Stones Throw Records’ honcho Peanut Butter Wolf’s new imprint is Circle Star Records. Circle Star’s first full length will be Jesse Hackett’s album JUNK on July 17.
This is the debut LP from Hackett, a London-based producer. JUNK is glam rock and “sleazy lizard lounge punk-funk,” all recorded on a Yamaha PSR-110 found in a recycling dump. The first single is “Sacred Oblivion.”
Circle Star has more releases planned for 2015 from Vex Ruffin, Mild High Club and Diva. All releases will be available at the Stones Throw store. The label says although it’s a new launch, they remind everyone their first release on the label was a 7-inch single by Dam-Funk in 2009.
I’m listening now to Roger Daltrey’s interview with Howard Stern, and dug a little bit on YouTube for this – what a balance between musical aesthetics and commercial aspirations this band had. “We couldn’t outstone The Stones, we couldn’t outpop The Beatles. We found our own way with a completely different kind of music.”
Turn these up and use your desk to be your own Keith Moon!
Pete Townshend has released a new track, Guantanamo, and it’s a stunner. The song is one of two brand new tracks to appear on The Who leader’s new solo comp, Truancy: The Very Best Of Pete Townshend, out on June 29, 2015.
Along with Guantanamo and How Can I Help You, Truancy features 15 other hits from across Townshend’s solo career, including Rough Boys, Let My Love Open The Door and Face The Face.
Read more at http://www.uncut.co.uk/news/hear-new-pete-townshend-song-guantanamo-68480#17DTSKOcxM8g7MlQ.99
A few fun facts about Face The Face – In the US the single had a different take which had bad sound compared to the UK release and on the promo for the single “Face the Face” it said: “Dear Programmer: Enclosed is a reservice of the Pete Townshend single “Face the Face”. While Pete was visiting us here in the States, He remarked to us that the British single sounded a bit hotter. we checked …He was right. Same edit. Same mix. Hotter sound. Maybe you wouldn’t notice. Maybe you would. Time to re-cart the record. Happy Holidays, Atco Records
That’s Townshend’s daughter Emma Townshend singing some parts on the song, and Jimmy Somerville from Bronski Beat on the harmonica in the video, although Medicine Head’s Peter Hope-Evans is on the record.
The Clash’s London Calling received unanimous acclaim and was ranked at number eight on Rolling Stone’s list of The 500 Greatest Albums of All Time in 2003. London Calling was a top ten album in the UK, has sold over five million copies worldwide, and was certified platinum in the United States.
Isolated vocal by Joe Strummer:
Isolated guitar by Mick Jones:
Isolated bass by Paul Simonon:
Isolated drums by Topper Headon:
Instrumental (including piano by Mick Jones, no vocal):
ButterFly is a studio album by Barbra Streisand, recorded and released in 1974. The credited producer is Streisand’s then-boyfriend Jon Peters, with arrangements by Tom Scott. The album contains contemporary material from a diverse selection of writers, as well as interpretations of standards. In a 1992 interview with Larry King, Streisand cited Butterfly as the least favorite of her albums.
On ButterFly Streisand covered the likes of Bob Marley (Guava Jelly) and Buck Owens (Crying Time). But it’s Streisand’s treatment of Bowie’s Life on Mars that is the standout here.
It was … I still only have vague recollections of it, because it was such a mind-blowing affair to see. I can’t even describe my affinity for Steely Dan, Fagen and [Walter] Becker, and each and every person that’s ever played on any of their albums.
It’s the easy/hard listening. Reading some of your past interviews — and this could be a false narrative — it seems like at one point, maybe beforeWinter Soldier, like turning 50 was a deterrent to keep doing Iron Man, and then somewhere around there it becomes a catalyst.
You buy that at all?
I enjoy your false narrative. Let’s go with it. There’s always a resistance as you approach imaginary boundaries. And sometimes they can be accelerators. To say it’s just a number is to be one of those people who has contempt for things they’re afraid of. To a certain extent … it certainly meant something to me on Friday. I think it meant something on Sunday. During the day of [my birthday], we were just getting ready to go host this experiential … kind of retro-futuristic vibe we wanted for this party —
[Laughs.] While that particular integer is incorrect, it does speak to the larger requirement list, [and] there were many quote-unquote requirements. Anyway, what I forgot was that I was going to have the experience too. I think because I’m married to a very effective, loving woman who’s also a producer, often times we feel like we host these things — whether they’re for one or the other or both of us or something else — and that we kind of realize afterward that we were actually in the experience too.
But going back to Steely Dan. There’s nothing like seeing Becker verbally improvise along something, where you go, “I know they’re going to go back into the song; I know they’re going to hit that beat,” and it’s so cool. And also when Fagen walks out after the band is kind of prepped, just by playing level-11 jazz fusion, you’re just like, “Oh my god.” And then he steps out and sits down at his electric keyboard. I also noticed, too, that when you’re that … there are people who want to be hip and want to be cool. And then there are people who have ceased any attachment to that and yet they are so, to their core, that.
There’s a quiet and a calm from José González that amplify his words. This has never been truer than on his new album, Vestiges & Claws. The songs are full of abstract imagery — more paintings than stories. He performed this song, “With The Ink of A Ghost,” at NPR’s Bob Bolen’s desk.
Idle as a wave Moving out at sea Cruising without sound Molding what’s to be Serene between the trace Serene with the tide and ink of a ghost
González is a 36 year old singer from Gothenburg, Sweden. You may have also heard Junip, his noisier band. But here, with a small group, the music is spacious, somewhat sensual. His classical guitar chords are melodic, the harmonies adventurous, his voice soothing. These are his first new solo songs in seven years and this soft-spoken, warmhearted singer left an imprint at the Tiny Desk that was gentle and long lasting. I only hope it’s not seven more years before he brings us more new songs.
Jazz and blues are often treated as one and the same — but how did one end up taking over and surpassing the other, ushering in the jazz age?
That’s a subject of an upcoming HBO biopic, called Bessie, about singer and songwriter Bessie Smith and her mentor Ma Rainey. Jazz bassist and composer Christian McBride, host of NPR’s Jazz Night In America and a regular guest on All Things Considered, spoke with host NPR Audie Cornish about Bessie Smith’s legacy.
Dave Grohl rose to the occasion of being this year’s official Record Store Day Ambassador by putting out a special vinyl release: Songs From the Laundry Room, which collects four solo recordings he made while still a member of Nirvana. The tracks are raw-sounding, early versions of the Foo Fighters songs “Alone + Easy Target” and “Big Me” (recorded in 1992 and 1994 respectively), as well as a cover of Kim Wilde’s “Kids in America” from 1991 and the previously unreleased (and notably Nirvana-esque) “Empty Handed,” recorded the same day as “Alone.” Prior to its release, he told Rolling Stone that these recordings – which are streaming below – were the seeds for what would become Foo Fighters.
Side A: 1) Alone + Easy Target 2) Big Me
Side B: 1) Kids In America 2) Empty Handed