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coolbiosite · 10 months

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Cool and Best Instagram Bio for Guitarist

Are you a passionate guitarist looking to enhance your Instagram presence and connect with a wider audience? As a guitarist, your Instagram bio is your digital calling card. Crafting an attention-grabbing and unique Instagram bio is the key to standing out in the vast realm of social media. In this article, we'll explore the best Instagram bio for guitarists that showcases your talent, captivates followers, and helps you foster a strong online community. Let's dive in and unlock the potential of your Instagram profile.

Best Instagram Bio for Guitarist:

1. The Riff Mastermind 🎸

Unleashing killer riffs that resonate with the soul. Rock on! 🤘🎶

2. Shredding the Strings 🎸✨

Blending melodic magic and lightning-fast solos. Captivating hearts one note at a time. 🎵

3. Acoustic Serenades 🎶🌿

Strumming heartfelt melodies that transport you to serene landscapes. Let's embark on a musical journey together. 🌟

4. Melody Weaver 🎵🕸️

Weaving intricate melodies and harmonies that create a sonic tapestry. Get entangled in the magic. ✨

5. Electric Vibes and High-Octane Energy ⚡🔥

Igniting stages with electrifying performances and sending shockwaves through your speakers. Join the energy surge! 💥

6. Soulful Blues Maestro 🎶🔵

Diving deep into the blues, infusing every note with raw emotion. Let the music heal your soul. 🌌

7. Fingerstyle Magician ✨🎸

Transforming six strings into a symphony of enchanting fingerstyle melodies. Witness the magic unfold. 🎩

8. Unleashing Metal Mayhem 🤘⚡

For those who crave bone-crushing riffs and thunderous solos. Brace yourself for a headbanging experience. 🤟🔥

9. Jazz Guitar Extraordinaire 🎶🎷

Journeying through the realms of improvisation and harmonic richness. Let's swing together. 🎵

10. A Connoisseur of Classical Strings 🎸🎵

Embracing the elegance and timeless beauty of the classical guitar. Immerse yourself in the classical era. 🌹

11. Alternative Rock Rebel 🔀🔊

Pushing the boundaries of sound and carving a unique path. Join the revolution. 🎸✊

12. Country Guitar Storyteller 🌾🎶

Painting vivid tales of heartache, love, and open roads through twangy melodies. Welcome to my country music diary. 🌄

13. Funk Groove Commander 🕺🔥

Bringing the rhythm, funk, and infectious grooves that make you move. Get ready to shake it! 💃

14. Virtuoso of Versatility 🌈🎸

From rock to blues, jazz to funk, mastering every genre with finesse and passion. Witness the musical chameleon. 🎩🎶

15. Strumming the World's Heartstrings ❤️🌎

Using the power of music to connect souls, spread love, and make the world resonate with harmony. Join the global strumming session. 🌍🎵

Short Instagram Bio for Guitarist:

1. Rocking the Strings 🎸✨

2. Melody Architect 🎶🏰

3. Acoustic Wanderer 🌿🎵

4. Electric Energy ⚡🔥

5. Blues Soul Seeker 🎸🌌

6. Fingerstyle Enchanter ✨🎸

7. Shredding Boundaries 🎸🌟

8. Jazzed Up 🎶🎷

9. Strumming Stories 🌄🎸

10. Rhythm Maverick 🔊🕺

11. Virtuoso of Versatility 🌈🎸

12. Country Serenader 🌾🎶

13. Funky Groove Maker 🕺🔥

14. Strumming in Harmony 🎵❤️

15. Strings of Passion 🎸🔥

Instagram Bio for Male Guitarist:

1. Strings and Soul 🎸✨Strumming my way through life with heartfelt melodies and soulful touch. Let's create magic together. 🎵

2. Rock 'n' Roll Warrior 🤘🔥Channelling the spirit of rock through blistering riffs and electrifying solos. Join the rock revolution! 🎸✊

3. Acoustic Wanderer 🌿🎶Embarking on a musical journey, serenading souls with the gentle strumming of acoustic melodies. Let's find tranquillity through music. 🌟

4. Bluesman in the Making 🎵🔵Diving deep into the blues, pouring my heart and soul into every note. Come, feel the blues with me. 🌌

5. Electric Energy Conductor ⚡🎸Charging the air with high-voltage energy, delivering electrifying performances that will leave you in awe. Get ready to be electrified! 💥

6. Shredder with Style 🎸🔥Unleashing a whirlwind of shredding solos and stylish licks that will make your jaw drop. Join the sonic revolution! 🤟

7. Jazz Guitar Enthusiast 🎶🎷Exploring the intricate world of jazz guitar, blending sophistication and improvisation. Let's swing to the rhythm of jazz! 🎵

8. Heavy Metal Thunder ⚡🤘Crushing eardrums with bone-shattering riffs and thunderous solos. Brace yourself for a headbanging experience. 🔊🔥

9. Folk Troubadour 🌾🎶Weaving stories through folk melodies, strumming and singing my way into the hearts of listeners. Let's embark on a musical journey together. 🌄

Instagram Bio for Female Guitarist:

1. Shattering Stereotypes, One Chord at a Time 🎸✨Defying expectations and embracing my musical journey as a female guitarist. Let's break barriers together! 💪🎶 2. Strumming Through Life's Melodies 🌟🎶Finding solace in the strings and celebrating the beauty of music. Join me on this melodious adventure! 🌈 3. Captivating Hearts with Harmonies 💖🎸Infusing passion and emotion into every note, creating a symphony that resonates deep within. Let the music speak. 🌹 4. Melody Maker, Soul Shaker 🎵🌟Crafting melodies that touch the depths of the soul and unleash waves of inspiration. Let's embark on a sonic journey. ✨ 5. Fierce Fingers, Fiery Spirit 🔥🎸Fueling the stage with electrifying energy, shredding solos that leave a lasting impression. Let's ignite the world with music! 🤘 6. Acoustic Serenades and Empowering Escapades 🌹✨Strumming through stories of love, strength, and resilience, creating a safe haven through music. Join the journey of empowerment. 💫 7. Rock Goddess, Rhythm Queen 🌟👑Commanding the stage with powerful riffs and infectious grooves, leaving audiences in awe. Let's rock the world, ladies! 🤘💃 8. Melodic Warrior, Music Maven 🎶💫Using the power of music to heal, inspire, and spark positive change. Unleashing my inner warrior through guitar strings. 🌌 9. Jazz Enchantress, Harmonic Sorceress 🎷✨Diving into the depths of jazz, weaving mesmerizing melodies that transport you to a world of enchantment. Let's swing together. 🌟 10. Strings and Stardust ✨🌟Sprinkling stardust through soulful strums, embracing the cosmic connection between music and the universe. Join me on this celestial journey. 🌌🎸

Funny Instagram Bio for Guitarist:

1. Master of String Cheese 🎸🧀Serving up tasty licks and cheesy jokes. Join the fun and let's shred with a side of mozzarella!

2. Chief Air Guitarist 🎸💨Bringing the magic of imaginary chords to life. My air guitar skills will leave you breathless (literally)!

3. Official Chord Whisperer 😎🎵Whispering sweet nothings to frets and coaxing them into harmonious submission. Guitarists' best-kept secret revealed!

4. Professional String Tickler 🎸😄Tickling strings and funny bones simultaneously. Warning: excessive laughter may cause unplanned chord changes!

5. Certified Pick Ninja 🥋🎸Stealthily picking strings and slaying audiences with my invisible sword. Beware the rapid-fire notes!

6. Captain Strum-a-lot 🎸⚓Sailing through the sea of melodies, rescuing dull moments with epic guitar solos. Anchors aweigh for sonic adventures!

7. Maestro of Musical Mischief 😈🎶Crafting catchy tunes and mischievous melodies. Warning: listening may induce uncontrollable toe-tapping and smile outbreaks!

8. Chief of Funky Fretboard Operations 🎸🕺Operating the fretboard like a funky surgeon, ensuring all grooves and jams go as planned. Let's get down with some serious funky business!

9. Amp Whisperer and Coffee Enthusiast ☕🔊Brewing the perfect blend of rich tones and caffeine-fueled riffs. Warning: excessive exposure may result in uncontrollable air guitar sessions!

10. Professional Procrastinator...Oh, Look! A Guitar! 🎸😅Mastering the art of avoiding responsibilities by picking up a guitar and losing track of time. Oops, did I just spend six hours practising? Time flies when you're strumming!

Unique Instagram Bio for Guitarist:

1. Harmonic Fusion Alchemist 🧪✨

Blending diverse musical influences and conjuring sonic potions that transport you to otherworldly dimensions. Join the alchemical journey of sound. 🎶🔮

2. Ethereal Strings of Wanderlust 🌌🎸

Guiding your spirit on a cosmic voyage through celestial melodies. Let the guitar be your compass to wanderlust. 🌠✨

3. Uncharted Soundscapes Explorer 🗺️🔊

Embarking on a sonic expedition, exploring uncharted territories, and sculpting unique soundscapes. Dare to join the sonic adventure. 🌍🎵

4. Melodic Storyteller of Six Strings 🎶📚

Weaving tales of triumph, heartbreak, and the human experience through the language of guitar. Let the music narrate the chapters of life. 🎸📖

5. Groove Architect and Time Bender ⏳🔧

Crafting infectious grooves, bending time signatures, and reshaping the very essence of rhythm. Get ready to groove in the fourth dimension. 🕺🎶

6. Sonic Painter of Vibrant Emotions 🎨🎸

Using a guitar as a brush, painting an emotional canvas with vibrant chords, melodies, and solos. Let the colours of music ignite your soul. 🎨🌈

7. Zen Garden of Guitar Meditations 🧘🎸

Creating tranquil and introspective melodies that transport you to a state of musical serenity. Find solace in the zen garden of guitar. 🌸🎶

#guitar #rock #guitarist #caption

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lboogie1906 · 2 years

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Marion Walter Jacobs (May 1, 1930 – February 15, 1968), known as Little Walter, was a blues musician, singer, and songwriter, whose revolutionary approach to the harmonica and impact on succeeding generations has earned him comparisons to such seminal artists as Django Reinhardt, Charlie Parker, and Jimi Hendrix. His virtuosity and musical innovations fundamentally altered many listeners' expectations of what was possible on blues harmonica. He was inducted into The Rock and Roll Hall of Fame, the first artist and to date, the only one to be inducted specifically as a harmonica player. He found work as a guitarist but garnered more attention for his already highly developed harmonica playing. According to Chicago bluesman Floyd Jones, his first recording was an unreleased demo recorded soon after he arrived in Chicago, on which he played guitar backing Jones. He, reportedly frustrated with having his harmonica drowned out by electric guitars, adopted a simple but previously little-used method: He cupped a small microphone in his hands along with his harmonica and plugged the microphone into a public address system or guitar amplifier. He could thus compete with any guitarist's volume. However, unlike other contemporary blues harp players, such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, he purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica or any other instrument. #africanhistory365 #africanexcellence https://www.instagram.com/p/CdBHv8zLqUbCt3HQODf68c9mEVFCgp7I3ttH0g0/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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krispyweiss · 3 years

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Quarter Notes: Blurbs & Briefs from Sound Bites

WHAT A LONG STRANGE DRONE IT’S BEEN: Mickey Hart and Zakir Hussain will present “Sound Consciousness: Drones for Sonic Bathing” during a free webcast at 8 p.m. Eastern, May 21 on Fans.

“This is a sonic wonderland that gets you into the moment, into the now,” Hart said in a statement. “It gets you to connect to the very center of you, the vibratory center of you.”

THAT’S DR. BOBBY RUSH TO YOU: Bluesman Bobby Rush recently received an honorary doctorate from Rhodes College.

“I have learned so many lessons in my life and career, I feel it’s important to share what I can with students and those who are interested,” Rush, 87, said in a statement.

“I never thought ‘Dr.’ would appear before my name and to have this honorary doctorate from such a prestigious college means the world to me.”

COUNTDOWN TO PAUL: A new serial documentary featuring Paul McCartney in conversation with Rick Rubin is heading to Hulu.

“McCartney 3, 2, 1” premieres July 16.

McCartney and Rubin teased the series in 2020; Read Sound Bites’ previous coverage and see the trailer here.

A MEDAL FOR CASH: Roseanne Cash will receive the 61st Edward MacDowell Medal for outstanding contributions to American culture.

“I’m gobsmacked,” Cash tweeted. “And so deeply honored.”

The award ceremony is slated for Aug. 8.

5/19/21

#quarter notes #mickey hart #zakir hussain #grateful dead #dead & company #sound consciousness: drones for sonic bathing #bobby rush #rhodes college #paul mcartney and wings #paul mccartney #the beatles #rick rubin #hulu #mccartney 3 2 1 #rosanne cash #edward macdowell medal

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kickmag · 5 years

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Music Review: G&D (Georgia Anne Muldrow and Declaime) Black Love & War

A Soulful Missive for Black Survival

Georgia Anne Muldrow and Declaime arrive with Black Love & War just as the country is seeing the term white supremacy enter the mainstream for the first time in the 21st century. The longtime couple and musical partners have always been aware of racial divisions in their music and they start the album by reintroducing their perspective as Africans living in America with the bombastic “Where I’m From.” They are unapologetic about claiming their Blackness but they also make it known that they are people of the earth, the sun and stars. They course through the atmosphere with the heavy bottom of the drum and the accouterments of celestial synthesizers The foundations of P and G-Funk are interspersed with gospel conviction, soul and early B-Boy and B-Girl styles. Muldrow handles most of the production with additional work from Oh No and Mike & Keys. The heft of their message escapes the needling feeling of being preached to because the songs carry a party vibe like the driving beat of “Peace Peace” whose lyrics promise future contentment when “all them devils is dead.” The references to Black pop of the past expresses itself as guideposts for fresh articulation in the midst of an America that is wearing MAGA hats and celebrating Black Panther.

”The Battle” is part Isaac Hayes part disco and the blaxploitation chase scene overtones add urgency to Declaime’s narrative about terroristic violence from the police.

The duo’s critique of the world around them never lands in a rut of empty rhetoric because the pulsing music could just as easily be calling for a revolution on the dancefloor. Declaime’s bluesman street corner philosopher flow is flexible enough to offer sternness, humor and compassion. He is a protective father to his daughter on “So Pretti” but becomes a smart comic creating laughter inside the rebellion of “Slave Revolt Skit.” Muldrow’s hearty vocals feel like a directive leading Black people through a modern Underground Railroad to flee police killings, mass shootings and being arrested for Living While Black.

There can be no real revolution without love and the endorphin-producing “Smile” lights up with guest appearances from Aloe Blacc, Latoiya Williams and Ms. Dezy. Romantic love is one part of the intention but the radiance of “Smile” also celebrates self-love and morale-lifting affirmations. Declaime’s verses and Muldrow’s almighty vocals leave no room for interpretation especially when they are instructing Black folks on how to take a spiritual fighting stance in “The Battle.” But the sonic axis of funk can be subversive when they make the insurrection of “187” sound like an outtake from a Snoop Dogg record.

Black Love & War was intended to be an endurance manual for Black life but anyone weary of the lasting wickedness of the color line and has a love for the funk can a find a connection to G&D’s sentiment and sound.

#declaime #georgia anne muldrow

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bringinbackpod · 4 years

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Interview with G. Love and Special Sauce

Earlier this year (3/11/20), along with Sean Ulbs of The Eiffels, we had the pleasure of interviewing G. Love of G. Love and Special Sauce at Belly Up Tavern in Solana Beach!

Please share while we are #togetherathome 🏠

“I’ve been in the game a long time, but I’ve always considered myself a student,” says G. Love. “Finishing this album with Keb Mo’ felt like graduation.”

Recorded in Nashville with a slew of special guests including Robert Randolph, Marcus King, and Roosevelt Collier, ‘The Juice’ is indeed diploma-worthy. Co-produced and co-written with GRAMMY-winning icon Keb Mo’, it’s an electrifying collection, one that tips its cap to more than a century of blues greats even as it offers its own distinctly modern pop spin on the genre, mixing programmed beats and hip-hop grooves with blistering guitar and sacred steel. G. Love’s lyrics are both personal and political here, artfully balancing his appreciation for the simple joys in life with his obligation to speak out for justice and equality, and his performances are suitably riotous and rousing to match, with infectious call-and-response hooks and funky sing-along choruses at every turn. Easy as it is to succumb to cynicism these days, the songs on ‘The Juice’ refuse, insisting instead on hope and determination in the face of doubt and despair.

“I’ve always tried to make music that’s a force for positivity,” G. Love explains. “It was important to me that this album be something that could empower the folks who are out there fighting the good fight every day. I wanted to make a rallying cry for empathy and unity.”

Born Garrett Dutton in Philadelphia, PA, G. Love grew up equally enthralled with folk, blues, and rap, devouring everything from Lead Belly and Run D.M.C. to John Hammond and the Beastie Boys. After migrating to Boston, he and his band, Special Sauce, broke out in 1994 with their Gold-selling self-titled debut, which earned widespread critical acclaim for its bold vision and adventurous production. Over the next twenty-five years, G. Love would go on to release seven more similarly lauded studio studios albums with Special Sauce (plus four solo albums on his own), solidifying his place in music history as a genre-bending pioneer with a sound The New York Times described as “a new and urgent hybrid” and NPR called a “musical melting pot.”

G. Love’s magnetic stage presence, meanwhile, made him a fixture on festival lineups from Bonnaroo to Lollapalooza, and his relentless appetite for tour and collaboration landed him on the road and in the studio with artists as diverse as Lucinda Williams, Dave Matthews, The Avett Brothers, Jack Johnson, and DJ Logic.

While G. Love has covered considerable sonic ground during his prolific career, he’s always found himself drawn back to the blues, and to one bluesman in particular.

“Keb Mo’ and I got signed to the same label at the same time back when I first started out, and we toured together early on in my career,” G. Love remembers. “He used to introduce me on stage as ‘a true American original,’ and I could tell that he got a kick out of what I did. We didn’t see each other for a while after that, but a few years ago we reconnected and did a co-headline tour, which was really special for me.”

Two decades after they’d first hit the road together, the unlikely duo picked up right where they left off, and after a couple of late-night jam sessions, G. Love pitched Keb Mo’ on producing his next album. The pair decided to test the waters with a writing session first, teaming up with GRAMMY-winner Gary Nicholson (famed for his work with

B.B. King, Buddy Guy, Willie Nelson, and Ringo Starr among others) for a week in Nashville, where they penned a handful of tunes based on phrases G. Love had saved in his phone or rough demos he’d recorded at home on Cape Cod. Those tracks quickly became fan favorites on the road, and G. Love knew he was on to something special.

“I got wrapped up in touring and in my Jamtown project with Donovan Frankenreiter and Cicso Adler after that first session, and even though I really enjoyed working with Keb Mo’ and Gary, it was a year-and-a-half before I was able to get back down to Nashville to finish writing the album with them.”

When it came time to record, Keb Mo’ was meticulous, working closely with G. Love in the studio on nearly every aspect of his performances. While G. Love was used to creating raw, loose albums by the seat of his pants, Keb Mo’ worked in a much more deliberate, methodical fashion, building songs up like a hip-hop producer. He’d create a beat on his keyboard, lay down a bass line, and then coach G. Love through the tracks sometimes line-by-line.

“He was always impressing on me where to place the emphasis and how to phrase my lyrics and guitar playing in relation to the beat,” G. Love explains. “He’d tell me to sing like I had a shovel in my hands and I was digging on the one."

The resulting mix of G. Love’s idiosyncratic style and Keb Mo’s old-school influence proves intoxicating on ‘The Juice,’ which opens with the shuffling, anthemic title track. “We got the juice / We got the love / We got the dreams / We had enough,” G. Love sings, setting the stage for an album all about recognizing your power to impact the world around you in ways both big and small. The infectious “Birmingham,” for instance, is an ode to perseverance when, while the funky “Go Crazy” cuts loose in the face of our maddening 24-hour news cycle, and the relentless “Shake Your Hair” rattles off a head-spinning list of modern ills before declaring “donate, don’t wait, spread love don’t hate.”

“I’ve never been the kind of guy who thinks he’s going to change the world with his guitar,” reflects G. Love. “But maybe I can write the kind of songs that give strength and encouragement to the people who are out there doing the work to make this planet a better place. Those are the people I want to lift up with my music.”

When G. Love sings about making the world a better place, he’s not just singing about politics, though, and ‘The Juice’ serves as a beautiful exploration of the ways we can brighten our own little worlds and the worlds of those we care about on a daily basis. The gritty “SoulBQue” is a celebration of community and friendship, while the rootsy “She’s The Rock” pays tribute to all the little ways lovers can lift each other up, and the breezy “Diggin’ Roots” spins cultivating a garden into a metaphor for the importance of tending to your home and family and neighbors.

“I was going through a tough time in my life when I met my fiancé, but my whole world seemed to turn around after that,” says G. Love. “I started meditating, we had a son, and we moved out to the Cape. That’s when I stopped writing breakup songs and started writing love songs and family songs and friendship songs.”

Life is good for G. Love these days, and he’s not taking a moment of it for granted. In fact, in just the past few years alone he’s launched his own beer collaboration with Oregon’s Good Life Brewery (The Juice IPA), started his own festival in Massachusetts (The Cape Cod Roots & Blues Festival), and founded his own record label, Philadelphonic, which he aims to use as an outlet for curating both music and visual art (the cover of ‘The Juice’ features a brand new work G. Love commissioned from renowned painter Greg Haberny).

“I’m more inspired right now than I’ve ever been before,” G. Love reflects. “I feel more thoughtful, seasoned, marinated, confident. I’m making the records I’ve always wanted to make.”

Cue “Pomp and Circumstance.”

We want to hear from you! Please email [email protected]

www.BringinitBackwards.com

#podcast #interview #bringinbackpod #foryou #foryoupage

Photo Credit: Sarah Ewalt

source https://bringin-it-backwards.simplecast.com/episodes/interview-with-g-love-and-special-sauce-lg8peMdN

#podcast #interview #bringinbackpod #music #aspn #americansongwriter #americansongwriterpodcastnetwor

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oceanlyricss · 4 years

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Jeff Beck

Jeff Beck has never been shy about speaking his mind through his music. For more than 50 years, the Grammy-winning guitarist has expanded rock’s sonic vocabulary with an inventive style of playing that defies categorization. With LOUD HAILER, Beck’s first new album in six years, the Rock and Roll Hall of Famer shifts gears once again for an album packed with topical lyrics that touch upon his concerns about the future. Loud hailer — another name for a megaphone — is the perfect symbol for the 11 tracks. “I really wanted to make a statement about some of the nasty things I see going on in the world — greed, lies, injustice — and I loved the idea of being at a rally and using this loud device to shout my point of view.” To help him write LOUD HAILER, Beck enlisted two young women — guitarist Carmen Vandenberg and singer Rosie Bones. It was a chance meeting with Vandenberg last year at a birthday party for Queen drummer Roger Taylor that eventually led to the trio’s collaboration. “She invited me to one of their shows, and I was blown away,” the guitarist recalls. “When we got together in January, I explained the subject matter I had in mind, we sat down by the fire with a crate of Prosecco and got right to it. The songs came together very quickly; five in three days.” Beck recorded most of LOUD HAILER at home and Jeff-Beckproduced it with Filippo Cimatti, who also works with Bones. In addition to the core trio, the album also features drummer Davide Sollazzi and bassist Giovanni Pallotti, who were both recruited by Cimatti. The album’s roots, Beck explains, reach back to September 11, 2001. In particular, the plight of the “Jersey Girls,” four women who lost their husbands in the attacks and were instrumental in the creation of the 9/11 Commission. “These women wanted answers, but were given none, which I found shocking and appalling,” the guitarist says. “I told Rosie about their fight to find the truth and she came up with ‘Ballad Of The Jersey Wives.’ That creative process repeated itself for most of the songs on the album. All credit to Rosie — she was able to bring these different ideas to life.” Jeff-.Beck says he enjoyed his new role as lyrical director. “You can set the mood with an instrumental, but you can’t really tell a story. That’s not what you would expect to hear from someone who once remarked, ‘Good riddance to singers.’ But the truth is, I play better when I play off the lyrics in a song.” A sense of outrage comes through loud and clear on the first single, “Live In The Dark,” as well as “Right Now,” which targets superficiality in pop culture. Beck adds: “I think Rosie says it all with the line, ‘Famously famous for nothing at all.’ Unfortunately, that’s where we are today.” Anger may be the over-arching theme, but one of the album’s biggest strengths is its musical ebb and flow. Beck says: “It’s a careful balance of extremes that define the album: dark and light, heavy and tender.” The mix ranges from the ethereal instrumental “Edna” and the country-tinged “Shrine,” to the greasy funk of “O.I.L.,” which includes a wicked slide solo played on a oil can guitar; a gift from ZZ Top guitarist Billy Gibbons. But there are also several ballads, “Shame” (inspired by 1950s doo-wop) and “Scared For The Children,” in which Beck pays tribute to Jimi Hendrix with a moving solo. The guitarist adds: “I can’t help it; Jimi is forever in my blood.” Jeff-Beck-181-200x300In many ways, Beck says LOUD HAILER is his most honest album. “Lyrically, I set the mood and subject matter. And musically, I used fewer electronic gadgets than ever before. It’s mostly just me playing through a Marshall head or a Fender Champ. What you hear on the album is what you’ll hear live in concert.” This summer, Beck will co-headline a U.S. tour with one of his heroes, the legendary Chicago bluesman Buddy Guy. The joint tour begins in July — just a few days after the album’s released — and continues for most of the summer. On August 10, Beck will make his Hollywood Bowl debut for a very special, career-spanning concert that celebrate 50 years of ‘dynamic music making.’ “Many years ago, a girlfriend took me there as a tourist. I remember standing on that stage and thinking, ‘One day I’ll play here.’ But I never got the chance until now.” In addition to recording LOUD HAILER, Beck also wrote, BECK01 (Genesis Publications, jeffbeckbook.com). This signed, limited edition book explores Beck’s passions for hot rods and rock ’n’ roll. Hand-bound in leather and aluminum, the book features more than 400 rare and unpublisheJeff-Beck-Master-of-Guitar-150x150d photos. Narrated by Beck, BECK01 is the definitive visual and historical record for this dynamic musician. The trailblazing guitarist has been inducted into the Rock & Roll Hall of Fame twice. He entered as a member of the Yardbirds in 1992 and as a solo artist in 2009. Beck has earned a total of eight Grammy Awards — including one for his previous album Emotion and Commotion — and has recorded with everyone from Stevie Wonder and Buddy Guy to Tina Turner and Mick Jagger. He is widely regarded by his peers and fans as one of the greatest guitarists of all time thanks to his ability to make the impossible sound effortless. Source Read the full article

#guitarist #guitarlegend #JeffBeck #jerseygirls #liveinthedark #rock #thedark

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witchesheal · 7 years

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Simone Schmidt, aka Fiver, is a Toronto-based musician working within the frame of traditional North American folk music. Her latest album Audible Songs From Rockwood is a series of eleven fictional field recordings, gathered from case files of patients at the Rockwood Asylum for the Criminally Insane between 1854-1881. The rigour of Schmidt’s writing process is shown through the work: Over the course of 2 years, Schmidt pored over the asylum's primary documents - patient files, architectural diagrams, superintendents' diaries - spinning her findings into historical fiction and, from there, into song. The voices on the record are crafty, witty, evasive, despondent, and lucid. Audible Songs of Rockwood shapes its subject matter as expertly as any old bluesman would, with wit, baseless optimism, sadness, and even joy. Using a strictly acoustic sonic pallet and working with some heavies in the Old Time folk tradition (John Showman, Max Heineman, Chris Coole, Kristine Schmidt) and odd ball instrumentalists (Cris Derksen, Alia O’brien of Blood Ceremony) the performances carry forward potent gateways to explore the tragedy and optimism that gives traditional roots music its soul, while also giving voice to voiceless people, living in the margins of History, out of sight and mind.

The album is accompanied by a book written by fictional ethnomusicologist, Simone Carver, written in the style of the liner notes of Smithsonian Folkways compilations. It includes lyrics and supplemental information about the historical context of the inmates and their songs along with original artwork by Darby Milbraith, Geneva Hailey, Jennifer Castle, Jeff Bierk and Julianna Neufeld. The package carries questions about the archive as an apparatus of colonial power, definitions of sanity and criminality, and the early settler-colonial agenda foundational to those modes of thought still operating in today’s carceral system.

#fiver #incarnation #women #canada

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rollingstonemag · 6 years

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Un nouvel article a été publié sur https://www.rollingstone.fr/selection-vinyles-septembre-2018/

Notre sélection vinyles du mois de septembre

Une sélection « spéciale Seattle » concoctée par la rédaction, en partenariat avec les magasins Fnac

Nirvana – Bleach (Sub Pop) ★★★★

On pourrait s’en tirer par une formule toute faite, du genre « l’album qui déclencha l’explosion grunge. » Mais Nirvana n’était encore, à ce moment-là, que l’un des nombreux jeunes groupes issus de la bouillonnante scène de Seattle, et Bleach ne connut qu’un succès d’estime à sa sortie – en cassette et vinyle – en juin 1989. Enregistré en cinq heures dans le studio du producteur local Jack Endino, le premier effort du tandem Kurt Cobain-Kris Novoselic (avec la complicité de leur pote des Melvin Chad Channing à la batterie) résonne encore aujourd’hui comme une authentique déflagration punk metal, aux paroles lourdes d’une révolte nihiliste, écrites dans l’urgence par Cobain. Un chaos sonique d’où émerge entre autres About a Girl, à la renversante mélodie pop, ainsi que le single Love Buzz, reprise d’un obscur morceau psyché des Néerlandais Shocking Blue.

Fleet Foxes – Fleet Foxes (Sub Pop) ★★★★

Seattle encore, mais presque vingt ans plus tard. C’est là, dans la « Rainy City, » que Robin Pecknold et Skyler Skjelset, deux potes de fac, ont fondé Fleet Foxes. Loin du fracas des guitares grunge, c’est l’esprit du Laurel Canyon des seventies qui flotte sur leur premier opus, publié chez Sub Pop en 2008 : mélodies savantes, chœurs en cascades, instrumentation raffinée mêlant guitares, contrebasse, mandolines, flûtes, violon et autres clarinettes, Fleet Foxes fait immédiatement songer aux compositions éthérées de David Crosby, qu’illuminent un chant à la Neil Young et des orchestrations somptueuses que n’auraient pas renié les Beach Boys. Ce coup d’essai sera unanimement salué comme un coup de maître, prolongée depuis par deux autres albums, Helplessness Blues (2011) et Crack-up (2017), la magie « hippie chic » des Fleet Foxes continue de fasciner les nostalgiques d’une musique intemporelle, ensoleillée, touchée par la grâce.

Foo Fighters – Sonic Highways (Roswell/RCA/Sony) ★★★/2

Dave Grohl ne vit plus à Seattle depuis longtemps, mais il demeure une sorte de local hero pour bien les musiciens : l’incarnation du « mec cool qui a réussi, » survécu à Nirvana et entamé une nouvelle vie à la tête de ses Foo Fighters, avec le succès planétaire que l’on sait. Parallèlement à la série de documentaires où il rend hommage à huit villes ayant marqué l’histoire (Sonic Highways), Grohl conçoit en 2014 un album dans lequel les Foo Fighters inviteront, au hasard de leurs escales, quelques-uns des musiciens qui comptent pour eux, au fil d’une salve de chansons contenant, comme l’écrira Patrick Doyle pour Rolling Stone, « quelques-uns de leurs moments les plus ambitieux à ce jour. » Sur ces highways soniques, on croisera donc Rick Nielsen, l’irrésistible guitariste de Cheap Trick, le bluesman 2.0. Gary Clark Jr. mais aussi Joe Walsh, The Preservation Hall Jazz Band, Ben Gibbard ou encore Tony Visconti et Kristen Young. Le résultat est à la hauteur des ambitions de Grohl : transmettre avec ferveur sa passion pour le rock à une nouvelle génération, comme il l’avait déjà fait dans son précédent docu Sound City. Hautement louable donc…

Thomas Grimaud

#Bleach #fleet foxes #foo fighters #nirvana #RCA #sonic highways #sony #sub pop

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magicmenageriestuff · 6 years

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I Can’t Win – Ry Cooder

9th June 2018

We went to see Ry Cooder last night in the Town Hall a wonderful old venue with a really intimate feel on 43rd St, built in 1921 by suffragette supporters. Jenny knew the venue from an event a couple of years ago directed by her godfather Nicolas Kent – it was a staging of the transcripts of Trump’s picks for Attorney General I think. The beer is served in plastic cups with logos which cost $5 thus the first round was $28. She did warn me to be fair, and they only charge you for the cup once. What a world.

Ry Cooder opened with an old song called Nobody’s Fault But Mine which was written by Blind Willie Johnson then covered by everyone including Led Zeppelin. He sat centre stage with a battered old acoustic guitar, his white hair covered with a blue wool bobble hat (without the bobble) and there was a young man playing a treated saxophone at the side. Treated electronically, acoustically, sonically who knows it was haunting all night. Cooder delivered the song with the authority of a delta bluesman, picking notes, sliding his bottleneck up and down the strings which twanged and shuddered and whispered under his touch. He was so connected to this song, with the changes and the lyrics, it was evident in every note.

I was introduced to Ry Cooder by Sir Nick Partridge. He wasn’t Sir Nick in those days, he was Nick P., a fresh-faced and pleasant young man who lived in the flat on West End Lane that Pete and Sali owned and that I lived in too. He was my flatmate. Known Pete since schooldays. I’d just finished my degree in Law at the LSE and Nick had graduated from Keele University doing International Relations. We were all post-graduates suddenly. I was saving money for a further “year off” as we called them back then. This was 1979 and the future lay ahead of us. Education and academia was, it seemed, finally behind us. We used to go record shopping together because there was so much to discover ! There still is some 40 years later !!!

Nick Partridge and Ralph Brown in a North London record shop, 1989. Picture taken by Pete Thomas.

I was painting and decorating that summer in Pinner, and later moved onto a house in St John’s Wood, definitely worthy of its own post. My previous mentions of this vivid era of my young adult life were in posts about Talking Heads (My Pop Life #92 ) John Martyn (My Pop Life #153) and The Specials (My Pop Life #178) and Nick features in all of them. We were a little musical commune up there between the railways of the Jubilee Line to the south and the Thameslink line to Hertfordshire to the north PLUS the North London Line which carried nuclear waste past our building overnight while we listened to Ry Cooder and The Gladiators. My girlfriend Mumtaz was in Mecklenburgh Square and would come and squat cross-legged on the floor with us as we passed the bliss.

In the evenings and at weekends we were all obsessed with listening to music and going to gigs. Pete was very much a reggae aficionado but also fond of the quirky post-punk world emerging from the rubble of 1977, a plethora of independent labels issuing interesting stuff of all kinds like Wah! Heat, SpizzEnergi, Flying Lizards, or The Auteurs all with picture sleeves and original music. In my capricious memory Sal was more into rock and I was a student new wave ex-punk who listened to soul, but Nick was always different. Later he would live on a houseboat in Amsterdam doing a blues radio show but that’s another story, if you’re lucky.

It was Nick who had Boomer’s Story and Paradise & Lunch and in the stoned democratic disc jockey world of West End Lane between the rails, when he got his turn for an LP side, it would often be one of these Ry Cooder records which were kind of country kind of bluesy kind of funky, but often with an added flavour from somewhere else. Americana it would be called now.

Then in 1979 he brought home an LP that looked like a new wave record, bright pink with a guitar player who looked a bit Nick Lowe but no. It was the new Ry Cooder album called, unfeasibly, “Bop Til You Drop” and now we would all choose this record when our DJ turn came around. Opening with a cover of Elvis Presley’s Little Sister but thereafter delving into obscure 60s R’n’B – Go Home Girl, Don’t You Mess Up A Good Thing, Trouble You Can’t Fool Me, Look At Granny Run Run – and a brilliant original song called Down In Hollywood (‘better hope that you don’t run out of gas…’), the album had a fantastic production quality on the guitar and backing vocals particularly. In fact Bop Til You Drop was the first album ever recorded digitally. Cooder is a magnificently rootsy guitarist, not a show-off in any way, but just tries to get the soul out of the instrument, and the backing vocals on the album were by Terry Evans & Bobby King who would later record their own record with Ry Cooder producing and playing on every track. What I didn’t know until last night (too stoned to read the liner notes or maybe just not that nerdy after all) was that Chaka Khan sings on Down In Hollywood and Good Thing. He had roughly the same line up last night – although not the same players. Jenny turned to me at one point – probably during The Very Thing That Makes You Rich (Will Make Me Poor) and said “What would you call this music?” I said “country soul?”. She could hear mariachi. It’s funky. It’s hawaian. It’s blues. It’s music.

Cooder plays without any ego at all, and often uses the concert (and indeed many of his record releases) to showcase other people and give them a turn in the spotlight. Last night it was his wonderfully relaxed backing singers The Hamiltones who played a couple of numbers while he left the stage, then joined them on guitar for another. Earlier it had been his son Joachim who opened proceedings with his own music. Ry Cooder it was who travelled to Havana in the 1990s breaking the boycott and encouraging the old stars of the 1950s to team up and record again, the resulting film and album opening up Cuba to the world once again and introducing me to Ruben Gonzales, Ibrahim Ferrer and Compay Segundo playing together as the incomparable Buena Vista Social Club.

He has recorded with the great Malian blues guitarist Ali Farke Toure on Talking Timbuktu, with Captain Beefheart on Safe As Milk (see My Pop Life #205) with Taj Mahal in the band Rising Sons, with Randy Newman on 12 Songs, the Rolling Stones on Let It Bleed & Sticky Fingers, on Lowell George‘s original version of Willin’. All playing slide guitar or bottleneck. In 1984 he composed the soundtrack to Wim Wenders’ film Paris, Texas which starred Natassia Kinski and Harry Dean Stanton and following that became a sought-after soundtrack composer using his signature slide guitar. He’s made albums with the latino community of Los Angeles such as Lalo Guerrero and Don Tosti (Chavez Ravine) and if left to his own devices appears to be following in the footsteps of his hero 1940s political folkie Woody Guthrie. Or one of his heroes.

Woody Guthrie 1943

In a new song last night he sang of a meeting between Jesus & Woody in heaven, looking down on what is happening now, from the vantage point of the 1950s when we had beaten the fascists and the world stretched out before us.

Jesus & Woody

Well bring your old guitar and sit here by me Round the heavenly throne Drag out your Oklahoma poetry, ’cause it looks like the war is on

And I don’t mean a war for oil, or gold, or trivial things of that kind But I heard the news, the vigilante man is on the move this time

So sing me a song ’bout this land is your land And fascists bound to lose You were a dreamer, Mr. Guthrie, and I was a dreamer too

Once I spoke of a love for those who hate It requires effort and strain Vengeance casts a false shadow of justice which leads to destruction and pain Some say I was a friend to sinners But by now you know it’s true Guess I like sinners better than fascists And I guess that makes me a dreamer too

It was a chilling song but it wasn’t the only time that the name of Jesus was called. One of his biggest hits was gospel standard Jesus On The Mainline, and with The Hamiltones‘ soulful harmonies it was a standout moment at the gig. And it became clear to Jenny and I that we were really at a gospel show. In the sense that the black church in America has long been a vehicle for resistance to oppression, using the biblical metaphors and stories to illustrate the struggle and gospel music to inspire and strengthen courage. Cooder never went preachy, but he was very clear where he stood. He mentioned Trayvon Martin before playing a song called The Vigilante. It was the lack of ego that was most striking in the end. Playing the guitar to try and find the most expressive notes, not to show-off or strike poses.

Ry Cooder With Taj Mahal, 1968

And indeed, it seems to me this morning thinking back on Sir Nick as a young man in West Hampstead, smoking dope with a generous smile and a ready laugh that he had no ego then or indeed now. He always had an easy manner where embarrassment was never far from the surface, mixed with laughter and great empathy. I went to Hampstead Magistrates with him one day and watched him with his gentle phrasing and easy manner talk his middle-class way out of a conviction and get a finger-wagging in its place.

Sir Nick with Kirsten O’Brien

Shortly after the Amsterdam year he joined The AIDS charity The Terrence Higgins Trust in 1985 becoming Chief Executive in 1991 and finally moving on in 2013 after 28 years of service and a knighthood which followed his OBE. We formed a close bond in those 1989-1990 days and nights and stayed in touch right up until today. I had no idea that he was gay back then but he’s never made a big deal out of it or changed his basic persona of decency, sincerity and jokes.

Sir Nick talks with brother Andrew, Whitstable Bay. My dad can be seen with check shirt on the pebbles between them

Paul Brown is 50 in his beach hut and quite a tremendous shirt

The first time any of us saw Nick after he was knighted in the 2009 New Year Honours was at my brother Paul’s 50th birthday celebration which he held in Whitstable, Kent. It was a wonderful weekend of family – Dad & Beryl came down from Yorkshire, Becky was back in Sussex by then and Jenny and I had summer son Jordan in tow – Dee’s youngest who had a key period of spending the summer with us in Brighton. Sir Nick was there in the beach-hut, Paul was back from Shanghai mixing cocktails in a straw hat, Richard Davies (Lady G) was probably DJing and drinking at the same time and a splendid time was guaranteed and enjoyed by all.

Nick and his husband Simon have been to New York since we moved here – I remember him asking me what he should see on Broadway – it was 2016. I had a one-word answer : Hamilton. He bought tickets online, then I had to go to work when he was here so I missed him, but he saw the show and, of course, loved it.

Paulette & Beverley Randall, Paul Brown & Sir Nick Partridge, London 2015

I did see him the year before when Paul was in London for his birthday a couple of years ago – 2015 I guess. And then he came to send me off on my 60th birthday last summer when I hardly spoke to anyone, but hugged everyone. I am extremely fond of him and will always be grateful for his friendship and for bringing Bop Til You Drop (and Memphis Slim…) into my life.

The last song on the album is called I Can’t Win and it is a haunting and soulful three-part harmony, simply a beautiful song about being in love with someone who isn’t responding. We’ve all been there, but I haven’t made a habit of it thank god. When the gig finished last night the entire band went off for about 90 cursory seconds then returned immediately as we all stood and clapped for the encore. And they sang I Can’t Win with piercing harmonies that made the hairs on the back of our necks stand on end. It was the pinnacle on a great night. And it’s already up on Youtube.

Live at Town Hall June 8th 2018:

Album Version :

My Pop Life #208 : I Can’t Win – Ry Cooder I Can't Win - Ry Cooder 9th June 2018 We went to see Ry Cooder last night in the Town Hall a wonderful old venue with a really intimate feel on 43rd St, built in 1921 by suffragette supporters.

#1989 #Bop Til You Drop #buena vista social club #Sir Nick Partridge #Talking Timbuktu #terrence higgins trust #The Hamiltones #THT #West Hampstead

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lboogie1906 · 3 years

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Marion Walter Jacobs (May 1, 1930 – February 15, 1968), known as Little Walter, was a blues musician, singer, and songwriter, whose revolutionary approach to the harmonica and impact on succeeding generations has earned him comparisons to such seminal artists as Django Reinhardt, Charlie Parker, and Jimi Hendrix. His virtuosity and musical innovations fundamentally altered many listeners' expectations of what was possible on blues harmonica. He was inducted into The Rock and Roll Hall of Fame, the first artist and to date, the only one to be inducted specifically as a harmonica player. He occasionally found work as a guitarist but garnered more attention for his already highly developed harmonica playing. According to Chicago bluesman Floyd Jones, his first recording was an unreleased demo recorded soon after he arrived in Chicago, on which he played guitar backing Jones. Jacobs, reportedly frustrated with having his harmonica drowned out by electric guitars, adopted a simple but previously little-used method: He cupped a small microphone in his hands along with his harmonica and plugged the microphone into a public address system or guitar amplifier. He could thus compete with any guitarist's volume. However, unlike other contemporary blues harp players, such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, he purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica or any other instrument. #africanhistory365 #africanexcellence https://www.instagram.com/p/COVFQ1ur-C2GDcWeQYbZCNbA46WsBt60x5SjuM0/?igshid=lcstbdlyxlfr

#africanhistory365 #africanexcellence

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tempi-dispari · 7 years

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New Post has been published on http://www.tempi-dispari.it/2017/04/12/sub-cult-fest-36-maggio-padova-festival-della-controcultura/

Sub Cult Fest, 3/6 maggio, a Padova il festival della controcultura

Quello nato nel 2014 come primo evento musicale al Parco d’Europa di Padova, nel 2015 è stato l’ultimo festival outdoor dell’intera Europa, nel 2016 è divenuto uno degli appuntamenti live di punta della primavera, e nel 2017 si conferma festival di riferimento nel panorama Indie italiano.

Torna in scena a Padova SUB CULT FEST, per la prima volta in un’edizione estesa a quattro giornate tematiche. Organizzato dal collettivo indipendente Sotterranei e dalla label Dischi Sotterranei presso il Parco della Musica, l’evento conferma la propria particolare attitudine atta alla scoperta di generi musicali unici, che in una occasione unica emergono dal sottosuolo per lasciarsi scoprire.

Apertura mercoledì 3 maggio con la prima data del “Tour Blu” del bluesman italiano Adriano Viterbini, la prima di una nuova serie di concerti speciali del già Bud Spencer Blues Explosion insieme ai Los Indimenticables (Jose Ramon Caraballo Arman, Francesco Pacenza, Piero Monterisi), accompagnati dai disegni dal vivo di Davide Toffolo, Tre Allegri Ragazzi Morti. A un anno dal suo album “Film O Sound”, dopo aver collaborato con gli Almamegretta e Rokia Traorè, Viterbini continua la collaborazione con Toffolo per un nuovo progetto dove musica e disegno si incontrano.

Giovedì 4 maggio i Captain Mantell – Dischi Sotterranei – saranno headliner della serata internazionale che vedrà ospiti gli americani Driftwood Pyre. Venerdì 5 maggio sarà la giornata di due tra i gruppi più richiesti dal vivo in Italia nel 2016: Sonic Jesus (live con il nuovo disco new wave, Grace) e In Zaire. La chiusura del festival, sabato 6 maggio, riporterà a Padova i Fine Before You Came, riferimento assoluto dell’emo-core italiano, che presenterà il nuovo album Il Numero Sette. In apertura i locali Winter Dust.

Ai collettivi provenienti dai festival della provincia sono affidati i Dj Set di ogni serata, differenti di giorno in giorno: Rise Events (Padova, Altichiero), Aibol (S. Giorgio in Bosco), Shockando (Piazzola sul Brenta), e Parklife di SoundPark – storico local producer – si alterneranno alla console posta al centro del Parco. La dimensione sia nazionale che locale, rafforzata dall’incontro di musicisti di rilievo con artisti emergenti, è il realizzarsi degli intenti del festival, dalla prima edizione atto ad una fruizione della musica senza barriere, in un contesto ideale dove tra chi suona e chi ascolta si possa instaurare un’alchimia unica.

Sub Cult Fest 3-4-5-6 maggio 2017 Parco della Musica | Via Venezia, Padova

Mercoledì 3 maggio: Adriano Viterbini & Davide Toffolo live paintings Vanarin Giovedì 4 maggio: Captain Mantell Driftwood Pyre (USA) Fancy Vices Venerdì 5 maggio: Sonic Jesus In Zaire Sabato 6 maggio Fine before you came Winter Dust

#sub cult fest

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stormyrecords-blog · 7 years

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new arrivals 3-1-17

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 hello friends of stormy!!great used jazz lps in this week - django, herbie, miles, and a bunch of meat and potatoes rock and roll, with added dashes of experimental and sound effects lps. moog, kodak - it's bee a good week for interesting used lps!! in TODAY Goblin - Profondo Rosso (LP) $32.99Goblin - Suspiria (LP) $32.99Goblin - Tenebre (LP) $32.99goblin soundtracks for horror films back in stock!! always a spine tingling listen!! Coil - Astral Disaster (LP) $26.99In 1998, Coil were invited to record at Sun Dial’s studios beneath the London Bridge Hop Exchange—a studio originally know as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times was an old debtors prison which had three underground levels, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance, who was very keen to record there. Coil spent a number of days recording at the studio during Halloween 1998. With Gary Ramon’s help, they developed a number of tracks, some of which resulted in this LP. Ramon produced and mixed the Astral Disaster recordings, as well as playing guitar and sitar on these sessions. A version of the album was later remixed by the band and released on their own label—but the Prescription mixes as released in 1999 are unique. This rare album was part of the legendary subscription-only Prescription label album series in the late 1990’s, issued in an edition of 99 signed and numbered copies, long since sold out. (If you are wondering, originals fetch £700+). This is the first time the album is being released officially since 1999. Taken from the original masters, this reissue comes with original sleeve artwork, insert, and the facsimile signatures of John Balance and Peter Christopherson that came with the first issue. Yellow vinyl limited edition of possibly the rarest of all Coil recordingsRecorded in 1998 at Sun Dial studios, in the bowels of a Victorian era debtor’s prison Twin Peaks: Fire Walk With Me (2xLP) $44.99Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it’s not hard to see why- it’s dangerous, and bursting with smokey jazz thanks to Jimmy Scott. We went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.Director approved artworkComposer approved audioSleeve notes by film critic Mark Kermode (approved by David Lynch and Angelo Badalamenti)Vinyl re-master by Tal Miller at Warner ArchivesLaquers cut by David Cheppa at Plush Vinyl2 × 180G Cherry Pie vinyl425gsm Gatefold sleeve housed inside a bespoke black die cut outer jacket with black spot varnish finish, complete with obi strip Angelo Badalamenti - Twin Peaks (Original Soundtrack) (LP) - 2nd Pressing $32.99“I’m glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I’m happy it will get a fresh listen” – Angelo Badalamenti 2016 Hayes McMullan - Every Day Seem Like Murder Here (LP) $31.99Bluesman. Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados’ short-list and thanks to the preservation fieldwork carried out by one of the genre’s greatest researchers some 50 years ago – it might soon be. Born in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology Chasin’ That Devil Music – Searching for the Blues, may be most famous for uncovering Robert Johnson’s death certificate in 1968, finally revealing clues to the bluesman’s mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan’s raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release. Wardlow and McMullan met by chance on one of the former’s record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow’s idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960’s Mississippi, Wardlow traveled to McMullan’s sharecropper’s shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the 30’s. “Hayes was playing like no one I had ever heard,” Wardlow writes with amazement. Wardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured – with surprising clarity – the songs that make up Everyday Seem Like Murder Here. Hayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. “Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,” writes Wardlow. “The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of “Hurry Sundown” captured on film are all that’s left of the musical legacy of Hayes McMullan, sharecropper, deacon, and—unbeknownst to so many for so long—reluctant bluesman.” Konami Kukeiha Club - Castlevania 2: Simon's Quest OST (LP) $27.99Mondo is proud to celebrate the 30th anniversary of the Castlevania franchise with the premiere vinyl release of the original soundtrack to the 1987 Famicom / Nintendo Entertainment System sequel: Simon’s Quest. Featuring both the NES and FAMICOM versions of all 9 BMG tracks from the game. Musically, Simon’s Quest is the origin of one of the most popular of Castlevania BMG, “Bloody Tears.” A staple of the sonic landscape for the series, here it is as the soundtrack to your daylight encounters across the dangerous Transylvanian landscape. It is one of the catchiest 8-Bit tunes to ever come out of this era of Konami games and an example of the best of what Video Game Music has to offer. IN ON THURSDAY RUSSELL, ARTHURInstrumentals 2LP $34.99"Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time." BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFElements LP $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0030). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "What reveals itself in the über energetics on display here is the ability of one quartet to take so much for granted and yet express so much in the process. Van Hove, for instance, shuns all conventions in his approach to the piano: he quotes Liszt and Schubert as well as Ellington and Peterson then wipes all of them out with his elbows as if erasing a chalkboard. His 'Florence Nightingale' is a perfect example. Texturally, he creates diversions from the fury while never disengaging from it. Brötzmann and Mangelsdorff are out and out challenging each other to see who can destroy their instruments first, and Han Bennick is the most proactive percussionist in jazz history. His use of anything and everything while simultaneously playing a trap kit that creates time is astonishing. Elsewhere, on Brötzmann's 'Elements,' African percussion and slow, long opened tonal drones by Mangelsdorff create a backdrop for the other two to explore without rushing in. Brötzmann enters almost tenderly, looking for a room to exit out of, but engaging himself in the microtonalities created by the rhythm section. Van Hove's long augmented chords create a mode for not opening but splintering that exit and Brötzmann ushers the band through in a hurry heading for the outer reaches of the possible. . . . one of the best documents of the period on any continent." --Thom Jurek, AllMusic, 1991 BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFCouscouss de la Mauresque $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0040). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "Brötzmann's regular trio was joined by the trombonist Albert Mangelsdorff, one of the most respected German jazz musicians, who has managed to keep abreast of musical developments for more than a decade. Those who remember him only for those fine early-sixties albums (like Tension, on German CBS) will be in for a shock, because he's updated his playing all the way. On 'Couscouss De La Mauresque', for instance, his tonal distortions rival those of Paul Rutherford, as he backs Brötzmann's wailing with a rip-snorting obligato. He has the advantage of being a virtuous technician, so that some of his wilder flights are truly breathtaking. . . . Mangelsdorff's technique doesn't hinder his fire, either, and he's well able to stand up to the rest of this very hairy band. Van Hove and Bennink obviously know each other inside out by now, and you'll hear few more exciting passages of music than their interlude during the trombonist's solo on 'Couscouss'. Bennink is getting further into textures every day, and on this album makes great play with his steel-drum and many unidentifiable implements, thus giving the music a great deal of variety. If you wanted to buy just one of these records, it would be very hard to choose because the level is so high throughout." --Richard Williams, Melody Maker, February 5, 1972 BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFThe End $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0050). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "The great thing about this trilogy/set is how naturally everything flows. . . . each subdividing of the group, each solo excursion, feels smooth and logical, as though the player(s) in question had nodded to the others as if to say 'Gimme a minute here, I've got an idea,' and received assent in response. There's all the ferocity any free jazz diehard could ask for, but it never goes on so long that it becomes schtick, and it's always countered by passages that are genuinely beautiful in the most conventional, you-could-play-this-for-your-mom sense. Even without Mangelsdorff, Brötzmann, Van Hove and Bennink were a remarkably empathetic and attuned team, and when he joined them (and these records document their second and third times playing together, ever), everyone's game was raised." --Phil Freeman, Burning Ambulance, 2013 Dominatrix: Dominatrix Sleeps Tonight LP $19.992017 edition. "The Dominatrix Sleeps Tonight has a long and storied history among connoisseurs of '80s New York dance music. Combining catchy, deadpan synth-pop and classic '80s electro hallmarks with the provocative edge of leather-and-lace sex culture, it remains a worldwide dancefloor staple to this day. Despite its popularity, little has been known about the song's background. The brainchild of producer Stuart Argabright (nee Arbright, a member of the groups Ike Yard and Death Comet Crew); alongside DJ and remixer Ivan Ivan; Kenneth Lockie (from Cowboys International, and early Death Comet Crew); and vocalist Claudia Summers; the song's dominating female subject was based on a person whom Arbright had dated. The song -- and a banned-by-MTV video that today could be mistaken for a Victoria's Secret commercial -- became a club smash at famed Danceteria and other urban meccas. But, despite some leather-clad live dates in 1984, the group itself was short-lived. This special Get On Down vinyl edition is sure to be coveted by fans and collectors. Beyond four original mixes of the song (12", Chants, Dominant and Beat Me) that fans know and love -- this full-length LP includes the newly unearthed song 'Play It Safe' and the rarely heard, hypnotic 'City That Never Sleeps,' in addition to the rare 1984 'Scratch Mix' of the original title song, with cuts by the legendary DJ Red Alert. The deluxe vinyl package is accompanied by a 16-page glossy booklet with text by writer Dave Tompkins and input from Argabright and Ivan Ivan. Additionally, fans will be thrilled into submission by visuals and press clips relating to the original release on Arthur Baker's Street Wise Records; the song's provocative video; as well as the dominatrix culture in New York City at the time which inspired this unlikely smash hit." Moondog: Viking Of Sixth 2LP $26.992017 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)." JULIE'S HAIRCUTInvocation And Ritual Dance Of My Demon Twin $18.99Julie's Haircut - Italy's premiere psychedelic explorers - create a deep-end approach to sonic innovation on Invocation And Ritual Dance Of My Demon Twin, their debut release for Rocket Recordings. Seven albums into their mission, the band find themselves at a new plateau of small-hours elucidation and revelation that may summon the specters of the wayward squall of early Mercury Rev, the shamanic allure of Dead Skeletons, the freedom of Miles Davis, the repetition of Can, or the wild soundscapes of Amon Düül II to some, yet essentially sound like no one but themselves. The result is a record built on trance-like repetitions that grows to a mantric intensity, summoning atmospheres redolent of the psychic and surreal transgressions of its title - a double-helix tribute to both Frank Zappa and Kenneth Anger. Coruscating guitar overload and jazz-tinged blow-out collide amidst hypnotic soundscapes like the shamanically inclined "The Fire Sermon" and the eleven-minute motorik magnificence of the curtain-raiser, "Zukunft". Atmospheric restraint, glacial texture, and immersive groove play as large a part in this blinding and beatific sound world as droning darkness or overheated amp tubes. Lucier, A: Music On Long Thin Wire CD $14.991992 release. First released on Lovely Music in 1980. A 50-foot length of taut wire passes through the poles of a large magnet and is driven by an oscillator; the vibrations of the wire are miked at either end, amplified, and broadcast in stereo. The thin wire is set vibrating four times at four different frequencies; what results is not the low drone one might expect from a long, vibrating wire, but a complexity of evocative, ethereal chords. Music On A Long Thin Wire is a classic example of Alvin Lucier's investigations into the physics of sound and the sonic properties of natural processes. CHRISTIANSEN, HENNING $29.99Opus 67 Strategygetarts A Symphony, Hommage A Richard Demarco LPOpus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco is a previously unissued recording by Henning Christiansen from 1971. In 1970, the Richard Demarco Gallery in collaboration with the Kunsthalle Düsseldorf organized the exhibition, Strategy: Get Arts. This celebration of art from Düsseldorf was held at the Edinburgh College of Art during the Edinburgh International Festival. The title of the exhibition was a palindrome created by André Thomkins and featured works by Joseph Beuys, Claus Böhmler, George Brecht, Henning Christiansen, Robert Filliou, Dorothy Iannone, Mauricio Kagel, and Dieter Roth amongst others. Opus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco was sent to Richard Demarco as a gift following the exhibition. Having returned to Denmark, Christiansen, along with sound technician Peter Sakse, created Strategygetarts, a sound collage incorporating field recordings from urban spaces, supermarkets, a boxing game, etc. The sole "musical" element is a piano motif which repeatedly punctuates the recordings. The first side moves forwards, the flip back. A reverse groove will set you straight. Opus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco comes in a high-gloss sleeve, featuring two original artworks by Henning Christiansen; Edition of 500.

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