The BoysThe Boys (RSD Edition LP)

Jonathan Clancy

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

James Nicholls

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 BoysThe Boys (Deluxe Edition) – Double CD

James Nicholls

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

James Nicholls

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

James NichollsDavid Thomas and Two Pale Boys, Pere Ubu

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

Vanishing Twin European Tour Kicks Off

LuciaEvents, News, Vanishing Twin

21 Sep: Lévitation Festival, Angers France22 Sep: BAM Festival, Barcelona, Spain10 Oct: Deaf & Hard of Hearing Centre, Oxford, UK11 Oct: Glorious Traces, The Glad Café, Glasgow, UK12 Oct: Lost Map All-dayer, Bellfield, Edinburgh, UK20 Nov: Paradiso, Amsterdam, Netherlands22 Nov: Festival Invisible, Brest, France27 Nov: Bad Bonn, Düdingen, Germany28 Nov: Import Export, Münich, Germany29 Nov: Kantine am Berghain, Berlin, Germany30 Nov: Ideal Bar, Copenhagen, Denmark01 Dec: Aalhaus, Hamburg, Germany04 Dec: … Read More

The Bevis Frond September Live Dates Begin Next Week

LuciaEvents, News

Listen to BBC6 Music’s Session with Marc Riley https://bbc.in/2kNBdna 26 Sep: The Jericho Tavern, Oxford, UK 27 Sep: The Old Hairdressers, Glasgow, UK 28 Sep: Aatma, Manchester, UK 10 Oct: Arena, Berlin, Germany The Jericho Tavern (Oxford), The Bevis Frond at the Old Hairdressers (Glasgow) & Aatma (Manchester) tour posters.

Vanishing Twin reveal new video for ‘You Are Not An Island’

LuciaNews, Vanishing Twin

“A song that seems to act as a microcosm for the album as a whole, it moves from palatial and oh-so-English folk scenes towards warped electronics.. a fascinating piece”  Clash  ‘The Age Of Immunology‘ ★★★★ Pitchfork★★★★★ Popmatters★★★★★ The Vinyl District★★★★ Loud and Quiet★★★★ Uncut★★★★ Q ★★★★ Record Collector★★★★ Shindig★★★★ Norman Records ★★★★ The 405  Get the album here.

The Dream Syndicate – The Days Of Wine & Roses (RSD 2019 North America)

Jonathan Clancy

* Limited Edition Gatefold 2xLP + 7″ from Record Store 2019 (available to North America customers only)

Expanded version of seminal debut from cult band The Dream Syndicate, includes unheard extras and a bonus 7” by 15 Minutes.

For the first time ever:

• a reissue of “ The Days of Wine & Roses” endorsed by the entire band!
• a vinyl reissue of their original 4 song 12-inch EP (long out of print)
• exact facsimile replica of Steve Wynn’s rare “15 Minutes” 7-inch single

Plus: new interviews with Kendra Smith, producer Chris D., & Paul B. Cutler (who recorded theDown There” EP), ephemera from the Dennis Duck archives – Lovingly curated by Dream Syndicate archivist Pat Thomas.

An exceptional early ‘80s guitar-powered gem, remastered in full and includes the band’s debut indie EP and both tracks from main protagonist Steve Wynn’s earlier combo 15 Minutes.

The Days Of Wine And Roses’ is as timelessly potent as the records that inspired it.” Uncut 

Central to the hugely influential Paisley Underground scene of the early 1980s that spawned Green On Red, The Bangles, Long Ryders and Rain Parade.

“Arguably the finest LP to come out of the Paisley Underground’s salad days.” AllMusic 

With a nod to the Velvet Underground, Quicksilver Messenger Service and Dylan, packed into an incendiary slow-burn punk fuse, ‘The Days Of Wine And Roses’ is a glorious, upbeat sprawl, everything that rock ‘n’ roll should be.

“One of the most lasting alternative rock albums made during an explosive time for left-of-centre music.” Psychedelic Baby 

The Groundhogs – Thanks Christ For The Bomb (RSD 2019)

Jonathan Clancy

A hugely influential album cited as the embryo for punk, grunge and beyond. Featuring epic 1970 concepts from this far-reaching trio much praised by Underworld’s Karl Hyde, Captain Sensible, Stephen Malkmus and a host of others. Thank Christ For The Bomb is a visionary tale of cold war fear, alienation and everyday drama. A thinking man’s rumination on alienation, the album is a game of two halves; side one tackling the thermonuclear threat while side two traces riches to rags alienation in everyday London. Also featuring Radio 1 sessions and live versions of key tracks including a lengthy take of Soldier recorded for the BBC’s In Concert series. First of a trio of ground-breaking albums that steered the band from the Blues into a heavier, more prog-based sound and a true reflection of their much-praised live sound. 

Major Edition – Gatefold sleeve. Red slipcase, Poppy Download card, Poster, Ration book liner notes. Celebrating its 50th Anniversary, Thank Christ For The Bomb (Major Edition) is reissued on double vinyl with gatefold sleeve – complete with ration book, poppy card and bonus tracks.

Private Press Edition – Special artwork edition. 50th Anniversary Private Press edition. Gatefold sleeve, Green slipcase, Poppy Download card, Poster,‘Ration book’ liner notes. Bonus tracks on Download.

The Bevis Frond – Vavona Burr LP

Jonathan Clancy

1000 only. 20th anniversary 2LP edition on white vinyl and with new artwork.

Another collection of self-recorded, plays-every-instrument-pop/psych-rock” All Music.

A special 20th anniversary reissue out on double LP limited edition white vinyl that comes with new artwork. It’s end of the millennium music, an album from 1999 when we were all convinced that Y2K was going to take out the whole planet at midnight on December 31. It’s The Bevis Frond’s 17th studio album, filled with half recalled dreams and acquaintances – there’s Don Lang (a 1950s trombonist who died earlier in the decade), there’s Jesus (an omnipresent head who danced barefoot at all those Roundhouse gigs in the ‘70s), there’s Wilson, Kepple And Betty doing the ‘One Leg Sand Dance’, Che Guevara, John And Yoko, Joe The Dealer, there’s the girl in ‘In Your Eyes’ who couldn’t make breaking up any harder. This is introspection at its best, a lo-fi mighty personal verse with a huge aching chorus.

The Bevis Frond – North Circular LP

Jonathan Clancy

1000 only. Long out of print, The Bevis Frond’s ‘North Circular’ is released on triple blue vinyl for Record Store Day 2019.

“Brilliant hook-driven pop songs” Pitchfork

“Nick Saloman is psychedelia’s true acid minstrel, equally at home lulling his listeners with an acoustic guitar as bulldozing them with an electric.” Aural Innovations

The cavalcade of melodies is nothing short of ideal for an anticlockwise cruise from Woolwich Ferry through the Lea Valley, past Muswell Hill, Neasden and off to the Ace Café for a fry up with a gaggle of Frond-friendly bikers air guitaring the epic ‘The Stranger’s Mirror’. Get your kicks on the A406. Every inch the endless Ballardian road trip – a journey filled with contemplative rites of passage dialogue, riddled with more than a few issues to resolve.

The Lemonheads – Take It Easy 7″

Jonathan Clancy

The Lemonheads bring together two unique takes on The Eagles’ ode to romance and the road, ‘Take It Easy’

From their ‘Varshons II’ album that brought together intriguing takes on everyone from Nick Cave and The Bevis Frond through to John Prine, Yo La Tengo, Lucinda Williams and Paul Westerberg.

“Evan Dando makes long-awaited return with another stellar slew of rarely-trodden rock classics.” Louder Than War

Version One is a piece of itchy white line fever, switching gears as the eight-track spirals on, a singalong variation with a right arm tan – all alt-country and joyous, with an undertone of pain and remorse.

Evan: “‘Take It Easy’ is kinda rough. It was my girlfriend’s idea, but it was my idea to make it sound anaemic and bloodless… enjoy!”

Version two is a Matthew Cullen production – a suicide mix, with Schneider and Hutter sharing the wheel, as the road map heads right into the soundtrack of Tron – that’s Satnavs for you…

They all sound like the Lemonheads – boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor” claimed Pitchfork of Evan’s eclectic picks.

The Lemonheads – Can’t Forget 7″

Jonathan Clancy

Limited edition pressing of RSD AA 7” single, ‘Can’t Forget’ is the lead single, and Yo La Tengo cover, from the new Lemonheads album. AA-side is unreleased cover of Lou Reed’s ‘Wild Child’.

Produced by Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones).

It’s nearly ten years since The Lemonheads strummed to a halt on their ninth studio album, a perky well received set of covers that brought together many unlikely bedfellows (Gibby Haynes produced, Kate Moss did a cameo vocal).

The band’s follow up repeats the formula with Evan way out upfront, his emotive slow maturing vocal making sense of another wide-beam playlist. He really has become one of the great expressive singers.

The Chills – Single-Burger (Cassette)

Jonathan Clancy

Super limited collection of singles from The Chills available on cassette through our friends at Burger Records. Six classics on a snazzy tape ready to bring you back in time.

Tracklist:
01 Rocket Science
02 Lost In Space
03 Molten Gold (Single Version)
04 Pink Frost 13
05 Eazy Peazy (Demo Version)
06 Conversation Piece (David Bowie)

The Chills announce 2019 US tour

LuciaEvents, News, The Chills

US Tour Dates: 19 Feb: The Bellhouse, NY, US 20 Feb: The Middle East, Boston, US 22 Feb: White Eagle Hall, Jersey City, US 23 Feb: Kung Fu Necktie, Philadelphia, US 24 Feb: The Black Cat, Washington, US 26 Feb: Outer Limits Lounge, Detroit, US 27 Feb: The Empty Bottle, Chicago, US 28 Feb: The Turf Club, Minneapolis, US 2 Mar: The Wayfarer, Costa Mesa, US 3 Mar: The Echo, … Read More

The Chills announce 2019 US tour

Jonathan ClancyEvents, News, The Chills

US Tour Dates: 19 Feb: The Bellhouse, NY, US 20 Feb: The Middle East, Boston, US 22 Feb: White Eagle Hall, Jersey City, US 23 Feb: Kung Fu Necktie, Philadelphia, US 24 Feb: The Black Cat, Washington, US 26 Feb: Outer Limits Lounge, Detroit, US 27 Feb: The Empty Bottle, Chicago, US 28 Feb: The Turf Club, Minneapolis, US 2 Mar: The Wayfarer, Costa Mesa, US 3 Mar: The Echo, … Read More

Howe Gelb – Gathered

Jonathan Clancy

Eavesdropping is an art. And on Howe Gelb’s new solo album, ‘Gathered’, it’s been perfected. A chance meeting heard through a door half cracked open, it’s an album of candid romanticism, a footnote to your heart’s history. 

On ‘Gathered’, it feels like you’re privy to musings on a muse (or two). From the first discordant pluck of ‘On The Fence’ you’re alone and lost in the dark of Chet Baker vocalease where brushes whisp over the snare and you can taste the bar room’s stale smoke as a procession of partners sway into position. Old photographs half remembered. 

There’s an international feel; Howe spars with world weary travellers from Ireland, Spain, France, the Netherlands, Denmark and down home. His daughter Talula intones ‘Moon River’, there’s a nod to Bessie, Piaf and Ella F, and the loving cup is filled. There are spaces here; tension built through gaps in the proceedings. Howe provides commentary too, ensuring it’s a personal narrative. 

 It’s all about wanderlust, the moodier piano moments offset by occasional string-driven grit, all of it peppered with an angular rattle. These bedraggled raconteurs spin yarns and tell stories; Howe holds court, a tale-telling strummer set on making an imperfect clash of tones just perfect. 

 After his two jazz-tinged ‘Future Standards’ sets, Howe’s tempered balladry on ‘Gathered’ captures all the beauty of everyday complex relationships, sideways glances and all that stems from such a smile. The title track reminisces on the big day and its rites of union. Howe’s a hapless and hopeless romantic at heart. Deep down.

The Lemonheads cover The Bevis Frond on new track & EU 2019 tour announced

Jenna JonesEvents, Lemonheads

The Lemonheads cover cult British psych-rockers The Bevis Frond on new cut from forthcoming album European 2019 tour announced ‘Old Man Blank’ audio link: https://soundcloud.com/firerecords/the-lemonheads-old-man-blank Tour Dates 06 Feb: The Academy, Dublin, Ireland 07 Feb: Cyprus Avenue, Cork, Ireland 08 Feb: Elmwood Hall, Belfast, UK 09 Feb: SWG3, Glasgow, UK 11 Feb: Wylam Brewery, Newcastle, UK 12 Feb: O2 Ritz, Manchester, UK 13 Feb: Leeds University Stylus, Leeds, UK 14 Feb: … Read More

The Lemonheads – Varshons 2

Jonathan Clancy

***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 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.

Cover Art by Mark Dagley.

*note that CD version does not come in Banana Scented Scratch & Sniff Sleeve!

The Bevis Frond – We’re Your Friends, Man

Jonathan Clancy

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

Jonathan Clancy

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

Jenna JonesNews, The Groundhogs

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

Jonathan Clancy

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

Jonathan ClancyNews, The Chills

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

Jonathan Clancy

The Chills’ ever-present songwriter Martin Phillipps has a checklist.

  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.
  5. 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

James NichollsNews, Virginia Wing

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

James NichollsEvents, Jowe Head, The Bevis Frond, The Jazz Butcher, 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!

James NichollsEvents, News, Virginia Wing

  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

James NichollsNews, The Jazz Butcher

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

The Groundhogs – Scratching The Surface

Jonathan Clancy

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 Lemonheads – Favourite Spanish Dishes

James Nicholls

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 !

James NichollsDeath And Vanilla, Events, News

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

The Jazz Butcher ‘The Violent Years’

James NichollsNews, The Jazz Butcher

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

James Nicholls

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