Don’t get too excited though – it’s not until after Christmas (but at least now you know what to ask for !). Lord Huron will be bringing the sounds of their 2015 album Strange Trails back to the UK, and no doubt there will be some exposure for the world conquering debut album Lonesome Dreams. Lord Huron are now an official band – having started life as a project for frontman and songwriter Ben Schneider. Continue reading “Lord Huron to return to UK”
Having struggled with immigration for their SXSW appearance this year – lead singer Bjarke Bendtsen had his entry visa which resulted in Rainbrother playing their first gig in Austin with Bjarke still on his living room couch in Copenhagen. Not wanting to let Trump win, the band played the rest of their parts with a pre-recorded projection of Bjarke behind them not missing a single beat and creating a truly unforgettable performance.
Not that this has anything to do with their new single Fat Eggs, but it’s a good story. So, what about the new single from sun drenched psych-pop favourites Rainbrother? Bjarke Bendtsen explains “Fat Eggs is a song about giving into late night temptations, lusts, desires and the beauty of being human. The song is also about not caring too much and eating fat eggs when they’re on your plate and still hot”.
Yeah, well that’s that explained then.
The Arista Years were 1980 and 1981. This was a battered and bruised Allman Brothers Band which had taken casualties along the way – quite literally – and had seen frequent changes of personnel. And the drugs had also taken their toll. The band released just two albums for Arista – Reach for the sky and Brothers of the road – which totalled nineteen tracks between them. This current compilation, issued by Retroworld which is a wing of Floating World Records, includes eleven of these. Continue reading “The Allman Brothers Band “Hell & High Water : The best of the Arista years” (Retroworld ,2017)”
Richard Thompson has something of a reputation as a perfectionist, and this trait caused him, a couple of years back, to review his available acoustic recordings with a critical ear. Mostly consisting of acoustic spots or complete solo acoustic concerts there was a lot of material available, but perhaps they weren’t the very finest recordings – not perfect presentations of band songs reconfigured for just one guitar and voice. Continue reading “Richard Thompson “Acoustic Classics II” (Proper Records, 2017)”
Little Steven – also know as Steve Van Zandt – is bringing his band, The Disciples of Soul, to the UK this November for a series of dates. Steve Van Zandt is known for many things – he’s a DJ, he’s an actor – maybe you caught him in this show The Sopranos? He plays a mean guitar – works with this guy Springsteen – but he also has his own band. And that band has a new album – Soulfire – out. And so Little Steven and The Disciples of Soul are hitting the road. Continue reading “Little Steven announces UK tour”
This live broadcast box represents how good these “archive” (aka bootleg) sets can be. This particular collection is made up of three CDs, two of which have been generally available for a few years. Towering Inferno is a Crosby, plus backing band, appearance from 1989, New Years Eve with the Dead is dated to 1986 whilst David and the Dorks is Croz with the Dead again, this time from 1970. Taking these from most recent to the earliest – Towering Inferno has a mix of songs from Oh Yes I Can, alongside classic CSN tracks. The sound is spot on, no complaints at all. Continue reading “David Crosby “The Broadcast Archive” (Gossip/Hobo/Zip City ,2017)”
Idiosyncratic Americana troubadour Micah P Hinson returns with a new album Presents The Holy Strangers, out on Full Time Hobby on 8 September. Oh, Spaceman is the first track made available from it – and it’s the weariest sounding song you’re ever likely to hear.
There is, perhaps, an explanation for the all pervading weariness and the feeling that Hinson hasn’t slept in a good long while – when talking about Oh, Spaceman Micah has said “It was the first song I wrote for my boy, Wiley Tex, after he was born, and the only song I played for about half a year after his birth. It is the only song where the melody and words came before sitting behind a guitar. Which is not a way I’ve ever written.”