Music Releases 11-25-22
Tom Petty & The Heartbreakers famously played 20 nights at the legendary Fillmore venue in San Francisco in 1997. 6 of the shows were professionally recorded and this release features some of the high points of the residency. The small venue allowed the band to vary their sets each night; they included re-arranged and distinctive versions of their hits, deep cuts, and many cover versions – paying tribute to the artists that Tom and the band had been influenced by. The 3 LP set includes 33 tracks, 18 of which are covers – 2 hours of music. The tri-fold sleeve includes a 4-page insert.
Ringo & his All-Starr Band recorded live in October 2019 at the iconic Greek Theater in Los Angeles featuring Greg Rolie (Santana), Steve Lukather (Toto), Hamish Stuart (Average White Band), Colin Hay (Men at Work) and Ringo(!!) performing all the classic hits these artist and bands have made famous such as “Black Magic Woman” (Santana), “Rosanna” (Toto), “Pick Up The Pieces” (Average White Band), “Who Can It Be Now?” (Men At Work) and of course “Yellow Submarine”, “Photograph”, “It Don’t Come Easy” and many more from the man himself, Ringo Starr!
From the anthemic “Virginia (Wind In The Night),” an ode to Russell’s native state to which he’s recently relocated (“If it was solely up to me, I’d live her for the rest of my life,” he says), to the minimal but momentous “Tiebreaker,” Every Shade of Blue showcases The Head and the Heart’s unique ability to dip its toes into a variety of musical genres. It’s the band’s knack for supreme melody, however, that remains a constant. And it’s why many of the songs on Every Shade of Blue, including the slow-rolling title track, “Every Shade of Blue,” which Russell says has “a Sinatra vibe,” are undeniable pop-radio missiles. The band’s ability to create music that appeals to listeners’ common denominator, Russell says, is something he not only won’t shy away from but is immensely proud of.
With ‘Quo’ing In - The Best Of The Noughties’ Status Quo are delivering an era spanning compilation taking in their greatest hits from the band’s output thus far in the new millennium, which includes 5 Top Ten studio albums, and many fan favorites. As well as all of the key tracks from this important era of the band’s career, the collection includes brand new and never before available 2022 studio versions of the classics ‘Rockin‘ All Over The World’, ‘Paper Plane’ and ‘Caroline’ plus brand new 2022 studio ‘Out Out Quoin’ Remixes’ of live favourites ‘Backbone’ and ‘Cut Me Some Slack’. A best-of unlike any other, ‘Quo’ing In’ is the sound of a band rediscovering their mojo, shot through with a sense of fun and that irresistible Quo gang mentality. This Limited Edition 3CD Deluxe Digipak features a bonus disc with 10 previously unavailable live classics, newly mixed in 2022.
TO CONTINUE THE CELEBRATION OF THE 25TH ANNIVERSARY
OF THEIR CRITICALLY ACCLAIMED HOMEWORK ALBUM
A COLLECTION OF 1997/98 REMIXES ON VINYL
THE RELEASE INCLUDES REMIXES FROM I:CUBE,ROGER SANCHEZ & JUNIOR
SANCHEZ,MOTORBASS, DJ SNEAK, MASTERS AT WORK, TODD TERRY,SLAM, IAN POOLEY
John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kungfu fighters, or a mirror holding the gateway to hell.
The music on Lost Themes is there for Carpenter’s acolytes to visualize their own nightmares.
As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfield’s Tubular Bellsand Goblin’s Suspiria. “They’re little moments of score from movies made in our imaginations,” Carpenter says. “Now I hope it inspires people to create films that could be scored with this music.”
Sacred Bones is now repressing this incredible debut by the one and only master of horror in a bunch of new colors in celebration of the label’s 15th year anniversary.
Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did.
Vinyl: $39.98 Buy
“Orange And Blue” was first released in 1994 and is a remarkable testament of Al Di Meola’s unique sense of swing. The legendary guitarist recorded the album on the “Al Di Meola Jazz Guitar”, a custom hollow-body guitar designed in collaboration with Gibson, which allowed him a warmer tone to add to his established signature sound. The album itself is a tasteful collection of explorative compositions, with standout songs such as ‘Chilean Pipe Song’ further cementing Al Di Meola’s growth as a versatile writer and gifted guitarist.
Cold Gawd is the flag under which California-based multi-instrumentalist Matt Wainwright creates stormy, wounded shoegaze music born of open tunings and R&B melodies. His second collection, God Get Me The Fuck Out Of Here, took shape in the winter of 2020 while working long solo shifts at a coffee shop in Chicago. Fueled by dreams of returning to his hometown of Rancho Cucamonga and reconnecting with old friends from past hardcore bands, Wainright holed up with his coveted pink Jazzmaster, an array of FX pedals, anda laptop, and wrote the entire album in a month. In March of 2021 he made the move, heading back west to the Inland Empire, where he booked sessions with Gabe Largaespada at Open Ocean to track and mix.
Despite recording every instrument himself, the results have the lived-in feel of a practiced live band (which Cold Gawd now are, fleshed into a six-piece). Cascading walls of guitar churn, surge, and ripple, framed by sunken rhythms and Wainright’s distant, defeated voice, veiled in violet haze. He cites the thematic common ground between shoegaze and R&B as a central muse, both obsessively fixated on love, lust, and longing, in forms alternately grandiose and minor key. Lyrically the album sways between oblique and desperate, yearning and resigned –with the exception of “Comfort Thug,” a brooding, largely improvised spoken word piece inspired by the notable lack of black musicians in shoegaze.
Cold Gawd is here to change that. God Get Me The Fuck Out Of Here channels malaise and melancholy into gauzy, galvanized anthems of escape, change, and introspection. The crushing closing cut, “Passing Through the Opposite of What It Approaches,” heaves and hovers like looming storm clouds, beneath which Wainright sings (and bandmate Arturo Ramirez screams) as closeto a mission statement as the album offers: “leave what you know / and get grown / everyday / remember / why you left.
Includes the remastered audio, bonus 7" with 2 added tracks, 2 x 180 gram LP, colored vinyl and cover artwork printed on brushed aluminum shrink wrap.
Margaret Chardiet was born and raised in New York City. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth, Abandonis Pharmakon’s first proper studio album and also her first widely distributed release.
The songs on this album were all written and recorded during a turbulent three month time period during which several fundamental life changes forced her to begin living in a completely new way and in a new space. She describes the lyrical themes of this album as being about “Loss. Losing everything. Relinquishing control. Complete psychic abandon. Blind leaps of faith into the fire, walking out unscathed. Crawling out of the pit.”
Sacred Bones is now repressing this legendary debut on colour vinyl for the very first time in celebration of the label’s 15th year anniversary.
Medium Rarities is a full-length album of unreleased material spanning The Wild Feathers decade-long career. The album is composed of B-sides, covers, demos, and other gems that the band culled from The Wild Feathers’ vault. This limited deluxe edition pressing features a foil-stamped and numbered jacket that is also autographed by the band. The vinyl is pressed onto a “medium rare meat” color LP. This LP is limited to 2000 units and will only be pressed once.
Vinyl: $10.99 Buy
It was December of 2020. COVID was raging across the world. Many families and friends spent the holidays apart. In response, New York’s super-catchy alt-pop quartet Charly Bliss and Canada’s beloved pop-punk PUP decided to drop a new holiday classic for everyone who felt like they did. Originally only released digitally, Barsuk Records is excited to put out this limited edition 7-inch version of Charly Bliss + PUP’s “It’s Christmas and I Fucking Miss You”. Limited to 1,000 copies worldwide, this blue 7-inch vinyl also includes the first physical release of Charly Bliss’ cover of that time honored earworm “All I Want For Christmas is You”.
Kris Kristofferson has always identified himself first and foremost as a writer, and true writers know that what works best is giving a piece of themselves to the listener. With the release of This Old Road, Kristofferson lays a chunk of his own soul on every track. This beautifully sparse recording puts an emphasis on his fine lyrics and distinctive voice by featuring Kristofferson, his guitar, and harmonica. The album is so intimate it makes the listener feel as if they are sitting in Kristofferson's living room while he picks and sings just for them.