The looming questions that plague us all: what do we want for tomorrow? And what happens when today flips over? Canadian rock outfit Neon Bloom seek that same sentiment on their new dark and disco-esque offering, “A Bullet In Tomorrow.”
An uptempo, electronica-fused rock anthem exploring the macabre uncertainty of what tomorrow may bring, the song arrives from their recent sophomore EP, Still Life. In it, the Toronto-based group lushly score an undeniable truth behind an undeniable groove, and the result is non-fiction prose on possibility — or lack thereof.
“Lyrically, it’s meant to question the type of future we want to live in,” the band explains, adding it was largely inspired by the pandemic, the effects of overconsumption, our treatment of animals and our planet, and the consequences of this behaviour.
“The song is meant to encourage listeners to question their role as responsible co-habitants of an interconnected planet with finite resources,” they continue. “It encourages listeners to consider what sort of future they’re willing to work toward.”
Neon Bloom’s Jen Simpson [vocals], Fred Yurichuk [bass], Simon Chow [guitar/keys], and Chris Romano [drums] are no strangers to the music community of Canada’s indie scene mecca; their charismatic stage presence and insatiable ability to write earworm soundscapes have garnished attention from Alan Cross (102.1 The Edge, Ongoing History of New Music) to Rob Sanzo (Sum 41, Treble Charger), and more.
Their recently released EP Still Life also features “Novocaine,” “Tangerine,” and “Our Faces,” and follows their 2018 debut, First Fever. Written near the beginning of the COVID-19 pandemic, Neon Bloom had to adapt their creative process for the four-track offering. “Like many other bands, we were unable to see each other, practice, or play shows,” they share. “We wrote and recorded from our individual homes, and sent clips of ideas back and forth.
“We eventually pieced the songs together in a way that was very different from our usual in-person songwriting sessions; for ‘A Bullet in Tomorrow,’ specifically, Fred and Simon switched roles and came up with the initial musical melody that way.”
Much like the songwriting, even the production on the track and album came differently than the band’s previous efforts; “A Bullet in Tomorrow” focused on building and tweaking layers of loops, rather than recording full, or long takes of the song.
Plus… Listeners are offered an additional treat at the end of the drop. “There’s an underlying ambient sample playing at the end,” the band confesses. “It’s an audio recording from Fred’s younger sister’s house party. We felt it helps to compliment the party-vibe at the end.”
If carpe diem reminds us to seize the day, then Neon Bloom is here to incentivize us to put “A Bullet in Tomorrow”…
“There is nothing stronger than a broken woman who has rebuilt herself,” Hannah Gadsby declared in her show Nanette, a scorching critique of the way society conducts public debates about marginalized communities. When it premiered on Netflix, it left audiences captivated by her blistering honesty and her singular ability to take them from rolling laughter to devastated silence. Ten Steps to Nanette continues Gadsby’s tradition of confounding expectations and norms, properly introducing us to one of the most explosive, formative voices of our time.
Gadsby grew up as the youngest of five children in an isolated town in Tasmania, where homosexuality was illegal until 1997. She perceived her childhood as safe and “normal,” but as she gained an awareness of her burgeoning queerness, the outside world began to undermine the “vulnerably thin veneer” of her existence. After moving to mainland Australia and receiving a degree in art history, Gadsby found herself adrift, working itinerant jobs and enduring years of isolation punctuated by homophobic and sexual violence. At age twenty-seven, without a home or the ability to imagine her own future, she was urged by a friend to enter a stand-up competition. She won, and so began her career in comedy.
Gadsby became well known for her self-deprecating, autobiographical humor that made her the butt of her own jokes. But in 2015, as Australia debated the legality of same-sex marriage, Gadsby started to question this mode of storytelling, beginning work on a show that would become “the most-talked-about, written-about, shared-about comedy act in years” (The New York Times).
Harrowing and hilarious, Ten Steps to Nanette traces Gadsby’s growth as a queer person, to her ever-evolving relationship with comedy, and her struggle with late-in-life diagnoses of autism and ADHD, finally arriving at the backbone of Nanette: the renouncement of self-deprecation, the rejection of misogyny, and the moral significance of truth-telling.
As they gear up for their 64-date world tour, ‘A Tribute To Kings,’ paying homage to prog-rock legends, Rush, Primus has announced a new 3-song EP, ‘Conspiranoid,’ out April 22nd via ATO Records. The band announced the EP with the release of its epic, 11-minute opening track, “Conspiranoia. “I’d been itching to record an opus–basically a long, winding, bastard of a song, reminiscent of some of the compositions I cut my teeth (or ears) on, in my music-hungry adolescence,” bassist Les Claypool told Consequence. “”Conspiranoia” was sprouted from a seed I had planted in my notebook a year or so ago–a few lines commenting on the mental state of the contemporary world.”
As they gear up for their 64-date world tour, ‘A Tribute To Kings,’ paying homage to prog-rock legends, Rush, Primus has announced a new 3-song EP, ‘Conspiranoid,’ out April 22nd via ATO Records. The band announced the EP with the release of its epic, 11-minute opening track, “Conspiranoia. “I’d been itching to record an opus–basically a long, winding, bastard of a song, reminiscent of some of the compositions I cut my teeth (or ears) on, in my music-hungry adolescence,” bassist Les Claypool told Consequence. “”Conspiranoia” was sprouted from a seed I had planted in my notebook a year or so ago–a few lines commenting on the mental state of the contemporary world.”
The release of ‘Conspiranoid’ will coincide with the second leg of Primus’ wildly popular ‘A Tribute To Kings’ Tour, which finds Bay area trio performing Rush’s 1977 album ‘A Farewell To Kings’ in its entirety, following a set of their own music. Kicking off in Oklahoma City before winding its way throughout the US, and then ultimately to Europe this fall, the second leg will also include the tour’s first stops in Canada, beginning with two dates in Toronto on May 13-14. Rush was formed in Toronto in 1968. The US performances will also feature special guests Battles, Black Mountain, and The Black Angels.
Two additional ‘A Tribute To Kings’ tour dates have just been announced at Gerald R. Ford Amphitheatre in Vail, CO on August 12th and 13th. A special pre-sale, including VIP upgrade options, is current open. A local pre-sale will open on Thursday, April 7th at 10am local time. Tickets go on sale to the general public on Friday, April 8th at 10am local time. For ticketing and show info, please visit www.primusville.com/tour
As Claypool told Rolling Stone, the ‘A Tribute To Kings’ Tour is about paying tribute to a band that has given him so much inspiration over the years.
“Hemispheres was my first concert,” Claypool said, referring to Rush’s 1978 album and tour. “Originally we’d always kind of joked around about doing Hemispheres…but we settled on Kings, because A) it was the first Rush record I ever heard and B) it contains ‘Cygnus X-1,’ which has always been my favorite Rush tune. It seems to be a good one for us to tackle; 2112 seemed a little obvious.”
The announcement follows the massive success of the first leg of ‘A Tribute To Kings,’ which was long-delayed due to the coronavirus pandemic. It’s just the latest in a long series of Rush-related milestones for Primus, who first opened for their musical heroes in 1992.
“Geddy, Alex and Neil had been superheroes to Larry, Herb and I in our teens,” Claypool recalled, “so when we all became pals while touring together in the early ’90s, we were pretty delighted; partially because of the musical geek-out factor but mostly because the three guys whom we had admired so much from afar, turned out to be truly great, down-to-earth humans, and like us, a tad eccentric.”
Primus will once again partner with On Location & CID Entertainment for the ‘A Tribute to Kings’ tour to offer ticket packages that include one premium ticket, invitation to a Q&A experience with Primus, exclusive VIP merch, and more. For full details, visit https://www.cidentertainment.com/events/primus-tour/
Comedy Central also recently announced that Primus will be featured in the “South Park: 25th Anniversary Concert” this summer. The concert, with Trey Parker and Matt Stone, Primus and Ween, takes place on Wednesday, August 10th at Red Rocks Park and Amphitheatre. For more information and to purchase tickets please visit www.SouthParkatRedRocks.com
‘Conspiranoid’ EP – Out April 22nd
1. Conspiranoia
2. Follow The Fool
3. Erin On The Side Of Caution
PRIMUS ‘A TRIBUTE TO KINGS’ TOUR DATES
NORTH AMERICAN TOUR
Friday, April 15 – Oklahoma City, OK – The Criterion *
Saturday, April 16 – San Antonio, TX – Majestic Theatre *
Tuesday, April 19 – Springfield, MO – Gillioz Theatre *
Wednesday, April 20 – Kansas City, MO – Grinders KC *^
Friday, April 22 – Cedar Rapids, IA – McGrath Amphitheatre *^
Saturday, April 23 – Madison, WI – The Sylvee *
Monday, April 25 – Knoxville, TN – Tennessee Theatre*
Wednesday, April 27 – New Orleans, LA – Saenger Theatre *^
Saturday, April 30 – Huntsville, AL – Mars Music Hall, Von Braun Center *
Tuesday, May 3 – Miami Beach, FL – The Fillmore *
Wed, May 4 – St. Petersburg, FL – Mahaffey Theater, Duke Energy Center for the Arts *
Friday, May 6 – North Charleston, SC – North Charleston Performing Arts Center *
Saturday, May 7 – Saint Augustine, FL – The Saint Augustine Amphitheatre *
Monday, May 9 – Nashville, TN – Ryman Auditorium *
Tuesday, May 10 – Fort Wayne, IN – The Clyde Theatre *
Friday, May 13 – Toronto, ON – Massey Hall +
Saturday, May 14 – Toronto, ON – Massey Hall +
Monday, May 16 – Montreal, QC – L’Olympia +
Tuesday, May 17 – Quebec, QC – Videotron Centre +
Wednesday, May 18 – Albany, NY – Palace Theatre *
Friday, May 20 – Port Chester, NY – The Capitol Theatre *
Saturday, May 21 – Montclair, NJ – Wellmont Theater *
Sunday, May 22 – Huntington, NY – The Paramount *
Tuesday, May 24 – Washington, D.C. – Warner Theatre *
Wednesday, May 25 – Bethlehem, PA – The Wind Creek Event Center *
Friday, May 27 – Atlantic City, NJ – Borgata Hotel Casino & Spa *
Saturday, May 28 – LaFayette, NY – Beak & Skiff Apple Orchards *
Monday, May 30 – Louisville, KY – Old Forester’s Paristown Hall *
Tuesday, May 31 – Grand Rapids, MI – GLC Live at 20 Monroe *
Thursday, June 2 – Milwaukee, WI – BMO Harris Pavilion *^
Friday, June 3 – Saint Paul, MN – Palace Theatre *
Saturday, June 4 – Winnipeg, MB – Burton Cummings Theatre for the Performing Arts +
Monday, June 6 – Regina, SK – Conexus Arts Centre – Capital Auto Theatre +
Tuesday, June 7 – Saskatoon, SK – TCU Place – Sid Buckwold Theatre +
Thursday, June 9 – Calgary, AB – Grey Eagle Event Centre, Grey Eagle Resort & Casino +
Friday, June 10 – Edmonton, AB – Edmonton Expo Centre +
Sunday, June 12 – Vancouver, BC – The Orpheum +
Tuesday, June 14 – Troutdale, OR – Edgefield ~
Wednesday, June 15 – Redding, CA – Redding Civic Auditorium ~
Friday, June 17 – Sacramento, CA – Sacramento Memorial Auditorium ~
Saturday, June 18 – Reno, NV – Grand Theatre, Grand Sierra Resort and Casino ~
Sunday, June 19 – San Jose, CA – San Jose Civic ~
Tuesday, June 21 – Santa Barbara, CA – Arlington Theatre ~
Thursday, June 23 – Riverside, CA – Riverside Municipal Auditorium ~
Fri, June 24 – Long Beach, CA – Long Beach Convention & Entertainment Center ~
Saturday, June 25 – Las Vegas, NV – The Theater at Virgin Hotels Las Vegas ~^
Friday, August 12 – Vail, CO – Gerald R. Ford Amphitheatre
Saturday, August 13 – Vail, CO – Gerald R. Ford Amphitheatre
EUROPE TOUR
Friday, September 9 – Stockholm, Sweden – Fryshuset Arenan
Saturday, September 10 – Oslo, Norway – Oslo Spektrum
Monday, September 12 – Copenhagen, Denmark – Vega
Wednesday, September 14 – Berlin, Germany – Huxley’s Neue Welt
Friday, September 16 – Warsaw, Poland – Klub Stodola
Saturday, September 17 – Prague, Czechia – Forum Karlin
Sunday, September 18 – Munich, Germany – TonHalle München
Tuesday, September 20 – Zürich, Switzerland – Kaufleuten
Wednesday, September 21 – Padova, Italy – Gran Teatro Geox
Friday, September 23 – Bogerhout, Belgium – De Roma
Saturday, September 24 – Paris, France – L’Olympia
Sunday, September 25 – Amsterdam, Netherlands – AFAS Live
Tuesday, September 27 – Glasgow, United Kingdom – 02 Academy Glasgow
Thursday, September 29 – London, United Kingdom – Eventim Apollo
Friday, September 30 – Manchester, United Kingdom – Manchester Academy
Saturday, October 1 – Dublin, Ireland – Olympia Theatre
* with Battles
+ with Black Mountain
~ with The Black Angels
^ Tickets are currently on sale for these performances
Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which – ‘Fastlove’ and the haunting ‘Jesus To A Child’ – reached No.1, with the other four peaking in the top three. The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.
‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.
“I think I composed the best, most healing piece of music that I’ve written in my life with this album … Older is my greatest moment,” said George Michael at the time. ‘Older’ will be released on 8th July 2022.
This beautiful new box-set is a treasure for fans and includes ‘Older’, newly mastered from original tapes and pressed on 180gsm vinyl across 2LPs for superior audio quality with expanded artwork. The set also includes ‘Upper’ for the first time ever on vinyl, as well as ‘Older’ and ‘Upper’ on CD. Presented in a rigid double slipcase, this package contains 5 CDs and 3 LPs. Also included is a 12” x 12” 48-page book, The Story of Older, featuring a brand-new essay by Dan Davies recounting the stories behind the album with contributions from key people who helped make the record, plus rare and previously unseen photos. The set also includes 3 12” x 12” art prints of George.
TRACKLIST
OLDER VINYL
SIDE A
1. Jesus to a Child – 06:49
2. Fastlove, Pt. 1 – 05:27
3. Older – 05:32
SIDE B
4. Spinning the Wheel – 06:09
5. It Doesn’t Really Matter – 04:49
6. The Strangest Thing – 06:00
SIDE C
7. To Be Forgiven – 05:21
8. Move On – 04:45
9. Star People – 05:15
SIDE D
10. You Have Been Loved – 05:27
11. Free – 02:59
UPPER VINYL
SIDE A
1. Fastlove, Pt. 2 – 04:54
2. Spinning The Wheel (Forthright Edit) – 04:41
3. Star People ‘97 (Radio Version) – 05:42
SIDE B
4. The Strangest Thing ’97 (Radio Version) – 04:41
5. You Know That I Want To – 04:37
6. Safe – 4:27
CD1 – OLDER
1. Jesus to a Child – 06:49
2. Fastlove, Pt. 1 – 05:27
3. Older – 05:32
4. Spinning the Wheel – 06:09
5. It Doesn’t Really Matter – 04:49
6. The Strangest Thing – 06:00
7. To Be Forgiven – 05:21
8. Move On – 04:45
9. Star People – 05:15
10. You Have Been Loved – 05:27
11. Free – 02:59
CD2 – UPPER
1. Fastlove, Pt. 2 – 04:54
2. Spinning The Wheel (Forthright Edit) – 04:41
3. Star People ‘97 (Radio Version) – 05:42
4. The Strangest Thing ’97 (Radio Version) – 04:41
5. You Know That I Want To – 04:37
6. Safe – 4:27
CD3 – MIXES ONE
1. Fastlove (A/C Summer Mix) – 04:55
2. Star People ‘97 (Radio Edit) – 04:39 *
3. Freedom ’94 (Live Version) – 06:06
4. One More Try (Live Gospel Version) – 5:26
5. Star People (Unplugged) – 06:04
6. Spinning The Wheel (Radio Edit) – 05:00
7. Fastlove (Promo Edit) – 04:43 *
8. Jesus To A Child (Special Radio Edit) – 04:20 *
9. Spinning The Wheel (Forthright Dub Mix) – 06:48 *
10. Star People (Forthright Club Mix) – 09:17
CD4 – MIXES TWO
1. Fastlove (Forthright Extended 12″ Mix) – 09:23
2. Star People (Forthright Dub Mix) – 07:40
3. I’m Your Man (The Jon Douglas Remix) – 04:04
4. Fastlove Part II (Fully Extended Mix) – 09:36
5. Spinning The Wheel (Forthright Extended 12″ Club Mix) – 08:36 *
6. Star People (Galaxy Dub Mix) – 07:11
7. Fastlove (Forthright Remix 7” Version) – 04:25 *
8. I Can’t Make You Love Me (Studio Version) – 05:20
CD5 – MIXES THREE
1. Desafinado – George Michael with Astrud Gilberto – 03:19
2. The Strangest Thing (Live) – 06:00
3. Star People (Forthright Radio Edit) – 04:33 *
4. The Strangest Thing ‘97 (Loop Ratz Mix) – 08:49
5. Fastlove (Forthright Dub Remix) – 08:32 *
6. Jesus to a Child (Radio Edit) – 06:07 *
7. Spinning The Wheel (The Jon Douglas Remix) – 06:38 **
8. Star People (Galaxy Mix) – 08:09
9. Older (Instrumental Version) – 05.29
Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’, plus favourites ‘Straight To Hell’ and ‘Know Your Rights’, it is both their biggest selling album and highest charting set in both the UK and US.
Now comes a special edition of the album, titled ‘Combat Rock / The People’s Hall’, which will be released on May 20th. It couples the album with an additional 12-tracks compiled by The Clash.
Having returned to London following their pivotal 17-show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatted Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.
The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.
The disc highlights a new version of ‘Know Your Rights’ which was recorded at The People’s Hall on the Rolling Stones Mobile Studio, and the previously unreleased instrumental ‘He Who Dares Or Is Tired’. Other notable tracks include ‘Futura 2000’, an unreleased original mix of ‘The Escapades of Futura 2000’, Mikey Dread’s ‘Radio One’, and the outtakes ‘The Fulham Connection’, previously known as ‘The Beautiful People Are Ugly Too’ as well as ‘Idle in Kangaroo Court’.
‘Combat Rock’ is indicative of The Clash’s constant evolution and was influenced in part by the relatively recent end of the Vietnam War, particularly on ‘Sean Flynn’, inspired by the disappearance of the photojournalist and film star’s son. The band’s curiosity and range is illustrated by the many styles and voices here, notably poet Allen Ginsberg’s apocalyptic spoken word on ‘Ghetto Defendant’ and graffiti artist Futura’s rap on ‘Overpowered By Funk’.
The Clash’s influence on punk, post-punk and indie rock is well documented and ‘Combat Rock’ specifically continues to inspire waves of rediscovery from new audiences, most notably with the use of ‘Should I Stay Or Should I Go’ as a prominent plot device in the first season of the Netflix smash ‘Stranger Things’. Meanwhile, ‘Straight To Hell’ remains instantly recognisable having been used in ‘Paper Planes’ by M.I.A.
‘Combat Rock / The People’s Hall’ is now available to pre-order HERE. It will be released on double-CD, triple-vinyl and digital formats.
In addition, The Clash’s collaborations with the late Ranking Roger will receive their first ever official release within a separate two-track EP. It finds the legendary frontman of The Beat infusing ‘Red Angel Dragnet’ and ‘Rock The Casbah’ with his exuberant, high-energy toasting. The EP will be available digitally from 6th April, with a limited edition 7” vinyl following on 20th May.
‘Combat Rock / The People’s Hall’ tracklist:
‘Combat Rock’ – SIDE A
1. ‘Know Your Rights’
2. ‘Car Jamming’
3. ‘Should I Stay Or Should I Go’
4. ‘Rock The Casbah’
5. ‘Red Angel Dragnet’
6. ‘Straight To Hell’
‘Combat Rock’ – SIDE B
1. ‘Overpowered By Funk’
2. ‘Atom Tan’
3. ‘Sean Flynn’
4. ‘Ghetto Defendant’
5. ‘Inoculated City’
6. ‘Death Is A Star’
‘The People’s Hall’ – SIDE A
1. ‘Outside Bonds’
2. ‘Radio Clash’
3. ‘Futura 2000’
‘The People’s Hall’ – SIDE B
1. ‘First Night Back In London’
2. ‘Radio One’ – Mikey Dread
3. ‘He Who Dares Or Is Tired’
4. ‘Long Time Jerk’
5. ‘The Fulham Connection’
‘The People’s Hall’ – SIDE C
1. ‘Midnight To Stevens’
2. ‘Sean Flynn’
3. ‘Idle In Kangaroo Court’
4. ‘Know Your Rights’
The legendary Jazz label Blue Note Records and Universal Music Group Africa have announced the creation of Blue Note Africa, an exciting new imprint dedicated to signing Jazz artists from across the African continent, bringing them to a global audience, and promoting a cultural exchange of ideas that transcends borders. Blue Note Africa will launch this Spring with the release of South African pianist and composer Nduduzo Makhathini’s luminous new album In The Spirit Of Ntu.
“Blue Note has stood the test of time by continuing to adapt but keeping its focus on discovering and introducing Jazz talent to the world,” says Sipho Dlamini, CEO of Universal Music Africa. “The opportunity to create Blue Note Africa and provide a channel for African Jazz talent to have a home in the U.S., with a dedicated and passionate team lead by a legend in his own right – Don Was, is very exciting. We can now walk the African Jazz journey, from Cape to Cairo to California.”
“African music has been a major creative tributary for nearly every album in Blue Note’s extensive catalog,” says Blue Note President Don Was. “So it’s a great honor for us to partner with Sipho and his talented Universal Music Africa team in this new endeavor. Together, we will shine a global light on the incredible music emanating from Africa today.”
If you trace the roots of American Jazz back to its source, the path leads to Africa, and the exchange of musical ideas between the two continents is a thread that runs throughout the entire progression of Jazz music throughout the 20th century to this day. In 1947, the legendary American Jazz drummer and Blue Note legend Art Blakey visited Africa for the first time, a trip that was meant to be a few months but ended up lasting a couple years as Blakey travelled to Nigeria and Ghana. It was an experience that would have a profound effect on Blakey both religiously and musically and led to a series of Blue Note albums that were deeply influenced by African percussion including Orgy In Rhythm (1957), Holiday for Skins (1958), and The African Beat (1962), the latter of which featured traditional African drummers including Solomon Ilori who would release his own Blue Note album African High Life in 1963.
Around the same time in the late-50s, a fertile Jazz scene began to develop in South Africa led by the trailblazing band The Jazz Epistles, a group inspired by American Jazz groups including Art Blakey’s Jazz Messengers that featured trumpeter Hugh Masekela and pianist Dollar Brand (later known as Abdullah Ibrahim). As the restrictions, censorship, and violence of apartheid worsened in the early-60s, Masekela and Ibrahim left the country and went on to become global ambassadors of South African Jazz. But generations of South African Jazz musicians also stayed, enduring the hardships of apartheid but managing to create a distinctive and vibrant Jazz scene that continues to flourish today.
The pianist McCoy Tyner further explored African-American connections on his late-60s and early-70s Blue Note albums with pieces like “African Village,” “Message from the Nile,” and “Asante.” In 2008, the brilliant Beninese guitarist Lionel Loueke released Karibu, the first of several boundary-pushing Blue Note albums that seamlessly blended the sound of both continents.
In 2018, Universal Music Group Africa signed the visionary pianist and composer Nduduzo Makhathini, a leader of the current South African Jazz scene whose 2nd UMG album Modes of Communication: Letters from the Underworlds was released jointly on Blue Note Records. The album drew wide acclaim across Africa, Europe, and the United States, with The New York Times naming it one of the “Best Jazz Albums of 2020” and DownBeat naming Nduduzo among their “25 for the Future,” a short list of Jazz artists with the potential to shape the genre.
Now the partnership between Blue Note Records and Universal Music Group Africa expands with the creation of Blue Note Africa.
Legendary rock band The Who have announced a brand new tour for 2022, THE WHO HITS BACK! The iconic band’s upcoming North American trek promises to be another rock n’ roll knockout, bringing singer Roger Daltrey and guitarist/songwriter Pete Townshend back to U.S. venues two years after their acclaimed MOVING ON! Tour, which wowed audiences with a series of sold-out dates. THE WHO HITS BACK! Tour (see complete list of dates below)will again share the stage with some of the finest orchestras in the U.S. and Canada. Produced by Live Nation, the kick-off date is April 22 in Hollywood, FL at the Hard Rock Live for the spring leg of the tour and returns in the fall on October 2 in Toronto, ON at Scotiabank Arena.
THE WHO HITS BACK! Tour will feature THE WHO’s full live band comprised of guitarist/backup singer Simon Townshend, keyboardist Loren Gold, second keyboardist Emily Marshall, bassist Jon Button, drummer Zak Starkey and backing vocals by Billy Nicholls along with orchestra conductor Keith Levenson, lead violinist Katie Jacoby and lead cellist Audrey Snyder, passionately delivering THE WHO’s many classics, as well as songs from their most recent album, titled WHO.Commenting on The Who Hits Back! Tour, Roger Daltrey says, “Pete and I said we’d be back, but we didn’t think we’d have to wait for two years for the privilege. This is making the chance to perform feel even more special this time around. So many livelihoods have been impacted due to Covid, so we are thrilled to get everyone back together – the band, the crew and the fans. We’re gearing up for a great show that hits bck in the only way The Who know how. By giving it everything we got.”
The Who’s wildly successful 2019 MOVING ON! Tour brought the band’s iconic brand of incomparable rock through 29 cities, including a rollicking sold-out show in Boston’s historic Fenway Park, and a memorable Seattle show where Pearl Jam frontman Eddie Vedder joined them onstage for a rousing version of “The Punk And the Godfather.” The tour generated the most unanimous outpouring of acclaim from critics and fans of any live rock show in 2019, winning raves across North America for the orchestral dynamic as well as the duo’s cathartic rock firepower and intimate acoustic numbers. “They’re not getting older. They’re getting better. You better, you better, you bet.” hailed the Worcester Telegram, with Pollstar Magazine affirming “Daltrey is in peak form, and so is Townshend, lavishing his trademarked windmill guitar motion.”
The Who are one of the top three greatest rock legacies in music history. Their music provoked explosive change and spanned what many critics declare is rock’s most elastic creative spectrum, with Pete Townshend’s songwriting moving between raw, prosaic, conceptual, and expressively literate. Their visionary sense of stagecraft headed by Roger Daltrey’s soaring vocal prowess is topped off by the band’s blistering rhythm section. With both Roger and Pete delivering their memoirs in recent years (Pete’s Who I Am was released to much acclaim in 2012, and Roger’s autobiography, Thanks A Lot Mr. Kibblewhite; My Story, was embraced by critics in 2018) it’s fitting that the two remaining WHO members have shared their incredible legacy in literary fashion, for few bands have had a more lasting impact on the rock era and the reverberating pop culture than The Who.
Emerging in the mid-1960s as a new and incendiary force in rock n’ roll, their brash style and poignant storytelling garnered them one of music’s most passionate followings, with the legendary foursome blazing a searing new template for rock, punk, and everything after. Inducted into the Rock n’ Roll Hall Of Fame in 1990, the band has sold more than 100 million records worldwide, placing 27 top-forty singles in the United States and United Kingdom and earning 17 Top Ten albums, including the 1969 groundbreaking rock opera Tommy, 1971’s pummeling Live At Leeds, 1973’s Quadrophenia and 1978’s Who Are You. The Who debuted in 1964 with a trio of anthems “I Can’t Explain,” “The Kids Are Alright” and “My Generation.” Since then they have delivered to the world hits such as “Baba O’Riley,” “Won’t Get Fooled Again,” “Pinball Wizard,” Who Are You,” and,” You Better You Bet.”
In 2008, they became the first rock band ever to be awarded the prestigious Kennedy Center Honors. The Who has performed all over the world including global music events for the Super Bowl XLIV Halftime Show in 2010 and closing the London 2012 Summer Olympics. The Who continued their charity work by playing a concert in January 2011 to raise money for trials of a new cancer treatment called PDT. In December 2012 they performed at the Hurricane Sandy Benefit in New York. In January 2014 they played a set on the U.S. television special to support the charity Stand Up To Cancer. In November 2012 Daltrey, with Townshend at his side, launched Teen Cancer America. The charity is now established in the USA, with offices in Los Angeles and devoted Teen Cancer units being opened in hospitals all over the U.S. TCA’s work has impacted over 5,000 young people and their families nationwide during the last ten years.
THE WHO HITS BACK! TOUR DATES
April 22 / Hard Rock Live / Hollywood, FL
April 24 / VyStar Veterans Memorial Arena / Jacksonville, FL
April 27 / Amalie Arena / Tampa, FL
April 30 / New Orleans Jazz Festival
May 3 / Moody Center / Austin, TX
May 5 / American Airlines Center / Dallas, TX
May 8 / the Cynthia Woods Mitchell Pavilion / The Woodlands, TX
May 10 / Paycom Center / Oklahoma City, OK
May 13 / FedExForum / Memphis, TN
May 15 / TQL Stadium / Cincinnati, OH
May 18 / TD Garden / Boston, MA
May 20 / Wells Fargo Center / Philadelphia, PA
May 23 / Capital One Arena / Washington, D.C.
May 26 / Madison Square Garden / New York City, NY
May 28 / Bethel Woods Center of the Arts / Bethel, NY
Oct 2 / Scotiabank Arena / Toronto, ON
Oct 4 / Little Caesars Arena / Detroit, MI
Oct 7 / UBS Arena / Belmont Park, NY
Oct 9 / Schottenstein Center / Columbus, OH
Oct 12 / United Center / Chicago, IL
Oct 14 / Enterprise Center / St. Louis, MO
Oct 17 / Ball Arena / Denver, CO
Oct 20 / Moda Center / Portland, OR
Oct 22 / Climate Pledge Arena / Seattle, WA
Oct 26 / Golden 1 Center / Sacramento, CA
Oct 28 / Honda Center / Anaheim, CA
Nov 1 / Hollywood Bowl / Los Angeles, CA
Nov 4 + 5 / Dolby Live at Park MGM / Las Vegas, NV
Nirvana’s “In Bloom” from Nevermind was the second of two versions of the song that were released in 1991, the earlier of which was recorded in 1990, while the band was still signed to their original record label, Sub Pop.
“In Bloom” was released as the album’s fourth and final single in November 1992 and generated heavy American airplay, reaching number 5 on the US Mainstream Rock chart, despite never being released as a physical single in the United States.
ABKCO will reissue the first four US albums by Rock and Roll Hall of Fame inductees The Animals this May. Originally released between 1964 and 1966 on MGM Records, The Animals, The Animals on Tour, Animal Tracks and Animalization have been out of print for decades and will be made available on 180-gram vinyl in mono with original cover art on May 20. CD versions of all four titles will come with contemporaneous bonus tracks. Also out on May 20, The Animals Mickie Most Years And More vinyl bundle will come with a reproduction of the ultra rare, one-sided 12” EP I Just Wanna Make Love To You, which kicked off the British Invasion band’s career in 1963.
Formed in Newcastle by frontperson Eric Burdon from the ashes of the Alan Price Rhythm and Blues Combo, The Animals were known for their hard driving, R&B-influenced sound and became a hit-making machine on both sides of the Atlantic right out of the gate. Their self-titled 1964 album includes the #1 US and #1 UK charting “House of the Rising Sun,” and was made in an era when they were “the most important and successful British export after the Beatles,” as asserted by Rolling Stone’s David Fricke. Despite its title, their February 1965 follow-up The Animals on Tour contains studio recordings and features the Top 20 single “I’m Crying.” Animal Tracks was released just six months later, in the same calendar year. As was customary for American versions of British records, hit singles were packed into it—“Don’t Let Me Be Misunderstood” (originally recorded by Nina Simone the previous year), Sam Cooke’s “Bring It On Home to Me” and the Mann/Weil-penned “We Gotta Get Out of This Place,” the latter of which became a de facto anthem for U.S. Armed Forces G.I.s deployed to Vietnam. 1966’s Animalization, released during the band’s final year of existence, saw original producer Mickie Most replaced by Tom Wilson (Bob Dylan, Simon & Garfunkel, the Velvet Underground, The Mothers of Invention). There is no shortage of Top 40 material, from “Don’t Bring Me Down” (written for The Animals by Gerry Goffin and Carole King), Ma Rainey’s “See See Rider” and the Animals’ re-imagining of a prison work song originally recorded by American folklorist Alan Lomax, “Inside-Looking Out.”
“To me, The Animals were a revelation,” said Bruce Springsteen at his 2012 SXSW keynote speech. He went on to describe their catalog as “the first records with full blown class consciousness that I had ever heard,” before picking up a guitar and performing a large chunk of “We Gotta Get Out of This Place” and declaring, “That’s every song I’ve ever written. That’s all of them. I’m not kidding either. That’s ‘Born To Run,’ ‘Born In the U.S.A.,’ everything I’ve done for the past 40 years, including all the new ones.” Billy F Gibbons of ZZ Top expounds, “Oddly enough, it was the British bands who turned a lot of us Americans onto the blues that were our own backyard, and no one did it better than The Animals.” Along with numerous other groups, Tom Petty and the Heartbreakers were also disciples of The Animals, having covered “Don’t Bring Me Down” at Farm Aid in 1985.
The CD versions of these titles will contain bonus tracks relating to the time periods in which they were originally released. The Animals has the unedited “Talkin’ ‘Bout You,” (the LP version was shortened due to the time constraints of the vinyl format), while The Animals on Tour has their versions of Jimmy Reed’s “Baby What’s Wrong,” Ray Charles’ “F-E-E-L” and a radio spot recorded for New Year’s Eve 1964. The CD version of Animal Tracks has five bonus tracks, including the hit “It’s My Life” and the UK version of “We Gotta Get Out of This Place.” The Animalization CD has stereo versions of three of the album tracks, which gradually overtook the mono format in the second half of the ‘60s.
ABKCO Records will be offering The Animals Mickie Most Years And More, a limited edition bundle consisting of all four titles on vinyl plus I Just Wanna Make Love To You—a faithful reproduction of the very first record by the band—a 12” EP privately issued in a run of 500 copies by Graphic Sound Ltd. Recorded on September 15, 1963. It contains the title track, “Big Boss Man,” “Pretty Thing” and an early version of “Boom Boom” (originally by John Lee Hooker) all on one side of a 45 rpm record housed in a plain outer sleeve. Captured by recording engineer Phil Woods at his home in Wylam, Northumberland, I Just Wanna Make Love To You is a peek into the early days of The Animals just before their rise international dominance.
The Animals (U.S., 1964)
Side 1
1. House of the Rising Sun
2. The Girl Can’t Help It
3. Blue Feeling
4. Baby Let Me Take You Home
5. The Right Time
6. Talkin’ ‘Bout You (edited)
Side 2
1. Around and Around
2. I’m in Love Again
3. Gonna Send You Back to Walker
4. Memphis, Tennessee
5. I’m Mad Again
6. I’ve Been Around
CD bonus track:
• Talkin’ ‘Bout You (unedited)
The Animals on Tour (U.S., 1965)
Side 1
1. Boom Boom
2. How You’ve Changed
3. Mess Around
4. Bright Lights, Big City
5. I Believe to My Soul
6. Worried Life Blues
Side 2
1. Let the Good Times Roll
2. I Ain’t Got You
3. Hallelujah, I Love Her So
4. I’m Crying
5. Dimples
6. She Said Yeah
CD bonus tracks:
• Baby What’s Wrong
• F-E-E-L
• New Year’s Radio Spot
Animal Tracks (U.S., 1965)
Side 1
1. We Gotta Get Out of This Place
2. Take It Easy Baby
3. Bring It On Home to Me
4. The Story of Bo Diddley
Side 2
1. Don’t Let Me Be Misunderstood
2. I Can’t Believe It
3. Club A-Go-Go
4. Roberta
5. Bury My Body
6. For Miss Caulker
CD bonus tracks:
• Roadrunner
• Don’t Want Much
• We Gotta Get Out of This Place (UK Single Version)
• It’s My Life
• I’m Gonna Change the World
Animalization (U.S., 1966)
Side 1
1. Don’t Bring Me Down
2. One Monkey Don’t Stop No Show
3. You’re On My Mind
4. Cheating
5. She’ll Return It
6. Inside-Looking Out
Side 2
1. See See Rider
2. Gin House Blues
3. Maudie
4. What Am I Living For
5. Sweet Little Sixteen
6. I Put a Spell on You
CD bonus tracks:
• Don’t Bring Me Down (Stereo Version)
• Cheating (Stereo Version)
• See See Rider (Stereo Version)
I Just Wanna Make Love To You 12” EP (available as part of The Animals Mickie Most Years And More bundle)
Side 1
1. I Just Wanna Make Love To You
2. Big Boss Man
3. Boom Boom
4. Pretty Thing
Side 2 intentionally blank
