Posts Tagged ‘Warner Bros Records’

The Muffs - Blonder And Blonder

The Muffs’ debut hit the scene in 1993, and was an instant smash. Any fear that they could follow it up successfully was answered when Blonder And Blonder arrived two years later. The Muffs burst onto the California music scene at the beginning of the ’90s, and after a few independent singles and EPs, they were quickly snapped up by Warner Bros Records. Entering the studio with David Katznelson and Rob Cavallo (who would go on the helm records from Green Day, Goo Goo Dolls, and more), The Muffs roared from speakers across the country in 1993. According to renowned critic Jim DeRogatis, “You’d have to reach all the way back to Blondie’s Plastic Letters to find punkish power pop this endearing.

If you’re curious why so many sing the praises of the late, great Kim Shattuck, “Blonder And Blonder” is the perfect place to start. The Muffs’ second album sees the screamer-guitarist joined by bassist Ronnie Barnett and drummer Roy McDonald, and the trio bash out these 14 Shattuck originals with spirit and skill. Green Day producer Rob Cavallo knows more than a little about punk-pop, and together with the Los Angeles band helms this collection, whose catchy hooks, droll lyrics and instrumental fury shine on such highlights as “Agony,” “Oh Nina” and single “Sad Tomorrow.” The Reprise set turns 25 this weekend, and any alternative rock fan will have more fun with “Blonder And Blonder”. 

The band propelled by Shattuck’s material to even greater heights, and Blonder became the band’s biggest selling album.
Omnivore Recordings is proud to present this ’90s milestone on CD with 7 bonus tracks (2 U.K. B-sides, and 5 previously unissued Shattuck demos) and on LP for the first time in over two decades.
Like 2015’s reissue of The Muffs, debut album the full-color packaging includes photos, drawings, memorabilia, and essays from Barnett and McDonald, as well as, track-by-track commentary from Shattuck. 21 years later, Blonder And Blonder still sounds as vital and visceral as it did upon its original release. Face it, you to have this record in your collection.

Reuniting and issuing their first new release in a decade last year, garnering critical lauds and playing to enthusiastic crowds, it’s time to go back to where it all started. It’s time for The Muffs!

No photo description available.

Prince Daddy & the Hyena’s ability to transform rock-bottom defeatism into a raucous group activity. “Lauren (Track 2)” was, without a doubt, among the most fun song released in 2019, and the way Prince Daddy carry this energy over to other tracks on the album Cosmic Thrill Seekers, where Kory Gregory opens “Trying Times” by bellowing about how “every day’s been a bad day for so long,” or wails lines like “stupid fucking life, it’s only getting harder” moments before a killer outro on “Klonopin,” signals an optimistic turn for a genre that often invites isolation among its listeners.

Even the softest moments on Cosmic Thrill Seekers such as the acoustic intro to opener “I Lost My Life,” or the mid-track breather on closer “Wacky Misadventures of the Passenger”—are disrupted by Gregory’s yawps before heavy electric guitars hit as hard and unexpectedly as the depression that fueled so much of the record’s lyrics. There’s never really a moment of peace, but such brief periods of seemingly personal anxiety spouted by the vocalist are immediately filled by a massive support system in the form of Gregory’s dense backing band, at times even featuring a full brass section. The cyclical structure of the album—“Passenger” transitions smoothly back into track one—has been widely noted for its analogue to mood cycles, but there’s been little talk about the group-therapeutic nature of the record’s sound.

For plenty of bands of this caliber, an album is just a springboard for hectic live shows. But Cosmic Thrill Seekers offers anyone who feels pretty confident that they’ll die the next time they’re alone in their bedroom an opportunity to thrash in each others’ company.

Image may contain: 1 person

Neil Young has announced that his previously shelved 1975 album, “Homegrown”, will finally be released in early 2020 following its restoration from the master tapes.

“Homegrown will be our first release in 2020, sounding great in vinyl – as it was meant to be,” Young wrote on Neil Young Archives. “Made in the mid-nineteen seventies! …A record full of love lost and explorations. A record that has been hidden for decades. Too personal and revealing to expose in the freshness of those times. The unheard bridge between the albums Harvest and Comes A Time, Homegrown is coming to NYA first in 2020!”

The Neil Young Archives homepage also shows a video of Young’s longtime engineer John Hanlon mastering Homegrown in an analogue chain. “This is the way records were made when we started out. This is the way we made them sound great. We were told that this was impossible now, the Homegrown tapes were too damaged to use; we had to use digital. We didn’t agree. We did not accept. We painstakingly restored the analogue masters of Homegrown.”

Image result for neil young homegrown"

Image may contain: 3 people

The Shelters fan a fresh flame with classic fuel on their second full-length, “Jupiter Sidecar”. Ebbing and flowing between rock ‘n’ roll roots, surf swagger, synth swells, and unassuming pop ambition, the Los Angeles-based group thread it all together with catchy melodic hooks. This approach quietly cemented them as a fan and critical favorite following the release of their self-titled full-length in 2016, which was produced by Tom Petty.

The Shelters returned to his Malibu studio to craft Jupiter Sidecar and to mourn the loss of their friend and mentor – and in the process learned to rely on one another like never before.

Band Members
Chase Simpson,
Josh Jove,
Sebastian Harris

New album Jupiter Sidecar out now!

Tuscaloosa (Live)

Neil Young culled highlights from his February 5th, 1973 concert at the University Of Alabama in Tuscaloosa with The Stray Gators for a new live album entitled “Tuscaloosa”, which is due out on June 7th via Warner Bros Records. The first single from the seven-track LP is a slow and beautiful version of “Don’t Be Denied.”

This is the next installment of Neil Young’s ongoing archival series, a concert he played with the Stray Gators simply titles “Tuscaloosa”, it will come out on a single CD and a three-sided vinyl album with etched artwork on side four.

“It’s from the period right around Harvest and Tonight’s the Night,” said Young,  “For me, it’s edgy. It’s like those mellow songs with an edge. It’s really trippy to be down in Tuscaloosa, Alabama, and singing those songs from Harvest and the songs that we were doing for Time Fades Away before it came out. I found this thing and it had such a great attitude to it. I just loved the whole night, so I put that together with [engineer] John Hanlon.

Neil Young + Stray Gators “Don’t Be Denied” from the upcoming album ‘Tuscaloosa” Available on June 7th.

Jenny Lewis

Jenny Lewis  has released an infectious new single titled “Wasted Youth” from her forthcoming album “On The Line”, due out Friday, March 22nd. Jenny Lewis releases her fourth solo album, On The Line – the follow up to 2014’s critically acclaimed The Voyager on Warner Bros. Records.

The 11 all new original songs were written by Lewis and recorded at Capitol Records’ Studio B, and feature a backing band of legendary talent including Beck, Benmont Tench, Don Was, Jim Keltner, Ringo Starr and Ryan Adams. The track, which sounds like vintage memorabilia in new packaging, was previously debuted during Lewis’ live-streamed hangout session/listening party for On The Line.

Other advance tracks from the album include “Heads Gonna Roll” and “Red Bull & Hennessy.” Utilize the present and listen to “Wasted Youth” below,

‘Wasted Youth,’ ‘Heads Gonna Roll’ and ‘Red Bull & Hennessy’ comes from Jenny Lewis’ new album ‘On The Line’ – available March 22nd!

Indie idol and former Rilo Kiley frontwoman Jenny Lewis has released her third solo album, titled On the Line. It’s a masterful and sprawling record, sometimes devastating and other times soaring to great emotional heights. Lewis manages to convey a complete portrait of herself as an artist who has been through the gauntlet of rock stardom and made it to the other side vibrantly, loudly alive.

On The Line Deluxe Vinyl - Jenny Lewis Store

Jenny Lewis has confirmed her highly anticipated return with her fourth solo album, ‘On The Line’ – the follow up to 2014’s critically acclaimed ‘The Voyager’.  The 11 all new original songs were written by Lewis and recorded at B studio B, and feature a backing band of legendary talent including Beck, Benmont Tench, Don Was, Jim Keltner, Ringo Starr and Ryan Adams. Jenny has also announced her first round of 2019 headlining dates.the march-may 2019 itinerary includes stops at Nashville’s historic Ryman Auditorium,

Late last year, Jenny Lewis teased that her new album, would be one of our most anticipated of 2019, was on its way early this year. After unleashing a pair of suspicious tweets, Lewis confirmed the new record is called On The Line, and it’s not dropping until March 22nd on Warner Bros. Records. The news arrives with the album’s first single, “Red Bull & Hennessy,” which arrived with a twinkly accompanying visualizer. “Red Bull & Hennessy” is Lewis’ first new music since her 2014 album The Voyager, and on this love song-turned-party song, she makes an invigorated return in a fit of bluesy electric guitar, “high on Red Bull and Hennessy.” She teases and taunts (“Don’t you wanna kiss me? Don’t you wanna even try?”), only to proclaim she’s “higher than you.” After five silent years, the singer/songwriter and former Rilo Kiley frontwoman is back and burning brighter than ever.

The unstoppable Jenny Lewis has shared another new track from her forthcoming album On The Line titled “Heads Gonna Roll.” The follow-up to the sultry “Red Bull & Hennessy” features Ringo Starr on drums, Benmont Tench on the organ and Don Was on bass. And with arms fully outstretched today, Lewis has also announced a string of additional 2019 dates to her already-extensive tour.

On The Line will be released on March 22 from Warner Bros. Records. Listen to its harmonic opening track, “Heads Gonna Roll,” 

Image may contain: 2 people, people smiling, text

Image may contain: one or more people and close-up

Jenny Lewis has announced that her fourth album, On the Line, will be released in spring 2019 through Warner Bros. Records. The album will be the follow-up to Lewis’ 2014 LP The Voyager. The 11-track release was recorded at Capitol Records’ Studio B, and features performances from Beck, Benmont Tench, Don Was, Jim Keltner, Ringo Starr and Ryan Adams. The album’s tracklist, exact release date and other details have yet to be revealed. Lewis has also announced the dates for her 2019 headlining tour, set to run March through May,

‘Red Bull & Hennessy’ comes from Jenny Lewis new album ‘On The Line’ – available March 22nd! Limited edition Deluxe Vinyl available exclusively in Jenny’s store:

Sailin' Shoes

By 1972, Lowell George and his Little Feat cohorts had an acclaimed debut album under their belts but with their second album “Salin’ Shoes” the band reached another level entirely – something obvious from the opening notes of “Easy To Slip,” which stands among the great lost singles of the decade. Produced by Ted Templeman, the Warner Bros. collection features some of George’s best-loved songs, including “Cold, Cold, Cold,” “Tripe Faced Boogie,” “Teenage Nervous Breakdown”

Highlighted by a reworked group version of “Willin'”, the track that had led to Frank Zappa sacking the guitarist and vocalist Lowell George from The Mothers of Invention, it also featured such enduring tracks as “A Apolitical Blues,” Little Feat’s second quartet album, didn’t sell any better than their eponymous debut. But it offered gems a-plenty. This one showcases how George’s deep blues roots are morphing into his fluidly idiomatic slide guitar; his vocals have absorbed influences like Wolf but are becoming his own. The lyrics brandish classic Little Feat attitude: a flip-the-bird blues. It was suited to this moment, when the country was nearly exhausted by the strife between Nixon’s “silent majority” and the ongoing civil rights and antiwar movements. And the music rocks: Bill Payne, George’s primary creative alter-ego and jousting partner, unleashes his always adroit piano.

“Easy to Slip” and the title track, all by guitarist and lead vocalist Lowell George, the second co-written with Martin Kibbee, credited as “Fred Martin”, a former bandmate from The Factory, and the first appearance of the “George/Martin” credit on a Little Feat record.

Lowell George and Bill Payne don’t stop at being the writers of virile, touching songs–they’re also masterful musicians. Payne plays a cool, elegant piano and a hot, whirring organ. George makes his slide guitar howl and roar like a tractor trailer in the midst of a steep, mountainous descent. George illustrates the muscular mating of men and their machines, while Payne celebrates it. Together with former Mother Roy Estrada on bass and Richard Hayward on drums, they compose one super rock ‘n’ roll band. Little Feat can play steaming hot, iron-ore heavy, over-easy light, or non-stop speedy, as the occasion demands. They never sound pretty, but there’s an unmissable beauty about their rough-around-the-edges designs.

As seasoned L.A. music veterans, the foursome deliver performances that are pretty near immaculate and, more importantly, soulful; the roots-informed rock of these 11 tracks goes down mighty easy. If Neon Park’s cover art isn’t sufficient inspiration to kick up your heels, just give a listen to SAILIN’ SHOES It’s a true classic album. Little Feat is involved with–and living folklore. Sailin’ Shoes, interweaving its big trucks, seedy hotels, and greasy spoons with songs about rock & roll, seeks to incorporate this special music into the raw, vibrant, and vast setting of mythic America.

It was the last full Little Feat record to be produced by an outsider until 1977’s Time Loves a Hero, with each of the three interim albums being produced almost entirely by Lowell George.

Personnel:

  • Lowell George – guitar, lead (all but 10) and backing vocals, harmonica, baritone saxophone, drum machine
  • Bill Payne – Hammond organ, backing and lead vocals (10), Wurlitzer electric piano, piano, accordion
  • Roy Estrada – bass, backing vocals
  • Richie Hayward – drums, backing vocals, percussion

Orange Crate Art

Orange Crate Art is the first collaborative studio album by American musicians Brian Wilson and Van Dyke Parks, released in 1995 on Warner Bros. Records. The album consists mostly of songs written and arranged by Parks, with Wilson featured as lead and backing vocalist. Its title refers to the sun-drenched, idealized paintings that grace wooden fruit crates, and its theme is a nostalgic view of the history of California.

Brian Wilson and wunderkind lyricist Van Dyke Parks worked together in the mid-1960s to compose The Beach Boys’ famously shelved SMILE album; the pair re-teamed 30 years later for Orange Crate Art. “It was to extol the propagandist art that brought California a sense of realty,” notes Parks of the title song, and the entire Warner Bros. collection paints the Golden State with a nostalgic glow. That’s Wilson’s sweet spot, even if songs like “My Hobo Heart,” “Hold Back Time” and “Lullaby” recall an era that predates surf music. As on their first collaboration, the wordplay is intricate, the arrangements dense and varied, and no expense has been spared to bring in top-flight instrumentalists. This is Brian Wilson’s birthday, and while others may mark it with his ’60s hits, we’ll take a deeper dive to celebrate the late-career resurgence heard on Orange Crate Art.

The song “Sail Away” from Brian Wilson & Van Dyke Parks’ 1995 album “Orange Crate Art”.