The Guess Who are a Canadian rock band from Winnipeg, Manitoba. Initially gaining recognition in Canada, they also found international success from the late 1960s through the mid-1970s with numerous hit singles, including "American Woman", "These Eyes" and "Share the Land".
This concert performed at The Ambassador Theatre, in St Louis, MO, on the 6th May 1974 was one of the last show before guitarists Kurt Winter and Donnie McDougall left the group and is considered by a good number of fans as the overall best line up.
Broadcast live on FM by radio station KSHE (the source of this recording), the concert is both fascinating and a testimony to the band getting on with the job when the bass amp fails and a probable electrical outage left the band with no option early on but to do a couple of unplanned acoustic numbers "Artificial Flowers" and "Sour Suite" both of which actually add to the gig and are well received by the audience.
The concert performance is superb and just builds and builds after the early technical problems, the only downside is the radio presenters need to fill any natural gaps with inane commentary. I have no idea of what format KSHE operated at the time of this concert (by the fear of silence it may have been top 40?) however amusingly for me the DJ's compulsive need on a few occasions to 'say something' actually gives this gig a more historical nature now. Oh whatever! the DJ is at best a mild irritant and the concert remains a gem.
Source: FM Broadcast.
Sound Quality: Very good stereo mp3@320kbps.
Genre: Rock, blues rock, folk rock, garage rock, hard rock.
Set: Full Set
Set List:
Disc One
01. Intro (radio announcer etc)
02. Bus Rider
03. New Mother Nature
04. Artificial Flowers
05. Sour Suite
06. (comments)
07. Undun
08. Albert Flasher
09. Runnin' Back To Saskatoon
10. Glamour Boy
11. Self Pity
12. Clap For The Wolfman
13. These Eyes
14. Star Baby
15. (comments)
16. Straighten Out
17. Bye Bye Babe
Disc Two
01. Medley: American Woman / Truckin' Off Across The Sky / No Sugar Tonight
02. Share The Land
03. No Time
04. (Applause and into) Orly
05. (KSHE comments again!) Leave It To Beaver Theme (Burton Cummings & Bill Wallace)
Band Line Up:
Gary Peterson
Bill Wallace
Burton Cummings
Kurt Winter
Donnie McDougall
Background: The elusive and talented man behind a long list of film scores and musical projects, Ben Lovett, is unveiling a new opus that spans the country and includes an all-star carnival of contributing musicians, film directors, kids, choirs, and painters.
The Lovett collective are releasing Highway Collection, available March 15th, 2011.
Through a nomadic and exploratory lifestyle, Ben Lovett has created an album of compelling variety, captured in motion, each song brilliantly crafted ‘from a different part of another life’, into a diverse philosophy of sound deep enough to sink a ship.
On Highway Collection you find a driving pulse and child-like innocence akin to The Shins, layered with zany and dreamy backing vocals a la The Flaming Lips, floating above the rolling drumbeats of a modernized Strawberry Fields-era Beatles, all led by a constantly evolving voice with an eloquent message of mature and heartfelt universality.
Lovett's eclectic cast of contributing musicians includes members of The Avett Brothers, The Mars Volta, and Cursive, to name a few, additions by Money Mark, Electric Owls, Ponderosa and appearances by talents involved in projects as diverse as the Eels and Spiritualized to Against Me, The Zac Brown Band and the Sonos Quartet.
Ben Lovett has composed original scores for 12 films, including Last Goodbye, starring Faye Dunaway; the Sundance critically acclaimed The Signal, in 2007; and was awarded Best Score in the 2009 Brooklyn International Film Festival for his work in The Last Lullaby. You’ll also spot his name in the opening credits of MTV Films 2010 original movie, My Super Psycho Sweet Sixteen II, having composed the score to both the cult favorite and it’s predecessor in 2009.
Having also produced several acclaimed albums that include Hot Water Music vocalist Chris Wollard’s solo debut, Chris Wollard and The Ship Thieves, and the Epitaph-released Patent Pending (2006) from collaborative project Heavens with Matt Skiba of Alkaline Trio, it’s no surprise that Ben Lovett’s own debut is a masterpiece of production.
2011Candy Says: I really love the featured song and it's just a taste of some great music, the mood builds from the opening beats as a masterful anthem unfolds. Listen: The Fear. Web:Official.
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Background: Forming in the summer of 2010, Vermont’s Chamberlin is ready to release their debut album, Bitter Blood on March 1st via Roll Call Records/EMI. Recorded in Burlington, VT Bitter Blood was produced by Scott Tournet of Grace Potter and the Nocturnals, whom Chamberlin will be touring with from January 13th – February 12th.
Locked away in their secluded cabin in Goshen, VT (population 200), Chamberlin has written an album stained with the influence of whiskey-fueled bonfires, harsh winters, and the women that seem to run perpendicular to their lives. From the electric opening track, "Fools" – a stormy, scathing rebuke of two lovers – to the resolute, mostly a capella "Sixty Days," the nine songs on Bitter Blood are photographs, or perhaps photograms, of Chamberlin's world, with varying degrees of aperture. Despite its title, Bitter Blood is not without pleasantries. “Turn Around," the B3-laden third track, may even sound best as a drink-in-hand, late-night back porch sing-along. While first single, “Dust”, beautifully sums up their musical tenor with heavily percussive, electric guitar laden verses countered by the rim shots and acoustic drop out of the chorus.
2011Candy Says: Sometimes keeping the music stripped back and allowing great vocals and harmonies to stand out makes all the difference as is the case with this song, which is enough for us to want to hear a lot more from Chamberlin. Listen:Dust. Web:Official.
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Background: Shayfer James can be described pointedly as a myth in wolf's clothing. Referred to by his rapidly growing group of followers as The Villain King of New Jersey’s underground noirpop music scene, Mr. James is devilishly captivating and deliciously unusual. From the worn bottom of his ripped black boots, to the wrinkled top of his black pinstriped hat, Shayfer James is the portrait of vagabond royalty. A man of bewitching grace, grisly humor, profound story telling, and whiskey-flavored wit. The self defined “spawn of the elephant and the empress”, Mr. James attributes his musical and lyrical abilities to his early exposure to pipe smoke, demons, and jesters” and his oddly chivalrous nature to his life-long apprenticeship to L.V.S.” (his mother's father).
When Shayfer James approaches the piano, there is a certain power and mischievous charm that surrounds him. A bewitching sense of foreboding builds as his fingers touch the piano, and as he begins to sing, we are immersed in his darkly lyrical and evocative stories. His wry poetry is stitched seamlessly to peculiar arrangements that are simultaneously unsettling and familiar. Mr. James lures us into a devious world where the gods tear wings from angels and every man has a siren waiting to devour him.
Mr. James'’gift for songwriting is singular. The songs on his first full-length album, The Owl and The Elephant range from beautifully sad to frightening and furious, and his performances are tailored to match. His style is theatrical, but never contrived.
2011Candy Says: Shayfer James has a class and style that hits us from the opening notes, this is oh so professional and yet loose and devious enough to please the Beehive big time. Listen:Siren Song. Web: Official.
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Background: Once upon a time in the not so distant past, the band The District which comprises of six friends escaped New York City and descended upon Wellfleet, Massachusetts in the dead of a sleepy New England winter to chase ghosts and make a record. Ron Pope, Zach Berkman, Paul Hammer, Will Frish, Chris Kienel, and Mike Clifford wrote songs, drank whiskey, played blues in the middle of the night, and came away with a collection of songs that they decided to christen Wellfleet. The record is bold and evocative of varied moments from American musical history while finding a way to rest squarely in the here and now.
Wellfleet is built on the shoulders of stories about confusion, faith, love, grief, trust, and above all else, hope. It's a record that was brought about by a sense of brotherhood and togetherness. Accomplished on their own - the record marks the reunion of these 6 musicians and close friends. Band member Ron Pope has sold over 500,000 singles on iTunes in the past two years and performed on MTVs TRL. Paul Hammer is one half of the Brooklyn indie group, Savoir Adore, which has developed a strong cult following in both the US and Europe after releasing their debut album on Cantora Records. Zach Berkman was a castmember on MTVs Starmaker and his music has been featured on various prime time TV shows. Furthermore, the band includes the former guitarist of V2's The Rosewood Thieves, Will Frish and solo artists Mike Clifford and Chris Kienel.
2011Candy Says: OK so there is a story to go with this band as you can see from the above promo material we received. Bottom line is always the music which as the featured song demonstrates is spot on. It charms us and conjures up images of the band sat around singing to themselves and enjoying the vibes. Listen: Open Arms and Broken Heart. Web:Official.
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Background: Zoey Van Goey are Matt Brennan, Michael John McCarthy, Kim Moore and Adam Scott. Brennan, McCarthy and Moore, hailing from Canada, Ireland and England respectively, formed the initial trio in Glasgow in 2006, with Scott becoming a fullyfledged member in 2010.
In 2009, they self-released their debut album The Cage Was Unlocked All Along securing fans at radio such as 6 Music‟s Marc Riley & Gideon Coe and more recently some unlikely airplay from none other than Lou Reed on his NY Shuffle show. The release also stirred up a flurry of press adoration: “pop that comfortably resists pigeonholing” (The Big Issue), “our new favourite band” (MusicOMH), "irresistible pop thrills... definitely one of Scotland's finest at the moment" (Sunday Mail) to quote just a few.
Zoey Van Goey kicked off 2010 by impressing the ever-discerning Chemikal Underground faithful as the label’s newest signing at its 15th anniversary bash. As the year ended they found themselves headlining centre stage at the Belle and Sebastian-curated ‘Bowlie 2’ All Tomorrow’s Parties festival. And in between they tested out new material at a series of Difficult Second Album Syndrome research gigs in Glasgow.
The title of the resulting long-player, Propeller Versus Wings, has been inspired by Powell and Pressburger's magnificent A Matter of Life and Death, a film with which it shares a sense of romance and adventure. Perhaps emboldened by the addition of the multi-talented Scott (as well as the results of their research), this collection of songs sees Zoey Van Goey displaying a newfound musical confidence, borrowing freely from disparate styles whilst still sounding like themselves, in a fashion not dissimilar to heroes such as Yo La Tengo and The Magnetic Fields.
Thus Propeller Versus Wings swings from the slow burn of opener “Mountain on Fire‟ which overflows with a heart-wrenching gentle tenderness that many bands aspire to but very few pull off, to the evocative period jazz of “My Aviator”; from the Spektoresque piano balladry of “Escape Maps‟ to the bubblegum-punk revenge-of-the-nerds tale that comprises “Robot Tyrannosaur”.
2011Candy Says: Sometimes all you need is great pop music, the sort that delivers on the class of the band rather than just the skills of the studio engineer. Add to that an element of folk and as far as we are concerned you are home and dry. The featured track emphasises the pop aspect you need to grab a copy of the album to see just how good this band is (and they are great). Listen: The Cake and Eating It. Web:MySpace.
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Background: Moments before the ball dropped on 2011, New York’s Bodyface dropped their debut album Bias which is set to wind the clock back to the heyday of rock.
A statement against image obsessed scenesters and musical martyrdom, Bias delivers unapologetic punk rock with dance inducing hooks that bitch slap you out of your self indulgent sorrow.
Having formed three years ago, Jared Kerr (Vocals/ Guitar), Roger El Asmar (Drums) and Matt Lyons (Bass) have already toured Europe and in the process gained a reputation for their intensity and command onstage.
Their powerful presence has also extended to the airwaves with 104.3 FM’s ‘Out Of The Box’ regularly sending the bands song ‘Get Away’ into the stratosphere.
To hail the release of Bias, Bodyface will embark upon a West Coast tour in early March kicking off in Portland on the 3rd. In the meantime those lucky enough to live in the bands hometown New York can catch them at The UC Lounge Jan 29th.
2011Candy Says: It's rock music. Low hung guitars, plenty of attitude and the tightness of any class punk outfit. Sometimes keeping it simple and streetwise is all you need to dust off your personal air guitar and join in! Listen: Sunrise. Web:Official.
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Background: Hailing from the failed steel town of New Castle, Pennsylvania, When Summer’s Gone embodies the spirit of a populace convinced their best days are behind them but still can’t quite give up hope for the future. Dave Graziani handles vocals and guitar while drummer/bassist Chris Lepri provides the rhythmic background that keeps the duo on track. Graziani and Lepri have been friends since high school and have played in numerous bands together and apart over the years. After a decade of dealing with pretentious egos and the writing whims of others, Graziani and Lepri decided to go it alone together, using their close musical ties and shared influences as a springboard to writing no bullshit rock and roll.
When Summer’s Gone was formed in 2007 as a studio project, and debuted to the world on MySpace in 2008. In spite of the lack of live shows, When Summer’s Gone has developed a strong following. The band’s 2009 debut album, December, earned rave reviews, and was referred to as a solid, powerful blend of Alice In Chains, Incubus and Sevendust. Much of When Summer’s Gone’s reputation is based on the juxtaposition of style and intellect; the band blends a working class hard rock sensibility with a story-telling style handed down from Dylan to Springsteen to When Summer’s Gone. In the process, Graziani and Lepri manage to create music that speaks to the first generation who can’t rightfully expect to live better than their parents did. It is this no-nonsense, working-class approach to songwriting that sets When Summer’s Gone apart from the pack. This sound continues and with a bit more finesse on When Summer’s Gone’s newest EP, Matinee.
2011Candy Says: Music that builds as it plays, with the above background info giving more than enough of a hint about where this band are coming from (both literally and musically). Powerful and layered music with enough rock and energy to keep you interested. Listen:Echoes. Web:Official.
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Background:Balkans are back at it again. The Atlanta, GA band is releasing the 'Edita V' - 7" on February 22nd and a new self-titled album on May 10th (US, May 9th in the UK), both on Double Phantom Records (Roman Photos, Abby Gogo, Carnivores). A few days ago My Old Kentucky Blog premiered their new video for the b-side "Cave," shot on Super 8 by director Tony Summerlin at a fair in the band's hometown.
The band's forthcoming LP is chock full of the raw, heavy guitar fuzz Balkans have become known for. After releasing several seven inch singles through local labels, they're more than ready to unleash their debut record to the world.
2011Candy Says: We are definitely doing some guitar rock this time around. Balkans up the energy on this song and then duel guitars with some class. No nonsense music and ideal if you are in the mood for a severe rock blow out! Listen:Edita VWebsite:Official.
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Background: Hailing from the romantic landscapes of England’s Devon Hills (loads of hills in Devon, sound more romantic than Plymouth or Torquay though - beehive editor) , The R.G Morrison sound is as sentimental and nostalgic as the antiquated thatched-roof cottage surroundings.
Fronted by indie haven Drift Records and Drift Record Shop founder Rupert Graeme, this four piece began entrenched in the folk roots of Crosby, Stills and Nash, yet the beautifully composed ballads are sung in a humbled and understated whisper akin to Bonnie ‘Prince’ Billy, while the perfectly harmonized lyrics give a solemn breath akin to Low.
Just as you wander into the contemplative songwriting, reverb-rich lines of electric guitar wash through whilst the traditional elements of folk are tweaked with analogue synthesizers, adding a raw and contemporary edge to the intimate sincerity of this ‘Cult Balladeer’ (Word Magazine).
Having toured across Europe in 2010, playing The Rolling Stone weekender, through Germany supporting John Hiatt, Spain and Switzerland, and fresh off headlining Spain’s Tanned Tin Festival this month, The R. G Morrison are ready to bring their intimate rendition of Lo-fi Americana to North America, with Bonnie ‘Prince’ Billy drummer Alex Neilson along for the ride to showcase at the 2011 SXSW Festival, Canadian Music Festival, with a quick visit to New York along the way.
With the stand-out success of previous releases ‘Learning About Loathing’ (Drift Records first release, 2007) and the latest record ‘Farewell My Lovely’ (Drift Records, in partnership with Loose Music, June, 2010) selling out all beautifully hand-detailed copies in their homeland UK, there’s no doubt that the understated, gritty and glowing talent The R.G. Morrison will be making more than a splash when they cross the Atlantic this March.
2011Candy Says: OK so I am bound to show some favour to a band who originate from the next county to where home is for me these days. Actually no! No favour this is just wonderful music from a superb band who could just as easily come from the over side of the Atlantic. I reckon you will hear more about these folk in the coming months. Listen: Introducing Diamond Valley. Web: MySpace.
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Background: When Italy's A Classic Education was in the States for last year's CMJ festival, they popped over to Philly for a Shaking Through session and shared insights into their creative processes along with some new music. Below is what Shaking Through had to say.
They have a name inspired by the school system in Bologna Italy, but we assure you A Classic Education is far more exciting than their namesake. Singer/guitarist Jonathan Clancy and his fearless indie pop outfit bravely came all the way to the Philadelphia to record a session for Shaking Through.
It's not often that music coming from Italy has the ability to take root in the U.S. "We always joke about the fact that being a band from Italy is like starting at a minus 10 points. You have to do that much extra to get to 'zero' to be on pace with everyone else," says Clancy. A Classic Education's humble yet determined attitude make them a perfect addition to Shaking Through, a series created to help establish sustainable careers in music. After a quick listen, you'll know what we're talking about.
The band was selected for Shaking Through by guest Curator Elise Oleksiak of the smart Brooklyn-based music BLOG "Pixelhorse." "I love pop music. I love music that is well written, well composed, well executed..." says Oleksiak. "People need to know their music. People need to hear them and see them!..."
The group recorded "Night Owl", a dreamy love story between a boy and an owl, deftly capturing the band's elegant and soaring pop sound. It's a band favorite for its unconventional song structure: three parts that fail to repeat, all jammed into three minutes. Even without a verse or chorus to be heard, "Night Owl" still holds true to A Classic Education's irresistibly engaging pop sensibility. "I thought this tune would work nice in a studio with a big room sound," said frontman Jonathan Clancy.
Formed in 2007 by Canadian singer and guitarist Jonathan Clancy and his Italian mates Luca Mazzieri and Paul Pieretto, the band has grown to a six piece with the addition of Giulia Mazza, Federico Oppi and Stefano Roveda. They've released recordings on small indie labels Bailiwick, Holiday Records, and recently on California's Lefse Records. Their latest EP, "Hey There Stranger," has Spin Magazine, Gorrilla Vs. Bear, FADER, and Brooklyn Vegan all singing the praises of A Classic Education.
According to the band, it's far more difficult to balance musical aspirations and work in Italy. The members of A Classic Education have a banker, radio manager, photographer, computer programmer and psychologist among their ranks, meaning they had to book vacation time to fly over to the states. In one marathon trip, they recorded their full length in Brooklyn with Jarvis Tavenerie of the band Woods, they played CMJ and drove to Philadelphia to record "Night Owl" at Miner Street.
When they come back in March for a US tour and an appearance at SXSW, they'll certainly have to tie up lose ends with work. Regardless, they're excited to be back in the U.S. playing music. "It'll mean giving up secure jobs and lives! But we like that idea."
2011Candy Says: If you cant be bothered to read through the above background on this band then just listen to the featured song. Then see if you don't read up on them. 'I Lost Time' is just one great song in every aspect - loving them. Listen: I Lost Time. Web: Official.
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Background: Seattle-based sci-fi pop band Hotels, one of KEXP’s ‘top discoveries’ of recent years, are back with a new single. 'The Bat Watusi' is a pace-quickening taster of the delights in store on Hotels’ new album, On The Casino Floor. The noir-punk track is Hotels at their most lithe and propulsive, with an insistent rhythm section, sci-fi synths and unashamedly rocking guitars. The song repeatedly strips itself back to a muscular yet dreamy core, only to build into a tight celestial rock frenzy.
On The Casino Floor sees Hotels take their addictive and singular meld of post-punk, shoegaze rock and cinematic pop and launch it into outer space. The band has managed to leap headlong beyond the consummate songcraft of acclaimed sophomore album Where Hearts Go Broke into the creation of a wildly inventive and immersive song-suite. The concept album’s seven masterful cuts tell the story of a secret agent, his former mentor and current arch-nemesis, and a nefarious prince’s plan to destroy Earth during the grand opening of the universe’s only outer space casino complex...
“Hotels fuse elements of new wave, goth, and surf so seamlessly that genre tags will be the last thing on your mind when you hear their bittersweet, atmospheric pop songs” – Time Out New York
“With angular guitars, sober vocals, omnipresent synths, and a taste for the cinematic, Hotels come off like the ultimate ’80s soundtrack band, something akin to a cross between the dreamy haze of M83 and the angst garage rock of The Strokes” – PopMatters
2011Candy Says: As those of you that read the detail on Beehive Candy will know, I have tremendous respect for Seattle's KEXP. So as 'a top discovery' of the station in recent years these guys slapped the personal radar good and proper. I am still not sure what sc-fi pop is but I have been reminded of why I respect KEXP. Hotels are exceptional and lets not forget this is about them and not the radio station. Superb band!
Listen:The Bat Watusi. Web:Official.
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Background: Columbus based Max Sollisch is Dolfish and he is releasing his debut EP 'Your Love Is Bummin' Me Out' on Indiecater this Valentine's day. As well as being available digitally the EP will also be released on cassette tape.
'Your Love Is Bummin' Me Out' contains 5 tracks and is all over around the eight minute mark. We think you'll be completely smitten by Dolfish at that stage though because pithy bittersweet tales rarely sound this good. Your Love Is Bummin’ Me Out is Indiecater’s third physical release and because everyone knows CD’s are dead we decided to release it on cassette as well as our default digital delivery. Everyone who buys the cassette (€8 which includes worldwide postage) will also get a digital copy for when they ditch their walkman. For those of you who prefer to shop from us over the iTunes of this world you will be rewarded with the full artwork and lyrics in your digital bundle!
2011Candy Says: Oh just go and buy this! We are in a state of being blown away and don't want to spoil the moment by writing anything else whilst listening. Listen:Your Love Is Bummin' Me Out. Web: MySpace.
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Background: Peter and Jo went to high school together outside of Boston, trading home recordings and exploring rooftops. After graduation 2007, they finally got together in an attic to write and record a huge collection of very strange pop songs on a cassette four-track. Then they went off to colleges on opposite coasts, and so much for the band, until, a year later, Peter dropped out of college and moved back to Boston.
The Great Valley recorded their reunion tape Sophia’s Skull/White Gloves in another attic, eating only pumpkin and coconut products, sleeping during the day, and recording through the night. Jo went back to nearby Bard College and Peter moved into the Spookcat House in Jamaica Plain with the members of Prince Rama and Quilt. The Great Valley started playing through the Boston house show circuit and quickly earned the tag line “Halloween Every Night” and a reputation as the spookiest, most mysterious pretend-pop band on the block. They founded Spooky Town Records in 2009 to release their split LP with Prince Rama Divine/Journey, and a bunch of material from other weird pop groups around Boston.
Over the next year, The Great Valley toured up and down the east coast and molded all of their spookiness and their inverted 60s pop influence into the five songs on the Holiday, Holinight EP. The EP was recorded by the band on a bunch of analog equipment from the 80s (SPKY TWN Studios) and released as a free download in the summer of 2010. Jo perfected his drumming-while-keyboard-playing trick and Peter plugged his guitar into an octave harmonizer so that, despite being a duo, the band could reproduce the lush arrangements of their recordings live.
The Great Valley found a new home for SPKY TWN Studios in an abandoned house in Tivoli, New York, where they wrote and recorded their newest full-length In the Silver Dream. The album spins the spooky duo in a new carnivalesque direction with synthesizers and pitch-bent guitars and broken, enigmatic double crooning. Released on pink vinyl in January 2011 by the band’s own SPKY TWN RECORDS. The Great Valley is currently working on a hot new surprise at home in Tivoli. They both plan on graduating from college in a few months.
2011Candy Says: Interesting final track for this round up. The Great Valley seem to have loads going on within this song, that it took a second listen to take it all in. As lovers of music that takes us in an alternative direction and delights us at the same time, consider it job done in this case. (we reckon you will give it another listen to). Listen:Tall Smoke. Web:Spooky Town.
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These days they are known as The Unthanks and for good reason as Rachel Unthank explained - It makes me very happy and proud to be changing our name to The Unthanks, and relieved too, as my sister Becky has shared lead vocals with me from the start. Back then when she was just 17, about to start university and unsure about committing indefinitely to our partnership, we chose a name that gave her the freedom that was perhaps key to us still being together now.
Back in 2008 they were still Rachel Unthank and The Winterset, and this short session is from December 2008. It makes a fine introduction to the band who are an English folk group from Northumberland. They made their debut performance at Towersey Village Festival in August 2004 and in May 2005, launched their debut album, Cruel Sister at Holmfirth Folk Festival. Cruel Sister received support from a number of DJs on BBC Radio 2 and was subsequently awarded Folk Album of the Year by Mojo magazine.
Their 2007 follow-up album, The Bairns, was nominated for the Best Album award at the BBC Folk Awards 2008 and also nominated for the 2008 Mercury Music Prize. The album debuted in the UK Top 200 Albums Chart at number 178 in the week after the Mercury prize award ceremony.
The band were nominated for three further BBC Folk Awards in 2008 (Best Band, Best Live Act, Horizon Award), and were successful in one category, receiving the Horizon Award at the ceremony in The Brewery, London.
Their third album, Here's The Tender Coming, was released in September 2009. Their fourth album, Last, is planned for release in spring 2011.
Source: BBC Radio.
Sound Quality: Very good stereo mp3@192kbps.
Genre: Folk.
Set: Studio Session.
Session List:
1. Tar Barrel In Dal
2. Felton Lonnin
3. This Endris Night
You may have noticed a considerable amount of excitement in the mainstream media including The Word Magazine, Rolling Stone, NPR (American public radio) and the Los Angeles Times in the latter part of December along with a good number of fellow music fan sites regarding the 'release' of a double album vinyl bootleg called The Smiths - Unreleased Demos and Instrumentals.
Indeed such was the quality of this material, my first reaction when listening to it initially, was to check out if this was an official compilation and someone was having me on, regarding the material being a bootleg 'release'.
As a result of searching around online I have picked up a fair amount of additional information and my thanks go out to the many fans of The Smiths who have researched this (and whom I am unashamedly copying from in the details section below). The original vinyl rip was in mono and this is a vastly cleaned up version that improves the quality considerably. The 'informed view' is that the material must have come from somebody very close to the band, and be from source recordings (make of that what you will).
The original vinyl bootleg appears to have been a labour of love from persons unknown rather than any attempt to cash in on the bands unreleased material, the demand from fans and the knowledge that there are so many alternative versions gathering dust may have caused this well timed event to have occurred.
Source: Studio sessions (see details below).
Sound Quality: Very good stereo/mono mp3@320kbps.
Genre: Alternative rock, Indie pop and rock.
Sessions List:
01. The Hand That Rocks The Cradle (Demo)
02. Reel Around The Fountain (Demo)
03. Rusholme Ruffians (Demo)
04. The Queen Is Dead (Demo)
05. Sheila Take A Bow (Demo)
06. This Night Has Opened My Eyes (Demo)
07. Untitled One (Marr Instrumental)
08. Ask (Demo)
09. There Is A Light That Never Goes Out (Demo)
10. Is It Really So Strange? (Demo)
11. Frankly, Mr. Shankly (Demo)
12. Shoplifters Of The World Unite (Reprise)
13. Girlfriend In A Coma (Demo)
14. Death Of A Disco Dancer (Demo)
15. Paint A Vulgar Picture (Demo)
16. Untitled Two (Marr Instrumental)
Details:
As I understand matters Simon Goddard's book 'Songs That Saved Your Life' has been used to reference the following track by track information (with grateful thanks to the smiths recycle website from whom I have taken this in full).
1 The Hand That Rocks The Cradle (John Porter monitor mix)
Not much different from the final LP version, a monitor mix is a rough-and-ready mixdown done at the recording desk, mainly used by the band (and producer) to see what needs tightening/redoing (if anything) prior to the final mixdown.
2 Reel Around The Fountain (final Troy Tate mix)
Pretty self explanatory, the main difference between this blog's version and the bootleg version is the subtle guitar intro.
3 Rusholme Ruffians (early electric version, July 1984)
Goddard says the band originally attempted this in July 1984, several months prior to the main Meat Is Murder sessions. The very first July 1984 take stretched to nearly 7 minutes long (ding!), was much more rough/ready, and much more skiffle/rockabilly (ding!) than the final MIM track. Moz's vocal is really rough around the edges, it doesn't sound like he's fully worked out the melody or his phrasing, and the lyric itself isn't as tight as it would become. Based on this it can only be assumed the version here is the very same first take mentioned by Goddard.
4 The Queen Is Dead (original full-length unedited version)
Well, if the subtitle doesn't nail it down... the final album mix had several instrumental sections edited out at the last minute by the band and Stephen Street, as they felt it went on a tad too long. This is the full-calorie version.
5 Sheila Take A Bow (original John Porter recording, January 1987)
One of the more famous episodes in Smiths session history, this song was originally produced by John Porter, signed, sealed and delivered, ready to go. Then for whatever reason the band had a rethink, decamped to another studio with Stephen Street, and re-recorded the song (sampling some of Porter's guitar work in the process, to save time - which miffed Porter, understandably, since they never asked for permission). This original version is much more jangly, with Porter on emulated sitar, while the final Street take is all T.Rex'ed out. Honestly, I'd have to say I prefer the Street version, though that could be due to familiarity more than anything else (as I usually love Porter's stuff with Marr).
6 This Night Has Opened My Eyes (unreleased studio recording, June 1984)
The only released version of this song was recorded in September 1983 for a Peel session, at the BBC. For whatever reason the band chose to record a full-blown studio version in June 1984 during the William, It Was... sessions, but never did anything with it (it was meant to be a B-side along with the July '84 Rusholme Ruffians recording, backing a proposed-yet-binned Nowhere Fast single which also was recorded in June/July 1984). If anything, time gave Moz a chance to get a bit more confident with his vocal, but it's not significantly different overall. Still a nice find though...
7 I Misses You (unreleased instrumental, edit, December 1984)
Recorded during the final mixdown sessions for the Meat Is Murder LP. Goddard surmises that this may have even featured a Moz lyric at one point, but this is only supposition. A track that the band binned, honestly while interesting as any "new" Morrissey/Marr track might be, it would be moreso with a Moz lyric and is mostly forgettable.
8 Ask (probable first-ever take, 9 June 1986)
A very early, if not the first if Goddard's correct, run-through of this track missing most of the chiming/jangly guitars. This is a basic rough-and-ready bash it out take recorded by John Porter, with Marr and Gannon going at it on the rhythm guitars and Joyce getting all frenetic on drums. Wisely, a lot was tightened up as the session progressed; alas, this isn't the hoped-for "pre-Steve Lillywhite mix" fans hoped for (which sadly, according to Porter, doesn't exist because he never actually got the opportunity to mix it before Lillywhite got his hands on it and didn't understand the complex web of guitars Porter had built up).
9 There Is A Light That Never Goes Out (early take, September 1985)
A very early run-through with a relatively-confident Moz vocal, though it does feature the subsequently-omitted defining lyric "there is a light in your eye and it never goes out" during the final refrain. Missing most of Marr's overdubs, musically it sounds like a rough monitor mix of the basic Marr/Rourke/Joyce instrumentation, with the added synthetic string bits on the Emulator.
10 Is It Really So Strange? (unreleased studio take, June 1986)
Another track which has its only released version being a BBC session version, the known-and-loved release variant was recorded in December 1986 for John Peel at the BBC. Interestingly though, they did have a fully-recorded, mixed, release-ready take in the can, recorded during the Panic sessions in June 1986. For whatever reason it remained binned, to the point when it came time to select B-sides for the Sheila single in spring 1987, the band went to the (admittedly superior) Peel recording rather than the June 1986 studio take. This version is a bit more shimmery than the common version, and Marr's guitar is a bit more rhythmically choppy than the BBC take.
11 Frankly, Mr Shankly (unreleased Stephen Street "trumpets" recording, November 1985)
The story has it that when this song was recorded during the main sessions for the Queen Is Dead LP, with Street, there was a technical problem with the master reels for this track, necessitating an emergency call to John Porter to engineer an 11th hour re-recording in December 1985. What wasn't discovered (at least publicly), until Goddard dug it up, was that the "technical problem" was a bizarro trumpet part on the track. It does introduce an additional element of hilarity, but the final Porter recording nails it.
12 Shoplifters Of The World Unite (instrumental)
Goddard doesn't go into much detail into this track's session history, unfortunately. It's an instrumental, with some additional Marr-riffic guitars that are either obscured or wiped from the final recording, presumably due to Moz laying down his vocals on top. I do like Rourke's bass on this version however.
13 Girlfriend In A Coma (early take, January 1987)
While in studio with Street in January 1987 re-recording Sheila, the band took the time to lay down a couple takes of this track (prior to the main Strangeways sessions in April 1987). What sets this apart from the Strangeways version is the pronounced reggae-ness of the instrumentation (no, there aren't any steel drums). Goddard says the first two takes of this from the January '87 sessions featured this Jamaican interpretation, which we have here, and Moz's vocal is a bit rough around the edges (of course he'd tighten it up later on).
14 Death Of A Disco Dancer (first take, April 1987)
The find of the lot, in my book. This is markedly different from the final LP version, in that you can a) hear the song actually being structurally formed as it progresses, and b) Moz is audibly excited at the suspense and greatness of the track, this being the band's first run-through of it in studio, as per Goddard. All the musicians are in perfect synch with each other, you can just feel the bond between the members, as the song plays out. It's for things like this that I love the behind-the-scenes aspect of the recording business. If this were the only track leaked, I'd be happy.
15 Paint A Vulgar Picture (early take, April 1987)
Goddard says that this track went through several run-throughs before the final LP version, with entire Moz verses being chopped out. This doesn't feature the "missing Moz" which was compensated for by Marr's solo over that section on the LP version, but it does feature some unheard Mozwork with the title itself part of the lyric. If I read Goddard right, this take we have here would have been one of the very earliest ones.
16 Heavy Track (unreleased instrumental, April 1987)
Apparently this was recorded at the very beginning of the Strangeways sessions, before Moz turned up at the studio. It's the most musically different Smiths track of any of them, for all intents and purposes it sounds like Zeppelin (I can imagine Robert Plant wailing on top of it). Nothing shocking, nothing you'll kill yourself for not hearing over the past 23 years, it's still a nice one to have.
The Bath Festival of Blues and Progressive Music took place at the Bath and West Showground in Shepton Mallet, England over the weekend of 27th and 28th June 1970. The line up included a good number of major American acts (inc Jefferson Airplane, Frank Zappa, Steppenwolf) and from the UK the likes of Led Zeppelin and Pink Floyd.
The festival suffered from some appalling weather at times and also from traffic jams getting to the venue which affected some acts. The original schedule of artists times for appearing went disastrously wrong and delays eventually meant acts appeared through both nights and into Monday morning.
The Byrds appeared on stage, in the early hours of Monday 29th June and the following from the festival archives site takes up the story - It was really late, something like 2 am . We were down the front, as the hordes of Zep fans had gone home. It was wet windy and cold, the Airplane had left the stage because of shocks from the mic's. But the Byrds were made of stronger stuff, they came on and Delivered in such a way that this acoustic set has stayed in my memory for over two decades as an amazing transcendent performance. We were of course, lucky to see Clarence White who was one of the best Byrds guitar players .What a line up ! McGuinn was centerstage , I seem to remember the band playing seated on stools. Rolling Stone said they played 8 -16 encores. Perhaps a slight overstatement , although there are lots of encores on the tape I have , but they did go down a storm with those who stayed up to watch.
This show was the first ever Byrds acoustic show (at least that's what the band themselves state on-stage) and its amazing , a few rough edges here and there, but that's mainly due to the fact that they are really delving into the songbook for stuff to play. They had intended to play an electric set , so the whole show was more or less an improvisation .Most of the time they sound as though they have been playing acoustic sets for years. There's a great jam on Eight Miles High that has the audience going into fits of ecstasy . There's a few funny spots, like where McGuinn announces they will play Willin' "you know, weed whites and wine ?" he asks, expecting a big cheer. Nothing . not a sausage from the audience, absolute quiet. So he asks again and there's still no response. Either we were all too numb to respond, or we just were all innocents who didn't know what he meant (and I refuse to believe that!)
At another point the compere gets up and says that they want to get Dr John on-stage soon and he is just shouted down by the audience who want more Byrds, so he eventually gives up. The show ends after numerous encores with the compere stating that the Byrds are worn out and their fingers are trashed . Mindful of his earlier verbal thrashing , he soft soaps us by saying we are all nice people and will understand they can't keep on playing. We do, and with more cheers they depart after playing for two and a half hours , according to the the music magazines (although my tape is only 90 mins long). The compere (Mike Raven?) is then heard saying that they will try to get the Moody Blues on and then Dr John , but apparently the Moodies were unable to play , despite being flown in by helicopter and it was the Good Dr who played the festival out in the damp dawn.
Source: Audience recording.
Sound Quality: Average/Good for audience recording of the time, mp3@192kbps.
Genre: Rock, pop, folk rock, psychedelic rock, country rock.
Set: Full Set.
Set List:
CD 1:
Its All Right Ma.
Ballad Of Easy Rider.
Willin'.
Soldiers Joy.
Goin' Back.
Baby What Do You Want Me To Do.
Drug Store Truck Drivin' Man.
You Don't Miss Your Water.
Jesus Is Just Alright.
Turn! Turn! Turn!
Mr. Tambourine Man
Eight Miles High.
CD 2:
Mary, don’t you weep.
Black Mountain Rag.
Just a Season;
Amazing Grace.
So You Want to Be a Rock 'n Roll Star.
You Ain't Goin Nowhere.
Old Blue.
Wasn't Born To Follow.
Glory Glory.
Take A Whiff On Me.
2011Candy takes up from where 2010FM left off, however this year we hope to expand the feature along with Beehive Candy in general. In the meantime the new music just keeps on coming and we are delighted to start of the new year with some fascinating artists and music from a variety of genres.
Background:Michael Lee’s debut EP Hold On Till Heaven is Lee’s first foray into original music, and he has a great supporting cast: John “Rabbit” Bundrick on keyboards (The Who, Pete Townsend, Roger Waters, Mick Jagger, The Rocky Horror Picture Show); Steve Bundrick handled production and added drum tracks and producer/engineer Kirt Shearer (Cake) handled the mastering. Lee plays guitar, bass and sings on the album, while exploring issues such as faith (“Believe”), vampires (“Lost In A Touch”) and the evil stench of Paparazzi (“Mind Your Own Business”) in wonderfully post-pop rock arrangements. Hold On Till Heaven is just an appetizer for what’s to come however, as the project took on a life of its own while Lee develops a yet-to-be-released full length album entitled No More Fairy tales.
When you see Michael Lee on stage he looks like a throwback to another era of rock n roll. Part rebel; part glam rock demigod, Lee swaggers onto the stage with his Flying-V guitar and takes it for his own in the name of rock n roll. Lee writes music that pleases him, and in the process he reminds us all what rock n roll was meant to be. Michael Lee hopes to inspire a new rock revolution, one fan at a time, infusing modern elements into classic rock forms to create not just songs but moments. Be a part of the moment with Michael Lee.
2011Candy Says: Others have called it retro 80's rock laced with pop, and words like mesmerising have been dropped into the chat, we hear a mixture of influences that include both David Bowie and Be Bop Deluxe, however there is enough unique elements and just great no nonsense rock guitar music going on to make this both fun and 'want some more please' rock and pop.
Background:Ziggy Franklin and James Curd's worlds collided many years ago when they were both cast in the same short film. Immediately the two knew that they would be friends. Ziggy was a unique and entertaining character whom Curd soon found out was not only a talented actor but was blessed with an amazing voice. Curd had just begun to achieve international success with his Greenskeepers singles and invited Ziggy to feature on his first full album as the host, and result was "The Ziggy Franklin Radio Show".
Through the years Ziggy has continued achieving growing recognition in the film world by being cast in films along side some Hollywood heavy weights such as Hilary Swank, Sam Rockwell, Josh Lucas, and Terrence Howard. Ziggy is always moving from one demanding role to another, so it was with great dedication and devotion that enabled this album to occur. With unguarded honesty, Ziggy put pen to paper to write the songs for the album "No Need To Fight About It".
No Need to Fight About It offers a glimpse of the period from '77 to '85 when the world had all but written New York City off, and artists had a brief moment to explore new musical boundaries. Genres were bended and blended, giving us post punk, new wave, no wave, hip hop, house and proto-everything we listen to today. Ziggy Franklin could easily have appeared at Mudd Club and No Need To Fight About it stands upright next to the greats from this golden era: Talking Heads, A Certain Ratio, Gang of Four, Brian Eno and Devo. Carefully crafted songs set to fast-paced, funk-driven bass lines and snappy dance beats atop a canvas of analog synthesizers, oddball instruments and understated production values all combine to create an instant classic - completely compatible for the modern world.
2011Candy Says: Try not to get hooked to early there is a whole album of this music and if the featured song appeals you will just love the rest. Like the previous artist there is an 80's feel within the music probably the synth and vocal styling but see that as a positive!
Background: Every once in a while a new indie dance rock revolution pops up from the not so distant future to finish the war they started and lay claim to their territory. That revolution is right here, right now...and it's pink!
Moving Units have released a brand new single, "Pink Redemption" as part of their upcoming EP titled Tension War which will be self-released this Valentine's Day with the help of Post Modern and Indigenous. "Pink Redemption" is a reinterpretation of "Pink Thoughts" from their previous album, Hexes For Exes.
"Not to be confused with 'Pink Thoughts', their quintessential break-up song, or Pink’s rendition of 'Redemption Song', this new track reflects the band’s ex cogitation on the difficulties of trying to 'harmonize the dualities in everyday life' — which I interpret as 'Why is life so damn hard sometimes?!?!'" - URB.com
2011Candy Says: It's just a fine little indie dance number that does exactly what it says on the tin.
Background: San Diego’s Tape Deck Mountain first made waves by releasing their debut EP Sparks on the unconventional (but quite fitting for their name) medium, our old friend the cassette tape. Frontman Travis Trevisan wants it to be made clear however, that he doesn’t want this to become a “thing” and that he will be working in all formats.
Their Secret Serf EP is released today (11th January 2011) and the band have a west coast tour of the USA as follows:
Jan 16 2011 8:00P - Habitat House- San Diego, California
Jan 18 2011 8:00P - Silverlake Lounge- Los Angeles, California
Jan 19 2011 8:00P - Blank Club- San Jose, California
Jan 20 2011 8:00P - Arlene Francis Theater- Santa Rosa, California
Jan 21 2011 8:00P - Mississippi Studios- Portland, Oregon
Jan 22 2011 8:00P - Student Center Bistro @ Seattle University- Seattle, Washington
Jan 24 2011 8:00P - 1078 Gallery- Chico, California
Jan 25 2011 8:00P - The Hub- Sacramento, California
Jan 26 2011 8:00P - The Knockout- San Francisco, California
Jan 27 2011 8:00P - The Crepe Place- Santa Cruz, California
Jan 28 2011 8:00P - Muddy Waters- Santa Barbara, California
Jan 29 2011 8:00P - Prospector- Long Beach, California
Feb 16 2011 8:00P - Bar Pink- San Diego, California
2011Candy Says: We featured the band a good few months ago and are impressed with this latest offering from the band which Lefse records have kindly allowed us to share with you.
Listen:It Goes Down. Web:Lefse Records.
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Background: Too Dark Records is set to release electro-pop duo Night Surgeon’s debut studio album Day For Night on February 15th, 2011. The album was produced and mixed by Gabriel Espinosa (Blondie, Fischerspooner, Mobile) and showcases the bands ability to “create complex yet accessible songs that are deliciously effervescent without the throw away frivolity.” (Hayley Haufman, Oakazine Magazine)
Day For Night features nine original songs and was recorded at the Map Room Studio in Portland, OR. The first digital singles, Brick Moon and Roman Error, were released in October and have already created a buzz within the blog community. Peter Menniti of Baeble Music told readers to, “keep your eyes and ears open for big things to happen” regarding Night Surgeon. Also, the single Color Me Black and White has been featured on Portland’s KNRK’s HD radio station. The two members of Night Surgeon met in Boston while attending Berklee School of Music. Their sound is electronic and reminiscent of new wave and synthpop, but with an added layer of live drums and guitars. Comparisons have already been made to Depeche Mode, Cut Copy, and Placebo, and while their music is very dense and layered in sound, the band still maintains a heavy drum and bass dance feel.
The band is currently gearing up for an album release show, slated for February 16 at the Someday Lounge in Portland, OR, followed by a west coast tour in the Spring.
2011Candy Says: We featured Night Surgeon back in November and were really impressed by the two tracks they sent us. Having now heard the entire album our enthusiasm for the band has grown further. Definitely one to watch out for in 2011.
Background: Music often goes beyond melodies, harmonies, arrangements, lyrics and live performances. There's that one thing that no artist in the world can manufacture formulaic-ally, and that something is energy. This invisible thing that comes directly from the veins, throats, and pores of the musician seeps from Brazil’s most promising indie-rock band, Some Community. Forming in 2009 the five piece that met in Prep School, has been combining delicious songs with an exciting presentation, and will drop a musical bomb on this years SxSW, so get ready.
The band consists of Juliana Vacaro who delivers charming and delirious vocals as well as: Veronica Vacaro (keyboards and guitar), Marco Frugiuele (percussion), Gabriela Gonzalez (guitar), and Fernando Fernandes, who brings lead guitar to the mix. This clashing of talent and instruments is augmented and punctuated by an array of casiotones and melodica (played by all) in arrangements sweet enough to give you a cavity, yet hard hitting enough to knock that tooth right out.
Some Community will be releasing a brand new single later this month, and will be traveling all the way to Austin for this years’ SxSW Festival!
2011Candy Says: We are seriously loving the featured song from their 2010 EP RinoRino and eagerly await the new single. Excellent, vibrant indie power pop that has us jigging away!
Background: Keith Canisius, American born (Cambridge, MA) living in Copenhagen, Denmark is determined to create beautiful, mood elevating, dreamy pop music sometimes with an explosive edge, and other times with a smooth and tender bedroom. Stubbornly he’s been practicing and learning how to produce his music on his own, putting out records every year since. Keith Canisius hates and loves genres so much, that he has decided not to worry about them anymore and just make whatever music he wants. His newest album This Time It’s Our High released on Darla Records is his proudest work so far. The hard work and late night bedroom dreams are finally starting to redeem themselves he feels. After releasing 4 albums, an EP, and contributing to various remix and compilation albums in 4 years, Keith Canisius is starting to wake up from a long dream where This Time It’s Our High is sounds like an interesting transition to a new one.
Keith Canisius is a self-taught musician and producer, who quit high school music and guitar lessons early on because he hated the rules and systems forced upon him. In his work anything goes if it makes you let go.
2011Candy Says: There is something about Scandinavia and new music these days, we have big upped a good number of artists from Sweden and clearly it's no different in Denmark if Keith Canisius is anything to go by. Wonderful dreamy music, check him out.
Background:(from Paper Garden Records) Brace yourselves, because nothing can get cuter or sweeter than this Dutch-French brother/sister duo The Narcoleptic Dancers and their infectious sugary sweet pop songs. This is the kind of cavity inducing sweetness that your dentist would drill you for.
With their track 'Not Evident' from the EP of the same name being released in Europe earlier last year, it IS evident that the band's time to break into North America is rapidly approaching.
The Narcoleptic Dancers take you on a care-free stroll into a world full of animated chirping birds and quirkilicious personalities... or is that just us? Their simplistic instrumentation packaged with melodic vocals and endearing lyrics join harmoniously together to create a sound born to bring a smile to your dial. The Narcoleptic Dancers were first brought to our attention by French-based labels Bleep Machine & Capitaine Plouf and has been wearing off the digital ink in our iTunes player ever since.
2011Candy Says: We can't argue with 'The Lovely Hearts Club' at Paper Garden who sent us this wonderful tune. It just makes you feel good, simple as that.
Background: Tacoma, WA’sThe Fun Police new album ‘You Better Run’ was recorded and produced by Conrad Uno (Mudhoney, Presidents of the United States of America) at Egg Studios in Seattle, WA. The Fun Police came equipped with a versatile arsenal primarily consisting of a viola, accordion, several vocalists, guitars, bass, drums, djembe and other secret weapons to create their unique blend of Rock, Folk, Punk, Country, and Reggae sound. The CD is officially out and for sale at cdbaby.com (physical and digital download), iTunes, and Amazon.
Of note, The Fun Police are back in the studio of their label, Hourglass Records, already working on a second album.
2011Candy Says: This is a great band to finish our first 2011Candy feature with! How can we describe The Fun Police? Well fun obviously and a little like a whirlwind has entered the room done it's thing and left you wanting another one. Bags of energy and some great songs.
This is The Black Crowes during the making of their second album 'The Southern Harmony and Musical Companion' with some of the tracks close to the final album release versions and a few at an earlier stage.
The Black Crowes remain one of my all time favorite live bands and their studio offerings have never disappointed.On three of these songs I had to go back to the official release to check for any differences, there are, but not that much.
The Southern Harmony and Musical Companion is the second album by the The Black Crowes, released on May 12th, 1992. It was the first record by the band to feature Marc Ford on lead guitar, replacing Jeff Cease, who left the year before.
It features four hit singles; "Remedy" ( number 1 on the Album Rock Tracks chart for 11 weeks), "Thorn in My Pride" (number 1 on the Album Rock Tracks chart for four weeks), "Sting Me" (number 1 on the Album Rock Tracks chart for two weeks), and "Hotel Illness" (number 1 on the Album Rock Tracks chart for six weeks). It was a record for an album to feature four album rock number-one hits (previously set by Tom Petty in 1989, with three). The album itself reached the top spot of the Billboard 200 album chart, propelled by the success of these singles.
In 2006, the album was ranked number 100 on Guitar World magazine's list of the greatest 100 guitar albums of all time.
Source: Studio sessions.
Sound Quality: Very good stereo mp3@192kbps.
Genre: Blues rock, southern rock.
Set: Studio Sessions.
Session List:
1. Remedy (instrumental).
2. Black moon Creepin
3. Bad Luck Blue Eyes Goodbye
4. Hotel Illness
5. Darling Of The Underground Press
6. Sting Me
7. Thorn In My Pride
8. No Speak No Slave
9. Sometimes Salvation
10. My Morning Song
11 / 12. Bonus live jam tracks.
Lets start 2011 with some Madness, as the reality of the year ahead ain't necessarily gonna be so much fun if the doom and gloom from our illustrious politicians (here in the UK) is anything to go by.
This is a wonderful concert recording from the Pinkpop festival held at Landgraaf, The Netherlands, this actual performance was on 31st May 2009, and broadcast on FM.
The then new album, entitled The Liberty of Norton Folgate was released just a week or so earlier, on 18th May 2009. It charted at Number 5 in the UK album charts. The band went on to play various festivals, including Pinkpop and Glastonbury. On 27th September 2009, the band also played a free concert on a closed-off Regent Street in association with Absolute Radio.
The band have continued to both record new material and tour in recent times, and a new album is due later on this year, which following the critical acclaim of the last one and the sheer pleasure of listening or seeing them live, gives many of us something very positive to look forward to.
Source: FM Broadcast.
Sound Quality: Very good stereo mp3@320kbps.
Genre: 2 Tone, Ska, Ska punk, New Wave.
Set: Full Set
Set List:
1.One Step Beyond.
2.Embarrassment.
3.The Prince.
4.My Girl.
5.Dust Devil.
6.The Sun And The Rain.
7.Clerkenwell Polka.
8.Forever Young.
9.NW5.
10.House Of Fun.
11.Baggy Trousers.
12.Our House.
13.It Must Be Love.
14.Madness.
15.Night Boat To Cairo.
