Rock and Roll Hall Of Fame member ACE FREHLEY today has debuted a brand new music video for his cover of Free’s 1970 hit “Fire and Water” featuring none other than KISS frontman PAUL STANLEY. The video is being premiered exclusively through VEVO. “It was great working with Paul again and all the years we’ve spent apart doing other projects seemed to vanish once we hit the stage!,” says Frehley.
The video notches itself into rock and roll history as the first time both Frehley and Stanley appear in a music video since KISS’ music video for “Psycho Circus” released in 1998. It’s also the first time in 14 years that the two shared a stage since KISS’ appearance at the 2002 Winter Olympic Games in Salt Lake City. Finally, it’s the first time Frehley has released a music video since 1989, which was Frehley’s cover of “Do Ya” released by both The Move and ELO.
Earlier this week, ACE FREHLEY cracked the U.S. top 10 with his latest effort Origins: Vol. 1 charting at #1 on the Billboard Hard Music Chart, #3 on the Billboard Rock chart and #6 on the Billboard Current Chart selling more than 16k units in its first week of release according to Nielsen Soundscan. Internationally, the LP most notably came in at #2 on the Sweden Hard Rock Charts and #05 on the England Indie Album Breaker Charts.
Origins: Vol.1 and its success serves as the follow up to Space Invader, which debuted at #9 on the Top 200 Chart in 2014, the same year Ace Frehley was inducted into the Rock and Roll Hall of Fame as an original member of KISS.
ACE FREHLEY released Origins Vol. 1, a collection of 12 newly recorded classics from Ace’s formative years featuring some of the biggest names in rock and roll on April 15, 2016. This collaboration marks the first time that Ace and Paul appear on the same studio recording since KISS’ 1998 reunion album Psycho Circus.
Ace spoke with Rolling Stone about the new record, his guest players and recording with Paul after all these years. Rolling Stone writes: Regarding his reunion with Stanley, Frehley shrugs off any residual tension between the two of them. “We’ve always been friends,” he says. “The press seems to amplify negativity. I guess it makes good copy.”
Rolling Stone debuted “White Room,” a few months ago, the classic hit originally performed by Cream. Other guests are none other than Slash trading leads on Thin Lizzy’s classic “Emerald,” Lita Ford singing and playing lead on The Troggs staple “Wild Thing,” Rob Zombie guitarist John 5 playing guitar alongside Ace as he sings his classic KISS composition “Parasite” for the very first time, as well as Jimi Hendrix’s “Spanish Castle Magic,” and Pearl Jam’s Mike McCready also plays guitar with Ace as he finally sings his KISS “Alive!” mainstay “Cold Gin.”
Abbey Road remains the Beatles’ best-selling album, although when released, it received mixed reviews, with some critics describing its music as inauthentic and bemoaning the production’s artificial effects. No matter, the album an immediate commercial success and reached number one in the UK and US.
Side two contains a 16-minute medley of several short songs, recorded over July and August and blended into a suite by Paul McCartney and George Martin. Most Beatles fans know every note by heart, it’s always a reminder that the band got to where they were because they practiced, they took chances, and a heartfelt desire to honour their roots.
Check out these bona fide moments along the path, where they worked through and tackled through turbulent times to create the greatest side ever recorded.
Paul Simon will release Stranger to Stranger, his 13th solo album, on June 3rd via Concord Records. Full of thrilling, imaginative textures, Stranger to Stranger conjures a vivid and vital new context to Simon’s well-established virtuosity as a singer and songwriter. The record, his first since 2011’s acclaimed So Beautiful or So What, ushers the listener into a brave new musical world where expectations are defied and exceeded, as they were thirty years ago with another masterwork, Graceland. Listen to the album’s first single, “Wristband” below.
Produced by Simon and his longtime musical partner Roy Halee, Stranger to Stranger’s adventurous sonic spirit is abundantly clear right from the darkly humorous first two songs, “The Werewolf” and “Wristband.”
“It’s about getting you to actually hear something in a new way. It’s about making music that sounds old and new at the same time; music with a sense of mystery,” Simon explains of his and Halee’s experimentation on the album.
The first song written for the album, “Insomniac’s Lullaby,” led Simon to the musical possibilities first suggested by Harry Partch — the 20th century American composer and theorist who created custom-made instruments in microtonal tunings. To capture the sounds of Partch’s unusual instruments such as Cloud-Chamber Bowls and the Chromelodeon, Simon took his equipment to the laboratory at Montclair State University in New Jersey, where the original Harry Partch instrument collection was being curated.
An experimental session with the percussionist in Simon’s band and a group of Flamenco musicians provided the initial rhythmic premise for Stranger to Stranger and inspired the grooves that were the basis for four songs on the album — “The Riverbank,” “The Werewolf,” “Wristband” and “Stranger to Stranger.”
Stranger to Stranger’s collage of sound also includes the Italian electronic dance music artist Clap! Clap!, whose album Tayi Bebba, blending African field recordings and EDM, Simon admired. Clap! Clap!’s sound can be heard on three tracks: “The Werewolf,” “Wristband” and “Street Angel.”
“Sound is the theme of this album as much as it’s about the subjects of the individual songs. If people get that, I’ll be pleased,” explains Simon. “The right song at the right time can live for generations. A beautiful sound, well that’s forever.”
Stranger to Stranger – Track List:
1. The Werewolf
3. The Clock
4. Street Angel
5. Stranger to Stranger
6. In a Parade
7. Proof of Love
8. In the Garden of Edie
9. The Riverbank
10. Cool Papa Bell
11. Insomniac’s Lullaby
Paul Simon’s Stranger to Stranger will be available in a range of formats including the 11-track standard edition, a special 16-track deluxe edition (featuring 5 bonus tracks) and a 180-gram vinyl edition.
Though Destroyer, the project led by Canadian musician Dan Bejar, has been making records since 1996 — even before Bejar became known as one of The New Pornographers — today’s session marks Destroyer’s World Cafe debut.
Long a critics’ favorite, Destroyer made its biggest popular impact with 2011’s Kaputt!, which reached the charts and got more people listening than ever. Now, Bejar has released Poison Season, his 10th album as Destroyer. On this page, hear a live set from Destroyer, plus Bejar’s conversation with World Cafe’s Dan Reed.
There’s new music from Bob Mould. His latest album, Patch The Sky, comes out March 25. One of this legendary musician’s biggest fans — from his punk days of Hüsker Dü to the land of Sugar and his prolific and exciting solo records — is musician Ryan Adams. And as a fan and friend, Ryan invited Bob to his PAX-AM Studio and pressed record.
So for the next hour you’ll hear Bob and Ryan play music and hear a sprawling, geeky and fun conversation. Sometimes it’s about Bob’s record, other times it’s about Metallica bootlegs, caveman sounding lyrics, favorite cereals, fasted band, how the revival of vinyl helps make better, more focused records, praying, the quietness of church, zombies, Einstürzende Neubauten, noise rock and recording/mixing/soundboards.
You’ll also hear them break into song. Over the course of the hour-long conversation, they play three versions of two songs from Bob Mould’s new album recorded right there in Ryan Adams’ PAX-AM studio — they do “Hold On” and “The End of Things” together and then Bob plays “The End of Things” by himself. These aren’t the recordings from Patch The Sky; it’s just two friends, making music, having fun.
Take a list to what seems to be NPR’s first reference to the CD in a story by Ira Flatow from March 18, 1983 entitled, “Digital Compact Audio Disc System.” NPR’s science correspondent Ira Flatow was explaining a soon-to-be released audio technology.
Is your social life in trouble because you panic when someone picks up one of your precious recordings, or are you just the opposite – one who couldn’t care less about the quality of the music but wants total convenience? Well, folks, for both of you, relief is in sight. It’s called the compact audio disc – the CD.
Well, congratulations to the anonymous bidder of the rare and historically important Beatles record sold at auction today for $110,000. The 78 RPM 10″ acetate includes “Hello Little Girl,” arguably the first song John Lennon ever recorded and the flip side of “Til There Was You” went for the price of a few cars. Take a listen below. The Beatles manager Brian Epstein handwrote the label on this particular record that now belongs to an unnamed buyer. I’m going to guess Jack White or Paul McCartney. Just a hunch.
From Omega Auctions:
This unique 10″ 78RPM acetate record featuring ‘Hello Little Girl’ on one side and ‘Til There Was You’ on the other was cut in the Personal Recording Department of the HMV record store on Oxford St, London. Brian Epstein had the disc cut from the Decca audition tapes before presenting it to George Martin (EMI) on 13th February 1962 in his desperate attempt to get them a recording contract. This meeting, despite Martin’s initial reticence, was to eventually lead to the breakthrough they were looking for. The disc was later given to The Fourmost to record their own version of Hello Little Girl (recorded 3 July 1963) and then to Les Maguire of Gerry & The Pacemakers (recorded Hello Little Girl 17th July 1963). This is the first time it has come to the marketplace, having been tucked away in Maguire’s loft until now. Epstein’s handwriting on the labels reads as follows: side 1 Hullo Little Girl, John Lennon & The Beatles, Lennon,McCartney’ and side 2 ‘Til’ There Was You Paul McCartney & The Beatles’. It has been played through once when digitally recorded at BBC studios and it played through well with crackle but no skips or jumps.
These three demo tracks were recorded when Depeche Mode were known as “Composition Of Sound”. An unreleased track, “Radio News”, is included on this demo tape. Lyrically, the other two songs are identical, though Dave sings “the ice machine, ice machine” twice during the end of “Ice Machine”, as he similarly does during early live shows until the end of the song. Fletch surprisingly plays bass during these tracks.
At least two early Composition Of Sound / Depeche Mode demo tapes existed in 1980:
a 4 track tape (containing Photographic, Television Set and two unknown/unnamed songs) with Vince singing, recorded before the arrival of Dave in the band.
– a 3 track tape (containing Ice Machine, Radio News & Photographic) with Dave singing, recorded after the arrival of Dave in the band.
The second demo tape was recorded during the summer of 1980. Dave will make his live debut with the band on June 14, the fourth gig of Composition Of Sound.
The Who’s “Going Mobile” is a track from their 1971 album Who’s Next. The track helped drive the album, which also contained the classics “Baba O’Riley” “Behind Blue Eyes” and “Won’t Get Fooled Again,” to #1 in the UK and #4 on the Billboard Top 200 Albums charts. It was recorded at Olympic Studios in London and produced by The Who with Glyn Johns. Rolling Stone’s John Mendelsohn described the song as “inane”. However, in The Rolling Stone Record Guide, John Swenson described “Going Mobile” as one of “Townshend’s most beautiful songs”, so, yeah.
The classic AC/DC track “Back In Black” appeared on their same-titled album in 1980 although this seems to be a live version from the 1992 Live At Donington release given the crowd noise at the end. While the original was produced by Robert John “Mutt” Lang, this Donington version was produced by Bruce Fairbairn.
No offence to the drummers out there, but think of it this way – you can use it to practice!
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