choosing from 4AD’s past: a creative experiment rooted in the spirit of collaboration and a snapshot of 4AD, 41 years after its inception.

Bills and Aches and Blues’ includes 18 recordings contain fascinating connections between artist and track. The earliest song chosen (by U.S. Girls) is The Birthday Party’s Junkyard, from 1981; the most recent are the two Grimes covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning) from 2012. Suitably, for the one band that bridges 4AD past and present, The Breeders are all over Bills And Aches And Blues. They’re covered three times – ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt Eaters’ by their ‘90s contemporaries His Name Is Alive.

Bills & Aches & Blues features 18 of the label’s current artists covering a song of their choosing from 4AD’s past: a creative experiment rooted in the spirit of collaboration and a snapshot of 4AD . 

From 4AD’s 40th anniversary compilation Bills & Aches & Blues, SOHN does a double cover, taking on This Mortal Coil’s iconic, Liz Fraser-powered version of Tim Buckley’s “Song to the Siren” and doing so in a very reverential manner.

Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’ ‘Where is My Mind?’, will feel comfortable to casual fans, however by contrast, much joy can be found in the album’s surprise choices, such as Air Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by new signings Maria Somerville and Jenny Hval.

Bills and Aches and Blues is named, arguably (as Elizabeth Fraser never published the lyrics) after the opening line of Cocteau Twins ‘Cherry-Coloured Funk’. Perhaps too unique and uncoverable in their own right, their legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs SOHN’s cover.

Some tracks unearth hitherto hidden shared DNA, such as Future Islands’ and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to reinvention. Aldous Harding distils the melodic essence of Deerhunter’s ‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco ‘Junkyard’ and Bing and Ruth’s neo-classical instrumental ‘Gigantic’ are even more radical interpretations. Leading off the album, Tkay Maidza brings both her Art Rap and R&B game, but also an unexpected ‘80s synth pop template, to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

Side 1:
01 Tkay Maidza Where Is My Mind? (Pixies)
02 U.S. Girls Junkyard (The Birthday Party)
03 Aldous Harding Revival (Deerhunter)
04 The Breeders Dirt Eaters (His Name Is Alive)
05 Maria Somerville Seabird (Air Miami)
Side 2:
06 Tune-Yards Cannonball (The Breeders)
07 Spencer. Genesis (Grimes)
08 Helado Negro Futurism (Deerhunter)
09 Efterklang Postal (Piano Magic)
10 Bing and Ruth Gigantic (Pixies)
Side 3:
11 Future Islands The Moon Is Blue (Colourbox)
12 Jenny Hval Sunbathing (Lush)
13 Dry Cleaning Oblivion (Grimes)
14 Bradford Cox Mountain Battles (Breeders)
Side 4:
15 SOHN Song To The Siren (Tim Buckley)
16 Becky and The Birds The Wolves Act I and II (Bon Iver)
17 Ex:Re Misery Is a Butterfly (Blonde Redhead)
18 Big Thief Off You (The Breeders)

Beggars Group Digital Ltd.

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Before Andy Gill’s death there was a Gang Of Four tribute album in the works. After he passed, it got pushed back a bit, but now “The Problem With Leisure: A Celebration Of Andy Gill And Gang Of Four” is coming out in May. It features a bunch of artists covering Gang Of Four songs, and in January we got to hear Tom Morello and Serj Tankian take on “Natural’s Not In It.” Now we have another new song from the compilation: Warpaint’s rendition of “Paralysed.”

Here’s what Jenny Lee had to say about Warpaint’s cover: “The change will do me good.” (Damaged Goods). Best piece of advice that pretty much changed my life. Not to mention Dave Allen’s bass playing also changed me forever. Made me wanna play bass.

It was cool to get inside of “Paralysed,” and for Gang Of Four to give us freedom to freak out in our way… it was a beautiful opportunity and we’re SOOO excited. It’s an honour actually to be a part of Andy’s tribute.

“Andy loved the way Warpaint created not only songs but atmospheres, without sacrificing drive and danceability,” Gill’s widow Catherine Mayer added. “The marriage of their unique sound with ‘Paralysed,’ on the face of it one of the least likely dance tracks ever, is spectacular.”

Caught Beneath The Landslide

Lost tracks, hard to find versions, B-sides, remixes & more • 4CD or 2LP packages • 500-only limited editions with Kevin Cummins signed print. Demon Music will issue a new Britpop-era compilation curated by legendary music photographer Kevin Cummins called Caught Beneath The Landslide: The Other Side of Britpop and the ’90s.

Available as a four-CD set or a 2LP vinyl package, Caught Beneath The Landslide offers classic tracks, lost gems, live and alternate versions, B-sides and single edits from the Britpop era. Acts include Oasis, Blur, Pulp, Suede, Elastica, Radiohead, Lush, Supergrass, Menswear, Gene, The Auteurs, The Charlatans, Echobelly, Ash and Sleeper.

Kevin Cummins was chief photographer at the NME for more than a decade and was witness to – and documented the musical and cultural phenomenon in the first half of the ‘90s, that was variously tagged ‘Britpop’ or ‘Cool Britannia’. Now Kevin has compiled ‘Caught Beneath The Landslide: The Other Side of Britpop and the ‘90s’, brings together artists that topped the chart and set the agenda, some who were lauded one week and laughed at the next, and others who were just along for the ride. From an era of Lad’s mags and Girl Power, “football’s coming home” and chart battles making news headlines,

His photo-book While We Were Getting High: Britpop and the ‘90s, was published last year and now Kevin has compiled this companion collection. The four-CD package contains 71 tracks, which the 2LP vinyl set offers 26.

In-depth sleeve notes explore the bands, their influences and features contributions from producer Stephen Street, DJ Steve Lamacq, Johnny Dean (Menswear), Math Priest (Dodgy), Kevin Miles and Matt James (Gene) and Jaime Harding (Marion) and contain original photos from Kevin’s collection

Kevin Cummins says: “It was always my ambition to have a companion album to the book, a chance to enjoy the music of that era, music as timeless as the images. When I was selecting photos for my book, I took to Twitter to ask fans if certain bands could be considered part of the genre. Several musicians joined in to deny they were ever part of Britpop. The Manics were never considered part of the genre, nor Primal Scream, and much as I would have like to include them I chose not to. So it pleases me that we can feature both bands and many more in this collection, with its broader take on Indie music in ‘90s Britain.”

As well as the Amazon-exclusive 4CD set with signed print, Rough Trade in the UK have an exclusive 2LP black vinyl edition also with signed print. This is limited to 500, like the CD set. There is also a clear vinyl indies-only exclusive (also available at Rough Trade)

The four-CD set of “Caught Beneath The Landslide: The Other Side of Britpop and the ‘90s” is out on 30th April 2021, with the 2LP version following on 14th May.