Part of the first wave of mid-70s UK punk explosion alongside The Damned, Sex Pistols and Clash, The Boys formed in London in 1975 and were to become the first UK punk band to sign a record deal. They released their acclaimed self-titled debut in 1977 which featured ‘I Don’t Care’ and ‘First Time’. Limited edition vomit splatter vinyl. 1000 copies.
The Boys – Alternative Chartbusters (Deluxe Edition) – Double CD
Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’. On the 35th anniversary of the original release of “Alternative Chartbusters” these two classic albums have been given a special edition deluxe release on both CD & vinyl by Fire Records. Both albums have been digitally remastered to the highest quality (personally overseen by Dangerfield) and feature sleeve notes by Dave Henderson of Mojo along with song listing notes by Dangerfield. The albums also come with bonus CDs featuring previously unreleased material including Dangerfield’s original home demo of “Brickfield Nights” and Plain’s first vocal outing on “It Only Hurts When I Cry”. As Last FM puts it: “The Boys made arguably one of the best LPs of the 70s with their self-titled first album and provided the template for superior Pop Punk before even the Buzzcocks had got out of first gear”. The Boys were born in September 1975 when singer/guitarist Matt Dangerfield left Mick Jones and Tony James’s fledgling punk band London SS to form a new band with ex-Hollywood Brats songwriter/keyboard player Casino Steel. Dangerfield’s art college friend, guitarist Honest John Plain, was soon recruited. The following year they held auditions for the bass and drum roles with Kid Reid and Jack Black completing the line-up. Matt Dangerfield had converted his rented basement flat in Maida Vale into a home recording studio. 47A Warrington Crescent became extremely important in the development of the UK punk scene in the mid seventies. Mick Jones, Tony James, Brian James, Rat Scabies, Gene October, Sid Vicious and Billy Idol were regular visitors. Amongst others, the Sex Pistols, The Damned, London SS, The Clash, Chelsea, Generation X and of course, The Boys, made their first recordings there. In this hotbed of creativity Steel and Dangerfield quickly struck up a prolific songwriting partnership. Around June 1976 the now settled line up kick started a hyperactive period where a slew of sub-three minute Steel/Dangerfield-penned anthems were honed to perfection in Dangerfield’s coal cellar during that blistering heatwave. As Casino Steel would later admit, “We never wanted any song to be longer than three minutes 20 seconds.” And, in 1976, with a nod to The Beatles’ melodic dexterity, the odd sneer and a tongue-in-cheek sense of humour, the duo became truly prolific songwriters who could knock a good 60 seconds off that target length. The Boys made their live debut at London’s Hope and Anchor in September 1976. Mick Jones, Billy Idol, Joe Strummer, Tony James and Gene October were all present and the venue was packed for The Boys’ performance. Just a few months later they became the first punk band to sign an album deal when they were snapped up by NEMS in January 1977. The band released the single ‘I Don’t Care’, which became an instant John Peel show favourite, its picture sleeve housing a rambunctious slice of souped-up Chuck Berry-styled riffing by way of The Beatles. It was a must-have item. The grainy black and white cover photo featured the five-piece in shades and leather with skinny ties, the sound was like a rock ‘n’ roll version of The Jam’s breakneck debut ‘In The City’ and the B-side ‘Soda Pressing’ had more of a flamboyant Heartbreakers-styled swagger to it. “The Boys” eponymously titled debut album, produced by Dangerfield & Steel, was released on 23 September 1977 and entered the UK charts the following week. In the intervening years, th
The Boys – The Boys (Deluxe Edition) – Double CD
Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’. On the 35th anniversary of the original release of “Alternative Chartbusters” these two classic albums have been given a special edition deluxe release on both CD & vinyl by Fire Records. Both albums have been digitally remastered to the highest quality (personally overseen by Dangerfield) and feature sleeve notes by Dave Henderson of Mojo along with song listing notes by Dangerfield. The albums also come with bonus CDs featuring previously unreleased material including Dangerfield’s original home demo of “Brickfield Nights” and Plain’s first vocal outing on “It Only Hurts When I Cry”. As Last FM puts it: “The Boys made arguably one of the best LPs of the 70s with their self-titled first album and provided the template for superior Pop Punk before even the Buzzcocks had got out of first gear”. The Boys were born in September 1975 when singer/guitarist Matt Dangerfield left Mick Jones and Tony James’s fledgling punk band London SS to form a new band with ex-Hollywood Brats songwriter/keyboard player Casino Steel. Dangerfield’s art college friend, guitarist Honest John Plain, was soon recruited. The following year they held auditions for the bass and drum roles with Kid Reid and Jack Black completing the line-up. Matt Dangerfield had converted his rented basement flat in Maida Vale into a home recording studio. 47A Warrington Crescent became extremely important in the development of the UK punk scene in the mid seventies. Mick Jones, Tony James, Brian James, Rat Scabies, Gene October, Sid Vicious and Billy Idol were regular visitors. Amongst others, the Sex Pistols, The Damned, London SS, The Clash, Chelsea, Generation X and of course, The Boys, made their first recordings there. In this hotbed of creativity Steel and Dangerfield quickly struck up a prolific songwriting partnership. Around June 1976 the now settled line up kick started a hyperactive period where a slew of sub-three minute Steel/Dangerfield-penned anthems were honed to perfection in Dangerfield’s coal cellar during that blistering heatwave. As Casino Steel would later admit, “We never wanted any song to be longer than three minutes 20 seconds.” And, in 1976, with a nod to The Beatles’ melodic dexterity, the odd sneer and a tongue-in-cheek sense of humour, the duo became truly prolific songwriters who could knock a good 60 seconds off that target length. The Boys made their live debut at London’s Hope and Anchor in September 1976. Mick Jones, Billy Idol, Joe Strummer, Tony James and Gene October were all present and the venue was packed for The Boys’ performance. Just a few months later they became the first punk band to sign an album deal when they were snapped up by NEMS in January 1977. The band released the single ‘I Don’t Care’, which became an instant John Peel show favourite, its picture sleeve housing a rambunctious slice of souped-up Chuck Berry-styled riffing by way of The Beatles. It was a must-have item. The grainy black and white cover photo featured the five-piece in shades and leather with skinny ties, the sound was like a rock ‘n’ roll version of The Jam’s breakneck debut ‘In The City’ and the B-side ‘Soda Pressing’ had more of a flamboyant Heartbreakers-styled swagger to it. “The Boys” eponymously titled debut album, produced by Dangerfield & Steel, was released on 23 September 1977 and entered the UK charts the following week. In the intervening years, th
The Boys – Alternative Chartbusters (Deluxe Edition) – LP
Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’. On the 35th anniversary of the original release of “Alternative Chartbusters” these two classic albums have been given a special edition deluxe release on both CD & vinyl by Fire Records. Both albums have been digitally remastered to the highest quality (personally overseen by Dangerfield) and feature sleeve notes by Dave Henderson of Mojo along with song listing notes by Dangerfield. The albums also come with bonus CDs featuring previously unreleased material including Dangerfield’s original home demo of “Brickfield Nights” and Plain’s first vocal outing on “It Only Hurts When I Cry”. As Last FM puts it: “The Boys made arguably one of the best LPs of the 70s with their self-titled first album and provided the template for superior Pop Punk before even the Buzzcocks had got out of first gear”. The Boys were born in September 1975 when singer/guitarist Matt Dangerfield left Mick Jones and Tony James’s fledgling punk band London SS to form a new band with ex-Hollywood Brats songwriter/keyboard player Casino Steel. Dangerfield’s art college friend, guitarist Honest John Plain, was soon recruited. The following year they held auditions for the bass and drum roles with Kid Reid and Jack Black completing the line-up. Matt Dangerfield had converted his rented basement flat in Maida Vale into a home recording studio. 47A Warrington Crescent became extremely important in the development of the UK punk scene in the mid seventies. Mick Jones, Tony James, Brian James, Rat Scabies, Gene October, Sid Vicious and Billy Idol were regular visitors. Amongst others, the Sex Pistols, The Damned, London SS, The Clash, Chelsea, Generation X and of course, The Boys, made their first recordings there. In this hotbed of creativity Steel and Dangerfield quickly struck up a prolific songwriting partnership. Around June 1976 the now settled line up kick started a hyperactive period where a slew of sub-three minute Steel/Dangerfield-penned anthems were honed to perfection in Dangerfield’s coal cellar during that blistering heatwave. As Casino Steel would later admit, “We never wanted any song to be longer than three minutes 20 seconds.” And, in 1976, with a nod to The Beatles’ melodic dexterity, the odd sneer and a tongue-in-cheek sense of humour, the duo became truly prolific songwriters who could knock a good 60 seconds off that target length. The Boys made their live debut at London’s Hope and Anchor in September 1976. Mick Jones, Billy Idol, Joe Strummer, Tony James and Gene October were all present and the venue was packed for The Boys’ performance. Just a few months later they became the first punk band to sign an album deal when they were snapped up by NEMS in January 1977. The band released the single ‘I Don’t Care’, which became an instant John Peel show favourite, its picture sleeve housing a rambunctious slice of souped-up Chuck Berry-styled riffing by way of The Beatles. It was a must-have item. The grainy black and white cover photo featured the five-piece in shades and leather with skinny ties, the sound was like a rock ‘n’ roll version of The Jam’s breakneck debut ‘In The City’ and the B-side ‘Soda Pressing’ had more of a flamboyant Heartbreakers-styled swagger to it. “The Boys” eponymously titled debut album, produced by Dangerfield & Steel, was released on 23 September 1977 and entered the UK charts the following week. In the intervening years, th
David Thomas and two pale boys Sign To Fire Records + Fire Tapes Reveals New David Thomas Video
Pere Ubu frontman David Thomas’ project two pale boys sign with Fire Records and release the first in a series of short documentary videos. Joining the Fire Records roster, David Thomas and two pale boys will reissue their entire catalogue this year. They are also to record new material for future releases. Watch ‘I Am The Conscience Of The Music Industry’ below. Stream David Thomas and two pale boys ‘Planet … Read More
The Lemonheads – Varshons 2
***Green & Yellow LPs come in Banana Scented Scratch & Sniff Sleeve!*** (Limited quantities)
The Lemonheads follow up the critically acclaimed ‘Varshons’ from nearly ten years ago with another eclectic collection of covers.
Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time.
What they said about Varshons:
“Gram Parsons, Wire, and GG Allin: You’d be hard pressed to find three more disparate rock acts, yet on ‘Varshons’ they all sound like the Lemonheads – boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.” Pitchfork.
‘Varshons 2’ is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.
Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.
Including some obscure beauties like Florida Georgia Line’s ‘Round Here’, Natural Child’s ‘Now And Then’, The Eyes’ raucous ‘TAQN’ and The GiveGoods’ gorgeous ‘Unfamiliar’ – a tune Dando penned with former Smudge man Tom Morgan.
*note that CD version does not come in Banana Scented Scratch & Sniff Sleeve!
The Bevis Frond – We’re Your Friends, Man
Docking alongside the Mothership Frond, with its insignia emblazoned with the legend ‘We’re Your Friends, Man’, you can hear a smattering of Hendrixonian guitar wafting through the cavernous recess of this vessel. You can hear a Love-like strum, a melancholy verse/chorus; you can hear proper songs with uplifting guitar salvos releasing the pressure on the thinking man’s pontifications on growing old, putting things in order and the sense of wonder of how we all got here… so much vinyl, so little time.
This is The Bevis Frond’s umpteenth mission, like Dark Star troopers they know the drill and in epic soundtrack proportions they clock in with just under 90 minutes of grown up angst, a semi-autobiographical romp from the director who has an eye for this; nothing short of a genius auteur.
To the point, on the money; it’s dramatic, plucking at the heart strings, spilling one liners, milking the past and crafting something completely new.
Every song that the Frond’s front man Nick Saloman writes has the effect of little orchestras tuning up in your head, sketching the scene and filling in the blanks – a feat explained in the cunningly titled ‘Little Orchestras’, no less. And there’s more personal realisations on offer for sure – ‘Growing’, ‘A Hard Way To Learn’ and ’Young Man’s Game’ make for a strident midfield in this 20-track squad.
But doesn’t every Bevis Frond album do that? Sure… The man writes great songs, he knows his way around a verse and chorus as well as he knows the best route around a guitar, he also has his tongue firmly in his cheek throughout.
So, as the closing epic, the 13 minute ‘You’re On Your Own’ traces Nick Saloman’s drive over the Westway, between passing Galaxies, and our worlds begin to gain distance, while twin guitars spiral like Stills and Young on a ‘Four Way Street’ jam, some graffiti comes into view – “Bevis Is God” it proclaims. Move over Eric.
Jane Weaver – The Silver Globe
In the madrigal-strewn world of neo folk-psychedelia, the queen of drones holds court…
In this late teen decade, as green men are burnt, resources dwindle and naturalists plunder for authentic Englishness, the hunt for the grail-like Silver Globe continues.
Back in 2014, the story was first whispered; A mythical jaunt set to a motorik rhythm, played out in an overgrown forest of ideas: Jane Weaver’s ‘The Silver Globe’ was a conceptual delicacy – “a synth-ridden post-apocalyptic prog-pop opus based on tightly embroidered, non-linear recurring themes inspired by esoteric stories, cosmic imagery and re-filtered past experiences”.
Since those heady beginnings, our heroine has time travelled to darker times and been celebrated for her glorious ‘Modern Kosmology’ (top album of 2017, here, there, everywhere).
“An album that melds cult cornerstones into a lean and thrillingly addictive slice of unearthly pop” trumpeted The Guardian.
Featuring tracks co-produced by David Holmes, guest appearances by Australian vintage space-rockers Cybotron, a recycled chunk of a Hawkwind track, an intricate Damon Gough guitar solo, some Suzanne Ciani waves and post production, plus remix flourishes by Andy Votel, ‘The Silver Globe’ is a shiny beautifully polished gem.
Now reissued in a limited-edition clear vinyl run with the existing artwork updated by Andy Votel, it is also being made available on CD in a card wallet so that this creative milestone can again be heard whatever your new age/old wave preference.
It is “a full-scale leap into the cosmic void of contemporary space rock” according to Quietus.
“As a child of the 1970’s I can thank my friends’ brothers for their space rock record collections and concept album sleeves that I would spend hours looking at, then my first love for Kate Bush followed by a heavy dose of disco and synth pop.
I guess ‘The Silver Globe’ is just a subconscious inspired imprint of those things that have never left me, married with an accidental viewing of a vintage Polish sci-fi film that was so bizarre I couldn’t stop thinking about it and so it became my muse…” Jane Weaver
Set the controls…
Fire Records announces The Groundhogs ‘Blues Obituary’ 50th anniversary reissue
The Groundhogs ‘Blues Obituary’ 50th Anniversary Reissue Out 12th October 2018 Die cut sleeve limited edition blue LP / CD with liner notes It’s an everyday story of love, loss and moving on, punctuated by a trip to the cemetery, a bloke with smelly feet who was just too big for his own coffin and the introduction of some Indian drums that signalled a long, spiralling journey to somewhere … Read More
The Groundhogs – Blues Obituary
50th Anniversary limited edition die cut sleeve with liner notes from Mojo’s Dave Henderson.
The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pustelnik on drums.
The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove.
Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’.
Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs.
According to Tony in Zig Zag’s John Tobler’s sleevenotes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.”
“A deep excursion into musical depths further down than Canned Heat ever dared go.”
The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track.
The Chills ‘Snow Bound’ drops Sept 14
The Chills’ ever-present songwriter Martin Phillipps has a check list. 1. Establish band as much-loved New Zealand legends. Check. 2. Release the greatest summer single ever in the shape of ‘Heavenly Pop Hit’. Check. 3. Go on lengthy 19-year sabbatical out of the public eye. Check. 4. Return to recording and cock a weary eye at politics, the environment and other social issues with an infectious earworm in mind. Check. … Read More
The Chills – Snow Bound
The Chills’ ever-present songwriter Martin Phillipps has a checklist.
- Establish band as much-loved New Zealand legends. Check.
- Release the greatest summer single ever in the shape of ‘Heavenly Pop Hit’. Check.
- Go on lengthy 19-year sabbatical out of the public eye. Check.
- Return to recording and cock a weary eye at politics, the environment and other social issues with an infectious earworm in mind. Check.
- Sonically weld your “spindly guitar sound” and psyche roots to a new found angst about, well, just about everything on a brand new “grown up” opus called ‘Snow Bound’. Check.
The latest postcard from The Chills’ epic journey is an album about “consolidation, re-grouping, acceptance and mortality,” claims the chief Chill. “Hopefully a kind of Carole King ‘Tapestry’ for ageing punks.”
Wow! Are rock bands allowed to grow old gracefully and assess the world’s and their shortcomings in the process? Is it possible to swerve the obvious and make something that’s bittersweet in tone but harmonious on the ear? Of course it is.
On ‘Snow Bound’ lost heroes are lamented, relationships are re-evaluated, atonement is sought, mortality is mulled over and fake news is undercut. It’s serious stuff, the thoughts of a dysfunctional 50-something wrestling with maturity and discovering that their post-punk DIY beliefs still have a real voice that resonates between the fans of their early years and which can now pass down to the next generation.
Casting our minds back, we can recall that The Guardian mused, “They sound almost like the musical embodiment of autumn,” when confronted with ‘Silver Bullets’. Three years on, ‘Snow Bound’ nestles heartily in its own winter of discontent. And all this with a humalong melodic verve, Phillipps’ gift for the tempered dalliance of verse and chorus and those gorgeous euphoric organ fills. Let the soul-searching commence…
Virginia Wing announce new October UK live dates and premiere new video at The Quietus
Virginia Wing announce new October UK live dates and premiere new video for ‘The Second Shift’ over at The Quietus now: http://thequietus.com/…/24652-virginia-wing-the-second-shift Directed by Oscar Foster-Kane the video “seeks to represent the roles of both the surveyor and the surveyed that exist within female identities; An observance of others versus a continual self-scrutiny on behalf of the observer. It’s not possible to dance like nobody’s watching, because someone always is.” Pre-order new album ‘Ecstatic … Read More
This Corner of England #2
Dictionary Pudding + Fire Records proudly present The Bevis Frond plus the Jazz Butcher Jowe Head The 100 Club / SUNDAY 27th MAY 2018 TICKETS HERE: Ticket link : https://www.seetickets.com/event/the-bevis-frond/100-club/1206772 A Celebration Of The Bevis Frond On Sunday 27th May 2018 + very special guests! This Corner of England celebrates the legendary, and incredibly influential, English psychedelic outfit The Bevis Frond with a whole day of music at the 100 … Read More
Virginia Wing playing at The Great Escape 2018 Festival!
Virginia Wing will join the BBC Radio 6 Music stage at this year’s The Great Escape 2018 Festival! Go catch them live in Brighton! http://greatescapefestival.com/artists/virginia-wing/ Listen again to the interview with Tom Ravenscroft while it’s still up here: http://www.bbc.co.uk/programmes/b09wx3c9 Pre order the new album ‘Ecstatic Arrow’ out June 8th : https://virginiawingmusic.bandcamp.com/album/ecstatic-arrow
Happy release day to the Jazz Butcher ‘The Violent Years’ CD Book
Not too late to buy your copy of this expansive book-styled package of the first four albums from The Jazz Butcher’s early Creation Records’ years – 1988-1991. Featuring the much praised ‘Fishcotheque’, ‘Big Planet, Scarey Planet’, ‘Cult Of The Basement’ and ‘Condition Blue”. A sonic journey that takes The Jazz Butcher from a Weather Prophets-propelled rock ‘n’ roll visionary through to a lean jazz-tinged pop exponent. Underlining the clever lyrics, witticisms, … Read More
Virginia Wing joining the line up of Sea Change Festival 2018
Virginia Wing are joining Hater and The Ballad of Shirley Collins at this year’s Sea Change Festival ! We can’t wait for August in Totnes!
This Corner of England Sunday 27th 2018 at the 100 Club
This Corner Of England is back! The Bevis Frond will be headlining joined by the Jazz Butcher and Jowe Head. Book your Sunday 27th of May and come down to the legendary venue The The 100 Club! tickets here: https://www.seetickets.com/…/the-bevis-fro…/100-club/1206772
The Groundhogs – Scratching The Surface
Entering its 50th year since it’s release, ‘Scratching The Surface’ is The Groundhogs extraordinary debut album. A landmark in the British blues movement in the 60s, the record released in 1968 includes their fierce reworking of Muddy Waters’ ‘Still A Fool’. Limited edition and newly remastered for vinyl. 1000 copies.
The Jazz Butcher headlining at The 100 Club in London on the 1st of March
Get ready! In less than one week the Jazz Butcher is headlining at The 100 Clubin London! https://www.facebook.com/events/167306060515144/ Tickets here: http://bit.ly/2o3Tldw You can also still pre-order ‘The Violent Years’ here: www.thejazzbutcher.bandcamp.com/album/the-violent-years
The Lemonheads – Favourite Spanish Dishes
Released in 1990, Favourite Spanish Dishes sees The Lemonheads revisit Linda Rondstadt and the Stone Poneys’ ‘Different Drum’. “Dando has always had an ear for a cover version, able to select songs that fitted his melodic and lyrical sensibility perfectly, and Different Drum was perfect for him.” Guardian (The Lemonheads: 10 Of The Best). The 12” features an acoustic rendition of The Misfits ‘Skulls’ where “the grain of this voice gives the cover magnetic weight” (Rolling Stone) and self-penned tracks include ‘Paint’ and ‘Ride With Me’.
Remastered, limited edition 5 track, pink, 45RPM EP with Spanish dishes recipe booklet. 1500 copies.
Death And Vanilla will play an exclusive London show on the 6th of April 2018 !
Death And Vanilla will play an exclusive London show on the 6th of April 2018 at The Shacklewell Arms ! Grab your tickets here https://app.dice.fm/event/927dd-death-and-vanilla-6th-apr-the-shacklewell-arms-london-tickets and tune in to Gideon Coe‘s show from yesterday on BBC Radio 6 Music to listen to ‘Labyrinthe’ ! http://www.bbc.co.uk/programmes/b09q3ktp
Sea Change Announce Hater & ‘The Ballad Of Shirley Collins’ Event From Earth Recordings – August 2018
We can now reveal that this summer we’ll be heading back to Totnes for Sea Change 2018! Special line-up includes Hater and The Ballad of Shirley Collins with an event from our sister label Earth Recordings. Find more details below: https://www.seachangefestival.co.uk/2018-artists
The Jazz Butcher ‘The Violent Years’
Following the Jazz Butcher ‘The Wasted Years’ 4 x CD box set comes ‘The Violent Years 1988-1991′ featuring four seminal albums – ‘Fishcotheque’, ‘Big Planet, Scarey Planet’, ‘Cult Of The Basement’ and ‘Condition Blue’ – out 9th March 2018. Catch the Butcher live on 1st March at the The 100 Club in London. Tickets here: http://bit.ly/2o3Tldw Pre-order ‘The Violent Years’ here: www.thejazzbutcher.bandcamp.com/album/the-violent-years
The Jazz Butcher – The Violent Years
Expansive book-styled package of the first four albums from The Jazz Butcher’s early Creation Records’ years – 1988-1991.
Featuring the much praised ‘Fishcotheque’, ‘Big Planet, Scarey Planet’, ‘Cult Of The Basement’ and ‘Condition Blue”.
A sonic journey that takes The Jazz Butcher from a Weather Prophets-propelled rock ‘n’ roll visionary through to a lean jazz-tinged pop exponent.
Underlining the clever lyrics, witticisms, one-liners, melancholy, irony and conceptualisation of main man Pat Fish that came to maturity across his previous four albums for Glass (collected on Fire and much praised later last year as ‘The Wasted Years’).
Hailed by the press of the day:
“Punning, clever displays of hurt and revulsion.” Select
“That rare beast, an LP of cool, laid back pop.” Record Mirror
“A vicious mismatch of outrage, black humour and sentiment.” Sounds
“If it emanated from a more in-vogue source, would currently be having its maverick genius analysed to death.” Melody Maker
Praise for The Jazz Butcher’s ‘Wasted Years’:
“They are a band well worth re-visiting or discovering for the first time. A release very much recommended.” 8/10 Louder Than War
“An incomparable genre-bending act that requires a substantive re-evaluation. Between the pages and the artwork of this reissue lies a time capsule of a time that is just as pertinent today as the time when it was created.” 9/10 Under The Radar
Jane Weaver’s ‘Modern Kosmology’ is Rough Trade’s #8 Album of the Year!
Jane Weaver‘s ‘Modern Kosmology’ is #8 in Rough Trade Records‘ ‘Albums Of The Year 2017’ list! https://roughtrade.com/gb/albums-of-the-year-2017-top-20
Fire Announce Death And Vanilla ‘The Tenant’ Score on Magenta Vinyl – Feb 2nd
Fire will release Death And Vanilla‘s score to ‘The Tenant’ on 2nd February 2018 on limited edition Magenta Vinyl / CD! Pre-order the record here: https://deathandvanillamusic.bandcamp.com/ Listen to ‘Dioz Delirium’ here
Out Today: Jane Weaver ‘The Architect’ EP!
OUT TODAY: Jane Weaver‘s ‘The Architect’ EP Order here: http://www.firerecords.com/janeweaverstore/
Fire Records Presents ‘This Corner of England 2018’
Special earlybird tickets at £10 on sale now! Click here A Celebration Of The Bevis Frond at London Fields Brewery On Sunday 27th May 2018 + very special guests TBA! This Corner of England celebrates the legendary, and incredibly influential, English psychedelic outfit The Bevis Frond with a whole day of music at the London Fields Brewery on Sunday May 27th 2018 The Bevis Frond have ultimately become the UK’s … Read More
Stream Hater’s ‘Blushing’ on DIY Magazine + They Play The Shacklewell Arms, London – December 1st
Hater have announced new shows in support of their upcoming EP ‘Red Blinders’ – out December 1st on Fire Records! The new single – ‘Blushing’ – is streaming over at DIY Magazine! It’s taken from the upcoming ‘Red Blinders’ EP – out December 1st. 29 Nov: Rough Trade East, London, UK (Rough Trade Recommends) 30 Nov: Soup Kitchen, Manchester, UK 01 Dec: The Shacklewell Arms, London, UK (Free Entry) Pre-order the EP on LP/CD/DL from Bandcamp here: https://haterfire.bandcamp.com/ and from … Read More
on sale now: AGMP Presents The Jazz Butcher – 100 Club – 1st March 2018
ON SALE NOW: AGMP Concerts and Fire Records present the Jazz Butcher at The 100 Club – March 1st 2018. Grab your tickets here at the earlybird price of just £10 Pre-order ‘The Wasted Years’ bookback CD here: http://bit.ly/2fkVied
Howe Gelb Announces ‘Further Standards’ With Lonna Kelly – Out Nov 24th
Howe Gelb announces ‘Further Standards’, set for release on November 24th. This new album takes inventory by adding Lonna Kelley to several of the original tracks from “Future Standards”. Listen to a new track ‘All You Need To Know’ here Pre-order ‘Further Standards’ here: http://bit.ly/2xKy1wP
Pledge To The Chills Film Kickstarter Campaign
Over $10,000 has been raised so far towards The Chills Film Kickstarter campaign! Check out the link below to pledge and get your hands on some exclusive The Chills merchandise, including these mystery boxes hand picked by Martin Phillipps himself, original Chills posters, signed records and more! www.thechillsfilm.com
The Ballad Of Shirley Collins Screens at London’s BFI Film Festival
“The Remarkable story of one of the great British folk singers whose voice, once lost, makes a welcome return.” The Ballad Of Shirley Collins premiere’s at London’s BFI Film Festival in October. A few tickets remaining below. Friday 13th – 18.30 – VUE (Leicester Square) Sat 14th – 15.45 – ICA
Hater Perform at The Conference, Malmö
Click here to watch a live video of our newest signing – Hater – performing a new track ‘Blushing’, at The Conference in Malmo a few weeks ago! The new EP ‘Red Blinders’ will be released on December 1st.. watch this space for more new on the bands’ tour dates!
Jane Weaver To Release ‘The Architect’ EP – October 27th
Jane Weaver will release ‘The Architect’ EP on October 27th! The release features the title track alongside unreleased new tracks and a special remix by Andy Votel. Pre-order on 12″ Vinyl here: http://www.firerecords.com/janeweaverstore/ Pre-order from digital platforms here: https://janeweaver.lnk.to/thearchitectepFA
The Jazz Butcher – The Wasted Years
- Featuring ‘Bath Of Bacon’, ‘A Scandal In Bohemia’, ‘Sex And Travel’ and ‘Distressed Gentlefolk’.
- Remastered By Brian Pyle.
In the early ‘80s, Dave Barker was checking master vinyl copies of classical recordings for glitches – they don’t make jobs like that anymore. In his spare time he discovered innovative souls struggling to make music and welcomed them to his Glass Records label. The roll call included Teenage Fanclub, Spacemen 3, The Pastels and The Jazz Butcher.
The ‘Butcher’ delivered a gaggle of albums and many 45s for Glass from 1983 to 1986, the jacket notes on the dusty tome that recalls this period mentions Randall And Hopkirk (Deceased), Thatcher, DIY post-punk, LSD, surrealist cabaret, The Velvet Underground, a bottle of Cointreau or two, the Amstrad 7090 and Ronco’s ‘Black Magic’ compilation. All that led to the ‘The Wasted Years’: Four albums, many visions…
‘Bath Of Bacon’ was an experiment in sound, conjoining that Ronco platter to Todd Rundgren, a guitar from Wes Montgomery’s cupboard and mentions of imaginary monsters set to some funky chops. “The sound of a few mates failing to take note that they’ve an LP to make!” claims the JB site. It’s pop meets bluesy scat with plenty of deadpan irony – a theme that will recur.
‘A Scandal In Bohemia’ took a “competent little rock band” with a bassist who’d served time in Bauhaus into a world chorused by multi-track vocals and bathroom ambience. “A top-shelf diamond of a record that is filled with excellent, memorable songs.” (All Music).
‘Sex And Travel’ offered a broadening perspective. Competence and European travel beget a narrative akin to an impressionistic cold war spy movie, a “mess of styles” that became coherent. “A great album,” muses All Music before comparing JB mainman Pat Fish to Ray Davies circa 1969. It’s an “accidental” concept album prone to fleeting melancholy.
‘Distressed Gentlefolk’, ahead of the original band’s demise through “fatigue and liquor” was the Butcher’s stab at making their “greatest album ever”. “A beautifully romantic record of soft rock ballads and jazzy torch songs,” enthused Trouser Press. There’s a folky edge scratching away beside the inevitable romp through pop music’s historical lineage.
Four albums, then. The ‘80s recast at an ironic party of malcontents. Indie pop as a soundtrack. Songs that shouldn’t fit together – but do. ‘Wasted Years’? Yeah, really.
The Bevis Frond – Son Of Walter
It’s the Frond’s 15th studio album.
“The release of this work signals a resurgent appreciation for the noodly psychedelia of which this Brit is the master,” claimed the beautifully named Jennie Ruggles in Addicted To Noise. “Guitar fans will eat this album up,” Calendar, a magazine in the US argued and Pulse! Magazine reckoned: “’Son Of Walter’ offers new recruits a generous and reasonably representative introduction both to Saloman’s deeply ingrained mastery of ‘60s-vintage idioms and to the humanity and tunefulness that sets him apart from less imaginative retro-formalists.”
Ah, retro formalists, we love them.
“Don’t ask why, but for this album I decided to make the long-awaited(?) return to the style of the first few BF records. So it’s back to the home recording facilities, and back to being the only person involved. So it’s definitely worse than the recent stuff. (Feel free to disagree),” Frond mainman and, indeed the only Frond left standing on this opus, reasoned on the sleevenotes when it first sneaked out on the super cool Flydaddy label in the US.
So, what is it all about? The trademark folk strum with multi-harmonies is there. There’s a slight nod to a country-ish CSN&Y thing, but that’s only for four bars. Who remembers that when there is the colossal ‘Garden Aeroplane Trap’, a proper wig out at 12 minutes 20. Elsewhere we have the kind of timeless psyche pop that people with ears really love, two songs that namecheck Elvis and a song about a dead man on a train. That was London in the late ‘90s. Hey, rock ‘n’ roll.
“’Son Of Walter’ offers new recruits a generous and reasonably representative introduction both to Saloman’s deeply ingrained mastery of ‘60s-vintage idioms and to the humanity and tunefulness that sets him apart from less imaginative retro-formalists.” Pulse!
Greeting From The Far North
Feet Don’t Fail Me Now! A 20 track northern soul compilation on Fidelity The most recent wave of interest in northern soul has come about through broadsheet articles, films and most recently a BBC arts show documentary that revealed a new generation of northern kids embracing the traditions of all night dancing, baggy trousers and life-threatening dance moves. It’s chin stroking stuff. Meanwhile, the scene around this unique … Read More
