VIA PRESS RELEASE | Inspiral Carpets have shared The Go! Team’s new remix of “This Is How It Feels” ahead of the release of The Complete Singles, an album compiling all of the Manchester band’s 24 singles to date. The Complete Singles will be available on double vinyl, and as a 3CD set with an exclusive remix bonus disc via Mute / BMG on 17 March 2023.
Clint Boon, talking about the remix said, “This is one of my favourite Inspirals remixes. Relatively faithful to the original but with lashings of all the magical elements we love about The Go! Team. I reckon the spirit of Joe Meek was in the studio when The Go! Team did this remix!”
The Complete Singles coincides with the start of a major UK tour. Kicking off in Northampton in March, the tour includes festivals and performances at Manchester’s Albert Hall and London’s Shepherds Bush Empire.
The Complete Singles sees all of the band’s singles remastered and available on one album for the first time. From 1988’s “Keep The Circle Around” to their latest single, 2015’s “Let You Down” featuring the unmistakable tones of John Cooper Clarke, the album will be available on double heavyweight “midnight licorice” black vinyl and as a 3CD set with an exclusive remix bonus disc that collates classic, rare and unreleased remixes from across their career alongside two new unreleased mixes, from The Go! Team and Martyn Walsh & Simon Lyon.
By the time John Lee Hooker recorded Burnin’ for the Vee Jay label in 1961, he’d been on the recording and performing scene in and beyond Detroit for roughly a dozen years, wielding a sui generis, some said anachronistic, yet surprisingly adaptable style, both solo and with backing. On Burnin’ the band consisted of the legendary Motown Records studio unit the Funk Brothers, and the results stand amongst the strongest full-length recordings in Hooker’s extensive discography. Hitting the sweet spot where robust R&B and Mississippi Delta jook joint heat mingle in a swampy atmosphere, Craft Recordings’ fresh edition of Burnin’ is out on vinyl, compact disc, and digital February 24.
In September of 1945 Joe Liggins and His Honeydrippers scored a smash hit on the R&B charts with “The Honeydripper, Parts 1 & 2,” hitting #1 in September and staying there into the following year (18 weeks in total). Heard today and considered in the context of its time, the song’s modernity still shines: WWII is over, and with it comes a sense of optimism only encouraged by a record industry, unshackled by the ban on pressing 78rpm discs, that was cranking out musical advancements recently honed on bandstands, and as the war raged on, mostly heard via airchecks.
Flash forward to 1949, and John Lee Hooker hits #1 on the same chart with “Boogie Chillen’” (remaining at the top for only one week, but staying on the chart for 18), the debut release by this renowned bluesman, featuring Hooker solo on electric guitar in a wildly intense update of the rural “country” blues, the song’s rhythm produced by Hooker’s own foot stomping on a piece of plywood.
Hooker wasn’t the only artist to update and mutate downhome blues styles with amplification and harder and sharper edges and angles (see Muddy Waters, Lightnin’ Hopkins, Howlin’ Wolf, and Sonny Boy Williamson), but he was amongst the most uncompromising in how his style developed. Simultaneously a groundbreaker and a throwback, Hooker’s early success in an undiluted style helped to establish that any changes he made were on his terms.
UK | Vinyl destination: Can the format’s sales growth continue in 2023? …Vinyl has been a good news story for the music industry, but the format has faced persistent challenges with production capacity. Its continuing success is all the more vital given the collapse in CD sales – physical music did not see its usual gifting season boost at Christmas. In our latest edition, Music Week has spoken to major label execs and Kim Bayley, CEO of ERA. For the first five weeks of 2023, Music Week can reveal that vinyl sales are up 15.6% year-on-year. The format topped 100,000 sales for four out of those five weeks, including strong performances by the reissue of Courteeners’ debut St Jude (10,959 vinyl sales so far), The Reytons’ independently released What’s Rock And Roll? (5,850 vinyl sales across numerous editions) and Taylor Swift’s Midnight’s (a further 4,628 on the format in 2023). According to ERA, 2022 vinyl album sales revenue grew 11% to £150.5m, while CD album sales fell 17.4% to £124m – the first time vinyl outsold CD by value since 1987. That increase is largely due to the format’s increasing prices – £30 is now common for an LP.
Newport, UK | Record shop in Newport sees rise in young people buying vinyl: After fading away some years ago, listening to music on vinyl is very much back – with sales of records in the UK exceeding those of CDs last year for the first time in 35 years. In total 5.5 million vinyl records were sold in 2022 – a massive turnaround since the format was written off by many following the rise of the CD in the 1980s. And for those getting into vinyl for the first time, independent record shops such as Kriminal Records – which moved from Newport Market into the Market Arcade late in 2021 – offer a wealth of knowledge, advice, and recommendations. Owner Dean Beddis said he had seen an increasing number of younger customers show an interest in the format. “I have seen groups of them come in and look through the cheaper stuff and chatting away,” he said. “I had one girl come in and ask me if there was music on both sides, as she was only used to CDs, so there is that aspect to vinyl. “Older people are getting back into it too. We have seen good attendance at record fairs in Newport with more people coming in.
Nablus, PS | Vinyl, record player shop in Nablus preserves fading musical heritage: Jamal Hemmou, who repairs and sells records and players, says customers ‘come from all of Palestine to buy from me’ From Jamal Hemmou’s ramshackle workshop in Nablus’s Old City in the West Bank, classic Arabic songs blare into the surrounding cobbled streets. The 58-year-old is the last of his kind in the city — he runs the only shop in Nablus repairing and selling vinyl records and players. Like much of the world, Nablus is attuned to digital music, but Hemmou told AFP working with vinyl was about preserving Palestinian “heritage.” Elderly people regularly pass by at the end of the day and, “when I turn on the record player, they start crying,” he said. Hemmou began learning how to repair record players when he was 17, listening to the great Arab artists of the time as he worked. “I have more experience than the people with the certificates,” he joked, adding that he is entirely self-taught, and acquired his passion for music from his father. “My father was a singer, he used to sing because he loved those old singers… almost everyone in my family is a musician,” he said.
Toronto, CA | Vinyl records pressed with bodily fluids and CDs packaged with human hair — what makes a Toronto doctor collect these things? Psychiatrist Michael Tau wrote a book about extreme music that covers both sound and outrageous packaging. Dr. Michael Tau works in the Unity Health Toronto hospital network, serving patients at St. Mike’s downtown and Providence in Scarborough. Recently, he wrote a book in which he explores a certain obsessive behaviour that might seem odd if not downright disturbing to the average person. But the book in question probably won’t make a lot of waves in his specialist field of geriatric psychiatry – because it’s about his music collection. And it’s not filled with the typical vinyl LPs that you’ll find at Rotate This or Sonic Boom, but music preserved on cassettes encased in blobs of spray-painted cotton, albums issued on floppy disks, and cigar-tin box sets that came packaged with clumps of human hair.
It was a very cold Saturday in the Maryland suburbs of Washington, DC but the Fillmore Silver Spring was cozy with the heat of a completely sold-out house for Alter Bridge’s date on the Pawns & Kings tour. Mammoth WVH continues along for the party, and for the first half of the US tour, Nashville’s Red has the opening slot.
As a known Alter Bridge fan, I was grateful and excited to cover them again, and looking forward to finally seeing a DC area show—they hadn’t played the Fillmore since February 2017. The last time I covered the band was in Oslo, Norway last November. Saturday, instead of a trans-Atlantic flight, I just took the S9 Metrobus up 16th Street to get to the show.
Frigid temperatures notwithstanding, the conditions were perfect for a great show—the devoted Alter Bridge fanbase filled the venue to the literal rafters and familiar and friendly photographers greeted me when I arrived at the entrance to the photo pit. My favorite Fillmore security guy was working that night too—we were looked after well.
At 7:30 sharp, the lights dimmed, and Red took the stage. On the Christian rock scene since 2002, Grammy-nominated Red (Michael Barnes, brothers Anthony Armstrong and Randy Armstrong, and Brian Medeiros) was unfamiliar to me prior to Saturday night. The high-kicking front man Barnes must have sensed that they were new to many people in the audience and asked the crowd who was seeing Red for the first time. Many hands, including my own, shot up. Nonetheless, the compact, just-under-25-minute set was an impressive introduction to the band’s body of hard rock (Red’s next album, Rated R, is set for release this spring), getting the energies of even wary agnostics like me amped for the rest of the show.
VIA PRESS RELEASE | High Moon Records is proud to announce the first-ever comprehensive anthology from singer-songwriter Laurie Styvers. Gemini Girl: The Complete Hush Recordings arrives on 2XCD and digital download on Friday, February 17. All formats will feature optimum fidelity, along with an exclusive 48-page booklet collecting extensive liner notes from GRAMMY® Award-nominated compilation producer Alec Palao alongside lavish artwork, a bounty of never-before-seen photos, memorabilia, and more. Pre-orders are available now.
Gemini Girl: The Complete Hush Recordings is heralded by today’s remastered premiere of Styvers’ 1972 debut single, “Beat The Reaper,” joined by an evocative animated visualizer created by renowned musician/visual artist Martin Carr (The Boo Radleys, bravecaptain), streaming now on YouTube.
Laurie Styvers may be amongst the lesser-known names within the milieu of 1970s cult singer-songwriters, but anyone who experiences the bewitching innocence on display within her two deeply moving solo albums, Spilt Milk (1971) and The Colorado Kid (1973), will surely fall in love with this enigmatic figure.
Born in Texas, Styvers was a student at the American School in London when she joined the legendary 1960s psych-folk outfit, Justine, guesting on their eponymous 1970 debut LP before heading back to the US to attend college in Colorado. She soon returned to the UK, embarking upon a solo career after signing with Hush Productions, founded by legendary producers Shel Talmy (The Kinks, The Who, David Bowie) and Hugh Murphy.
London-based newcomer Amelia Rose and Finnish producer cocabona collaborate for the release of celestial new single “Falling Down,” out now. As well as being a writer, vocalist, and producer, Amelia is now curating her slick new sounds through experimentation and collaborating with various producers, musicians, and artists.
Chill to the max with Amelia Rose and cocabona’s stunning new single “Falling Down”—a jazzy fusion of electronic splendour, soothing vocals, and vibrant beats. Talking about the single, Amelia says, “This track is about going back to your old ways even though you realise that something isn’t working out. I wanted to create a kind of sonic tapestry, with the production and the vocals, that would take the listener on a journey through that emotional space which cocabona really brought out and was a pleasure to work with.”
After the success of her first single “midnight” with New York-based artist Relyae, which was featured on BBC 1Xtra and several editorial playlists, Amelia will be releasing her debut EP “Phases” in February 2023.
The Northampton, UK-based electronic musician James Chapman is Maps, and with his fifth studio album Counter Melodies his attention turns like never before to the crafting of vibrant club techno. Soaking up the flow of the disc’s ten selections, there is little doubt the whole would go down an absolute storm on dancefloors all over the globe, and yet there is a sense the record is “more” than “just” an immaculate series of club bangers. This was Chapman’s stated intention, and he’s succeeded brilliantly. Counter Melodies is out on vinyl, compact disc, and digital February 10 through Mute Records.
In the promotional writing for Counter Melodies, James Chapman downplays the record’s club techno angle a bit, stating that while he admires aspects of dance music, too often the form is merely “functional,” and that instead, he strove to inject a higher level of emotion into the album. As stated in the intro, I do agree that his latest has a little something extra, but I’ll also accentuate how there will really be no hesitation over where to file this record in the shops.
And so, folks who have no quibble with purely “functional” dance jams will be unlikely to express frustration that Counter Melodies isn’t delivering. It’s ultimately a pretty straightforward set, with its gyrational strengths reinforced by Mute’s unusual decision to promote the record not just with the typical gambit of a single or two (“Heya Yaha” was the first) but by making five tracks, effectively side one (I’m surmising), available all at once.
This is an effective strategy, as these cuts, which flow together pretty seamlessly, operate essentially as a mini DJ set. “Witchy Feel” opens the sequence with glistening, chiming cascades before the beat kicks in and raises the energy bar up high; there’s an impressive amount of variation along the way, but the rhythm never flags, at least not until the very end.
Ottawa, ON | Reaching a turning point: The resurgence of vinyl records: The sound of jazz music fills The Record Centre on Wellington Street, transporting eager customers back in time as they walk in. Ever since vinyl’s sudden resurgence in popularity, the store has been busier than ever. John Thompson has been the owner of The Record Centre since 2011 and has been selling vinyl records since the 1990s. He’s seen vinyl ebb and flow in popularity over the years, but said he saw the COVID-19 pandemic as a positive turning point for the vinyl industry. “People were at home more and listening to more music, especially on vinyl,” he said. “I think it was perfectly positioned to do better and better.” While transitioning in and out of pandemic-caused closures in 2020 and 2021, Thompson credits the business’s success to their online store and to its promotions over social media. “People were excited about [the online promotions],” he said. “It was [really] insatiable, because as soon as we would do a drop, everything was snapped up.”
Austin, TX | Austin Record Stores for Your Listening Pleasure: Nine shops to satisfy your vinyl urges: Despite phones being the modern world’s main conduit of recorded music, brick-and-mortar retail spaces selling physical copies of albums thrive in this musically enlightened city. Algorithms and playlists are fine for what they are, but nothing beats the record store experience: the surprise of a cool and unfamiliar LP sleeve catching your eye, the regional flavors, the informed clerks, and the fellowship of browsing alongside other music fans. Here are some of the record stores Austin has to offer.
Washington, DC | Opinion Readers critique The Post: There’s another reason to prefer vinyl: Regarding the Jan. 22 Metro article “A better record deal than Columbia House”: I was mystified that an article about the sizable interest in old vinyl records made no mention of the primary reason many audio enthusiasts covet such recordings: superior sound quality. Virtually every vinyl album released before 1980 produced a pure analog music signal, i.e., the analog sound waves produced by musical instruments and human voices were captured and recorded without converting these sound waves into a chopped-up digital signal that would require further electronic reconfiguration to reproduce an analog sound wave that is audible to human ears. Digital sound processing has made it possible to store and play huge music files with portable devices, but it does so at the expense of sound quality.
For the record: How to take care of your vinyl collection: Vinyl is the holy grail of the most puristic music lovers. This circular disc available in 7, 10, and 12 inches is the ultimate object of desire for true music enthusiasts, a passion that does not look at musical genres or beats per minute. Vinyl records were once the primary way to consume music, but those who think it is a format that belongs to the past are wrong. In the US, vinyl sales soared 22% in the first half of the last year and many vintage albums have gone back up in sales. It is safe to say that vinyl is trendy and that it has gained more and more fans across generations. A vinyl record is a singular object, but it is not. It is impossible to have just one and the challenges of building a good collection are not only in the hunt for the most desired items but also in how to take care of these relics.
As soon as the Agora announced that Angel Olsen would be moseying her way through Cleveland in February, I had that date circled on my calendar and the countdown began. Unsurprisingly, Angel Olsen and her Big Time Band were worth the wait. Also unsurprisingly, far too few Clevelanders showed up for such a special evening. But that’s a whole other topic, so I’ll reserve my soapbox for another time.
To be immersed in the soaring vocals and sweeping strings of Angel’s music live, especially after the long, pandemic-driven pause, was a gift. The setlist was comprised mostly of songs from her latest album, 2022’s Big Time, with some additional fan favorites from All Mirrors (2019) and My Woman (2016).
Angel has a busy year of touring ahead so there’s a good change you’ll have an opportunity to see her. My unsolicited advice? Do it.
VIA PRESS RELEASE | L.A. Guns have announced the upcoming release of their latest studio album, Black Diamonds on April 14, 2023. Produced by founding member and guitarist, Tracii Guns, Black Diamonds is a tour-de-force of rock ‘n roll that fans have come to expect from the long-running hard rockers.
Written and recorded over the course of 2022, Black Diamonds sees Tracii Guns, Phil Lewis, and company continuing on the same successful and inspiring sonic journey that they’ve been taking on their most recent albums, Checkered Past, The Devil You Know’ and The Missing Peace.
The band doesn’t shy away from flexing their hard rock influences as they always have, but also incorporate more introspective acoustic tracks reflective of their classic rock influences from the ’70s. This makes for a potent and highly listenable cocktail of an album in Black Diamonds.
Since their self-titled debut in 1988 to their widely praised recent suite of “comeback” albums, L.A. GUNS, led by Tracii Guns and Phil Lewis, have always delivered solid rock ‘n’ roll to their fans. Since core members Tracii and Phil reunited under the banner of L.A. Guns in 2017, a rekindling of the band’s creative energy has been continuing unabated over the course of, now, four studio albums. Black Diamonds shows no signs of this renaissance slowing down…
This review could not have been written without the formidable knowledge and translation skills of Martijn de Vries. Dank je wel, mijn vriend. Lang leve Louis-Ferdinand Céline! —MHL
Forget tulips, windmills, canals, and tall people (tallest in the world!)—what the Netherlands should best be known for are Rotterdam’s Lewsberg, the greatest rock and roll band (they’re certainly better than that decimated band of animated corpses the Rolling Stones) in the world. Lewsberg may sound like the name of a state penitentiary in Olathe, Kansas, but the band actually took its name from Robert Loesberg, notorious author of the scathing 1974 novel Enige Defecten (Some Defects).
Lewsberg are strongly influenced by the Velvet Underground during their jangly period, but Lewsberg are no one-track pony—their eponymous 2019 debut also includes some far stranger moments. Lewsberg’s members—English-speaking lead singer Arie Van Vliet, guitarist/keyboardist Michiel Klein, drummer Joris Frowein, and bass player/vocalist Shalita Dietrich (who bears a more than passing resemblance to Ulrike Meinhof of the West German terrorist organization the Baader-Meinhof Gang) forego slick professionalism, preferring to get by with sheer spunk. Van Vliet has said, “The idea was to start a rock band with really good songs, played very badly.” He’s also a big proponent of being “out of tune during a crucial guitar solo.” He’s my idea of a goddamn rock and roll hero.
As noted, Lewsberg have inherited the aesthetic of the Velvets and their acolytes, who include the Feelies, the Modern Lovers, and (why not?) England’s the Wedding Present. You can also detect the faintest whiff of Scottish twee heroes Belle and Sebastian in Dietrich’s vocals. But onto the album. Opening track “Vaan” is introduced by a chiming keyboard riff akin to the one on VU’s “Sunday Morning,” then dissolves into some aimless chit-chat between Frans Vogel (a Rotterdam poet and actor) and poet Cor Vaandrager (hence the song’s title).
Nashville, TN | Rooftop addition, other changes planned for Ernest Tubb Record Shop: Nashville’s famed Ernest Tubb Record Shop is slated for some changes, including the addition of a rooftop. Brad Bars, who is one of the shop’s owners, signed for a $18.75 million Ascend Federal Credit Union construction loan tied to the property’s 417 Broadway address, according to Davidson County records. The building is being eyed for the addition of a rooftop, as well as the restoration of its facade to the original 1850 version, Bars said in a statement to the Business Journal. When complete, the record shop and merchandise will occupy one floor, a honky-tonk with a mezzanine will occupy another floor, and there will be a private third floor with a use that hasn’t been determined yet, he said. It’s “unlikely” that the honky-tonk will be celebrity branded, Bars said.
Taupō, NZ | ZZ Top’s ‘totally unexpected’ visit to Taupō record store: When ZZ Top members wandered into a Taupō music store, there was no shortage of records to sign. MyMusic Taupō manager Jason Hose – a big fan of “that little ol’ band from Texas” – had bought every one of their records he could find ahead of the group’s Summer Concert gig in the town on Saturday. He was “blown away” when Billy Gibbons and Elwood Francis popped into the Tongariro St shop on Thursday. “Things have gone nuts since they visited, everyone has been asking for signed copies of their records,” Hose said. “It was totally unexpected, they just waltzed in off the street, it was bloody cool man, I was lost for words – to have an artist that I love just walk into the store was just awesome.” Synonymous with beards, hot rods and spinning guitars, ZZ Top have been performing with Elwood Francis on bass and vocals – he stepped into the role after the death of original band member Dusty Hill in 2021.
Sheffield, UK | “The independent factor is at the heart of everything we do”: How Record Junkee and Network are flying the flag for DIY music in Sheffield: When it comes to fostering a buoyant music scene, there are three key ingredients that often spell success: good small venues, a smattering of medium-to-large-sized venues and independent record shops. In Sheffield, we’re blessed to have all three of the above dotted around the city centre, and in the case of record-store-cum-gig-spot Record Junkee and its considerably larger sibling Network, this holy trinity is united under one proudly independent banner spread across the space of a few hundred yards. …He founded Record Junkee in 2009, originally based on Cambridge Street, before moving to its current home on Earl Street just over seven years ago. A record store by day and thriving 150-cap live venue by night, it has grown to become one of the city’s most integral grassroots venues, playing host to the likes of Idles, Blinders and Frank Carter & The Rattlesnakes in the process.
Los Angeles, CA | Believing in Crateism with Black woman-owned Vinyl shop owner Fatima Chantel: Crateism is a Black woman-owned eCommerce site that sells a wide range of vinyl records. Digital shop owner Fatima Chantel curated this space for vinyl lovers and found a strong community based in Los Angeles. The L.A. Sentinel had an exclusive interview with Chantel where she explained her deep connection to music and how it shaped her journey. “I just love music—elders raised me; I was raised with good old music and they had records. I was exposed to a lot of old-school music and a lot of records at an early age, and I was addicted,” said Chantel. Her life began to take form as Chantel began working in record stores. …As a woman of color in a male-dominated profession, Chantel shared her experience maneuvering through the industry, stating, “I think things are a little different now—you definitely see more women deejaying, but when I first started out, it was kind of just me, the only woman. And God bless all the guys that were actually in my corner, and gave me gigs and stuff like that.”
It’s automatic when I talk with old friends / The conversation turns to girls / We knew when their hair was soft and long / And the beach was the place to go
Suntanned bodies and waves of sunshine / The California girls and a beautiful coastline / Warmed up weather let’s get together / And do it again
With a girl the lonely sea looks good / Makes your nighttimes warm and out of sight
It’s Grammy week and I’m running like OJ in an airport. No stress, unless anyone cares? Loving that my canyon hit ’70 degrees and this new crop of music echoing off my garage walls.
VIA PRESS RELEASE | The DIY post-punk, new wave, and ska pioneer Kate Fagan shares “Say It,” the second previously unreleased song made available from the forthcoming I Don’t Wanna Be Too Cool (Expanded Edition). Originally a coveted self-released single put out in 1980, this version of I Don’t Wanna Be Too Cool has been re-mastered and made into a full-length vinyl album featuring four additional, previously unreleased, ahead-of-their-time tracks, due out February 24th, 2023 via Captured Tracks. The release of “Say It” comes with a new video edited by Timothy Watson with archival footage by James Pasta.
The reggae-tinged “Say It” features production from the reggae legend Peter Tosh and Bob Marley’s guitarist Donald Kinsey who flew in from Jamaica to record with Heavy Manners (the seminal ska group that Fagan co-founded) after witnessing their impassioned live show. “Say It” is among 4 previously unreleased songs originally composed for Fagan’s rock opera The Kissing Concept, a semi-autobiographical love story inspired by the ‘70s/’80s nightclub scene that Fagan had explored during her time in New York, which premiered at Park West and Limelight nightclubs.
Fagan shares the following about “Say It”: “Emotions become overwhelming when lovers’ expectations collide and the lyrics of the song express a sad reckoning.” Further adding: “Peter Tosh and Don Kinsey locked in the groove and accentuated the reggae bubble. This is a stripped down mix with a clap track added by Peter. He intended to make this the bottom floor of a dancehall dub.”
“Peter Tosh‘s greatest contribution to our sessions was that his presence made us focus, really listen to what was going down, and he motivated us to give our best performances. My recollection about Don Kinsey is he knew how to enhance a groove; he doubled guitar and bass tracks throughout the song to give the bottom a heavier feel.”
VIA PRESS RELEASE | The Bottle Rockets have been one of the greatest alt-country bands around for close to two decades.
Bottle Rockets leader Brian Henneman worked as Uncle Tupelo’s guitar tech for a couple of years before forming an alt-country band that rivaled his former bosses. Released in Atlantic in 1997, 24 Hours a Day represented The Bottle Rockets’ chance at the big time; it’s their sole major label release, and they pulled out all the stops for this one, hiring former Del Lord Eric “Roscoe” Ambel to produce and revisiting “Indianapolis,” the song that got Henneman a record deal back in the early ‘90s.
Alas, the record failed to break through commercially; but there will always be a place in our hearts for this kind of hard-driving, honest, tuneful rock and roll, best exemplified by “Perfect Far Away” and “When I Was Dumb.” For its LP debut, we’re pressing this under-appreciated classic in coke bottle (natch) clear vinyl housed inside an album jacket with inner sleeve—limited to 1000 copies!