It was a scorchingly hot– but not atypically so– early August evening at Codfish Hollow Barn in 2010 when I was turned on to Gold Motel.
The barn has a tendency of stockpiling the day’s heat and the best thing you can do is get outside occasionally and look for shade or maybe a breeze. Fronted by the blond siren Greta Morgan, Gold Motel was the perfect execution of retro 60’s girl-band-meets-Debbie Harry jangly pop and by the time they hit the stage any plans I had to get outside for a respite were quickly dashed. I was quickly minted as a fan and within a few months their debut album Summer House came out on vinyl. In 2012, they followed up with their equally-wonderful self-titled album and then that was it from the band and Morgan.
Starting in 2013 Morgan started releasing songs and videos under the cryptic solo moniker Springtime Carnivore. The songs still have the beautiful soaring melodies that we came to expect from her, but the sonics are more wall-of-sound– big roomy reverb washes over everything and the spit-and-polish from Gold Motel has been replaced with the fuzziness and compression of what sounds like tape distortion. The sunny melodies songs seem to also belie a subtle darkness. Maybe that is what a Springtime Carnivore is– something that dares rip its canines into flesh during a time of seasonal renewal and birth.
This new spin on her sound seems to have been influenced by working with producer Richard Swift (also of The Shins, and currently touring bass player for The Black Keys).
Cover Art for Springtime Carnivore
Springtime Carnivore was picked up by Autumn Tone– the label run by the folks at Aquarium Drunkard and will be releasing the debut LP on November 4th. The first single is “Name on a Matchbook” and along with “Sun Went Black” you have a good sampling o the sound.
The leadoff track on the album “Collectors” (if you don’t include the opening short instrumental “Western Pink”) was a 7″ single last year with “Two Scars” on the flipside.
Also included on the album are “Creature Feature” and “Two Scars” which where previously released as videos. They are both directed by Eddie O’Keefe whose soundtrack to his 2011 film “The Ghosts” had a song from Greta Morgan on it.
Amidst all of the activity surrounding the release of Ryan Adams’s latest self-titled album (big full-band tour, high-profile TV and radio appearances, many interviews) the latest news about a legendary (at least amongst the Adams faithful) unreleased album titled Blackhole has started to resurface, prompted by Ryan talking about it as well as performing a couple of songs from it.
To understand the Blackhole story, one needs to start in the middle of it. In 2010, Adams released the first of his post-Lost Highway Records releases.
A quick synopsis of his career at that point is that he was famously at odds with his label who had a different idea about what the very prolific Adams should be releasing than he did. A feud was waged in public resulting in compromises on both sides of the relationship– quick cash-ins from the label who put out a compilation record of unreleased material squashing the promise of probably three full albums of songs, Adams spitefully releasing Rock N Roll which he regards as “jokey” as a result of Lost Highway not wanting to put out Love Is Hell as one release. He was let out of his contract following 2008’s Cardinology and granted ownership of all of the unreleased recordings he had created during that time.
But, in 2007 there were plans afoot to put out a box set of the unreleased songs while he was still on Lost Highway. Although I can’t find a direct source for the article, everyone quotes a September 2007 article for Q Magazine where he talks about 20:20which among other rare albums he would include Blackhole, saying, “It’s like a real serious effort to make a rock record, really epic and big. None of those absurdist jokey lyrics like on Rock N Roll. You listen to it and think, ‘My God, this guy is gonna die.’ That was the last record I made in the last days of the drugs.”
In 2010 he spun up a full version of his Pax Americana/PaxAm imprint– one that he had used to release a few tour-only 7″es with the intention of releasing some of his vast archives of recordings as well as new. The hardcore fans knew about a lot of the unreleased archives due to rampant bootlegging of sessions (likely a result of the mismanagement by Lost Highway– a few of these made it out the door as promotional CD’s). In Spring of 2010, Adams put out a vinyl/digital release of a “metal concept album” called Orion. Recorded in 2006 during the recordings of Easy Tiger the punky metal album would likely never have seen the light of day under the curation of Lost Highway.
Riding a wave of unexpected productivity, Adams announced shortly after the delivery of the orders of Orion what he had planned next. A 2 LP compilation of Cardinals-backed leftovers songs from the Easy Tiger sessions, titled III/IV (meaning the 3rd and 4th LP’s following Cold Roses which was labeled “I” and “II”) which eventually came out in December of 2010 after Adams inked a distribution deal with Orchard for the album (likely surrendering to the pains of independent distribution and mailing releases) and Blackhole– an album he started working on in 2005 and revisited in 2010 with some additional overdubs, mixing and mastering with Jamie Candiloro (who was part of Orion as well).
Thanks to the fans over at the Ryan Adams Boards of tobeyoung.org (who are carrying the sole flag of RA Fandom since the demise of the ryanadamsarchives boards) we have some concise bits of the history through Ryan’s own posts to social media. Poster mustbeburt provided most of the 2010 posts about Blackhole as well as a picture of the test pressing, which I augmented with other sources from the boards:
03.2010 “Congrats Jamie C… After 4 years of production work we finished the infmous never-ending BLACKHOLE Record tonight! What a trip! Big love to the Candyman… WOOP WOOP ( or woot wut or something one of those kind of football noises here!!!”
From a post to Facebook: “Why Does This Come Out LeftHanded? Gtr Stuffz at BananaChicken… So FUN!!!”
“oh yeah, p.s. the “Blackhole” LP ( recorded over Christmas in 2005 ) is also back from the mastering plant. I f’n love this thing. It took 4 years to make it and to me it is basically Love is Hell Part 3… lots of shimmery guitar love on this. Exciting times!!!
06.19.10 No. You never heard BLACKHOLE. only two songs ( the demo versions or rough versions of DiscoQueen and Tomorrowland ) were every out there.
09.04.10 total bullshit. Blackhole will go to preorder after III/IV. don’t listen to these sites with this shit or the one’s that have “tour dates” or made up guarantees- they are full of shit. The people I work with don’t have websites they have telephones and they do business the old fashioned way, over lunch and in great detail. hang in there, all 6 of you, who are still excited.
Also, that video from 3/15/2010 shows Ryan adding guitars to what is very likely “S.O.S.” which he released as a song on the “fake” Sad Dracula album Fasterpiece as part of the avalanche of music (24 albums) he released to his website in 2006/2007.
Ultimately, we never saw the preorder for Blackhole, and it seemed that the issues surrounding getting III/IV out the door for the pre-orders took a toll on the future of the PaxAm releases. Ryan announced on the ryanadamsarchives boards that he was through trying to release albums on his own. I have the full quote in this article. He did release a few amazing Record Store Day 7″es and also the massive Live After Deaf compendium box set of his 2011 solo acoustic tour independently. Ashes & Fire was a PaxAm release jointly with Capitol which established his free agent method of releases– similar to how Prince is handling his catalog. Adams’s new self-titled album is PaxAm jointly with Blue Note Records.
The recording and releases of Ashes & Fire in 2011, touring, an aborted followup to Ashes & Fire and his new album would continue to hold up the release Blackhole. Ryan isn’t really much for dwelling on the past. He records so much new material he would likely never need to go back and revisit old material, unless he needed some closure.
But nobody forgot about Blackhole. During interviews about Ashes & Fire, he was asked about Blackhole.
From Record Collector magazine (and clipped by alt.country.org):
RC: “And what about those people who’ve been waiting for Blackhole?”
RA: “It’s all done. It’s all mastered,” Adams says. It’s also been five years in the making, with Ryan going in to the studio at the end of 2010 to finish it. “When I started demoing for the new record, my intention was to go finish Blackhole — which I did.” he says. “There were guitars missing and a few vocals that were just too fucked up at the time to put out.” Adams and his drummer even found sound effects and song fragments that they’d entirely forgotten about. Eventually, several extra songs were added to the mix, and the album was finished with the help of old notes and photographs taken when the project began. “All of a sudden, we knew that that was the real record. Like that was exactly what we had intended,” he enthuses, adding, “It’s historical how it was put together.” As “easy and as beautiful and as natural” as recording Ashes & Fire was, Adams notes: “Rescuing Blackhole was like rescuing my past. It’s like Love is Hell’s sister. In every way. In the most profound way. My most beautiful electric guitar: Johnny Marr-inspired guitar. It’s just all in there.”
Here is what he said to Onion’s AVClub around the same time about it:
AVC: Speaking of putting out more records, you’ve talked about finally completing Blackhole, which dates back to the mid-’00s. What’s its status?
RA: The art is done. The album is mastered. It’s so ready to go. But the thing is, I just did this Ashes & Fire record, and there’s also a live box-set thing. It sounds so brutal and old-school and great. People were good enough to not bootleg the shows. We asked them not to. I’ve always let my fans tape all the shows. I was like, “Just let me do it right.” So we did this really cool set list, and did that, so that’s sort of waiting. And Blackhole is badass, man. I fucking love it. It’s like Love Is Hell, but more up. It has that same feeling and texture, the way Love Is Hell sounds. It’s definitely [Love Is Hell producer] John Porter 101, although the record was not recorded with John Porter, it was tracked with [producer] Tom Schick, and then finished with [producer and Cardinals member] Jamie Candiloro, and also this guy that works with The Strokes sometimes, Gus [Oberg]. It’s sort of like everybody that I’ve ever worked with has a little bit of engineering on it.
We mixed it for four months just to get it exactly right, like adding guitars, subtracting guitars. I even went to New York with [bandmate] Johnny T, who I originally recorded it with, and we opened up all the sessions. We put all the reels back on; we found pieces of songs that were only kind of done that were so good, we were fucking finishing things, but really respectfully. By the time it was done, we got it down to 11 songs, leaving a bunch of shit off. But I was like, “I want it to be exactly what it should be.” A few of my friends have it, and it reduced a few of them to tears. It is so much of [that] time. And it’s cool, too, ’cause it’s sort of like the last party. [Laughs.] So it has beauty, but it has a darkness. But what’s really cool about it is, it has the darkness and it has the wisdom, but to me, it has the feeling of the one fucking thing all of my records were missing, the one part of the story, which is a record that’s sort of just reveling in youth, and reveling in life, as it is. It’s not a “Go to the beach” record, but it’s like, “Let’s go out at night and let’s fuckin’ be werewolves of chaos in New York.” It had that fuckin’ reckless-abandon feeling, and I love it for that.
I love that there’s this great picture of that time. It feels really good, and it’s super, super-connected to all the post-punk records I loved growing up. It’s probably the best electric guitar-playing I’ve ever done, the best bass-playing I’ve ever done, and the most consistently psychedelic rock record that it could be. But it’s not hippie stuff at all. It’s a record that you could listen to if you were listening to The Lemonheads or listening to My Bloody Valentine, or Hüsker Dü. It really is an alternative record.
Another quote from Paste Magazine
“…the long-gestating, finally completed Blackhole, on which he played all the instruments other than drums, just like 2003’s Rock N Roll, although he describes it as Love Is Hell’s “rock sibling.” Adams started and recorded most of it in 2006—“It was the last sessions I did before I knocked all that crap out—drinkin’, partyin’ and all that stuff. So it was the tail end of that crazy winter, so it has that energy, which is really beautiful. I haven’t decided when or how I’m gonna put it out, but there are songs on that people in my life really love—my wife digs it, my best friend thinks it’s one of the best things I’ve ever done—and my other best friend is the only other person on the record: Johnny T played drums on it. Whatever it was that wasn’t done, we just finished it off, and it’s one of the coolest things ever, man.”
And, with those interviews in 2011, that was the last we heard about Blackhole until the recent interviews in support of Ryan Adams.
Adams had been performing a new song titled “Catherine” which was not on the tracklisting for the new album. The first time we got to hear it was for the Newport Folk Festival appearance in July. While the song seemed to fit with the rest of the songs on the new album, its appearance with no initial explanation sparked some debate on the boards about what it was. One leading theory was that it was possibly a song that would be included in the recently announced PaxAm 7-inch Singles series, or possibly it was a bonus track for an import version of the album.
Then Adams spilled the beans on “Catharine” on last weeks’ World Cafe performance– it is a track from Blackhole, and then performed another song “The Door” from it! Here is the exerpt of the interview with David Dye:
DD: “Is there anything that hasn’t seen the light of day that you want to get out?”
RA: “Yeah, I think I’m finally ready, maybe, to release the Blackhole record that’s been on the shelf for a long time. It’s been hiding, and there’s been actually two versions of it which is pretty interesting. But it’s actually gotten to the point where I think I’ve gotta let it out there. I’ve got to let it out in its weird context. I’m going to try to do it in a way where the finished thing of what I’ve always dreamed it was is released and maybe I’ll make some kind of pocket of the really raw and crazy from before because it was the last record I made when I was on drugs and I say that in like a sweet way. I took drugs to stay in the studio longer and to play music I didn’t take drugs to wander down the street or sit at a bar or whatever. I always just wanted to play and there was something about that you know? And that record particularly– it’s the finale of that time that met with tracks that happened just after. So, there is a real tempest there.
When you put together your setlist– do ever do any of that stuff live?
OK, this is cool because people don’t know this yet, but they keep asking about this song. This song “Catherine” that we have been playing live is from Blackhole.
Is there one you can do for us?
Yeah, we’re gonna do one that’s never played live before called “The Door.”
Blackhole is mastered, has cover art and will be 11 tracks. Of the 11 tracks, we have five songs confirmed: “Tomorrowland,” “Disco Queen,” “S.O.S.,” “Catherine” and “The Door.”
As far as the liklihood that Blackhole will come out soon, it’s anybody’s guess and as we see with all of the quotes I’ve included here, he’s been talking about the album for many years. At least the basic work has been done to prepare the album for release so it is ready to go to manufacturing. In an interview with Bob Mehr for Buzzfeed.com, Adams says that he might consider releasing it for the next Record Store Day (probably the April 2015 one and not the Black Friday one considering he’d still be touring through the end of November for the new album). In an upcoming interview with Chris Familton of fasterlouder.com, he says, ““I think I might release that, though I haven’t completely decided. It’s my own label, my own studio and my own rules so yeah, I’m open to releasing stuff that hasn’t come out but right now it’s about stuff I’ve been making in the last few years because there’s so much of it.”
Even though Kelly Pardekooper resides in Indianapolis these days, Eastern Iowa still claims him as its own. The bulk of his six albums to date were written and recorded while he resided here and his sound is one that draws heavy inspiration from the Folk Country sound that originated from local artists like Bo Ramsey, Greg Brown, Dave Zollo and their circle of friends.
Kelly has enjoyed some exposure recently not on the radio, but as incidental music on quite a few big TV shows including HBO’s True Blood, CBS’s Cold Case, FX’s Sons of Anarchy. This burst of popularity among the Music Supervisors for shows has given him the freedom to go back to the studio and record a seventh record and release something on vinyl! In an exchange of emails with Kelly, he admits that he’s “an odd fit for a record label at this point” in his career, and that this surge of publishing popularity has afforded him the ability to self-release the new album.
The new album, titled Milk in Sunshine will be released on October 14th on vinyl, CD and digital download. The CD has the eight new tracks of Milk in Sunshine plus what Kelly is calling “TV Gold” – a 16 track “Greatest Hits” of his career in chronological order by album (not including his debut release 30 Weight). The CD is also included with the very limited vinyl release of 100 which will be signed and numbered. It will also be pressed in orange and will include two vinyl-only bonus tracks! “Shit Out of Luck” by Greg Brown and “I Never Said” by Bo Ramsey!
If you pre-order you get a download of the new song “So Lovely.”
You can see the track listings of the vinyl and the CD below. I included links to the audio where I could find it– Kelly had a few mp3’s on his website (indicated with “full mp3″) and links to his CDBaby CD’s.
Certainly as the record industry machine is having to re-invent itself, it’s avenues like publishing that are helping many artists to continue pursuing this career, even if it is part-time. As a long-time fan of Kelly Pardekooper, I’m really excited for the prospects of a new record and the promise of a few more live shows.
Album Release show at The Mill in Iowa City on 11/29!
Vinyl Side A
1. So Lovely 2. She Moves
3. Milk in Sunshine
4. Release Me
5. Shit out of Luck (Greg Brown)
Vinyl Side B
7. I Still Cry
9. That Girl
10. I Never Said (Bo Ramsey)
Prior to that we got the ultra-rare 15-LP Live After Deaf box set compiling most of the 2011 solo tour in 2012.
The 7″ which is available right now, has new songs “Gimme Something Good” on the A side and “Aching For More” on the flip. We have no other details about the songs or who else may be participating in the songs. We also don’t know what style or genre the typically-chameleon Adams may have used for these songs. I’ll update this article as more details emerge.
The ordering site says the records will ship to arrive for July 1st and cost $5 with $7.50 priority shipping.
The A Side “Gimme Something Good” comes from the upcoming Ryan Adams album confirmed to be on Blue Note Records and has Adams on Electric Guitar and Vocals, Jeremy Stacey on drums, Benmont Tench from Tom Petty’s Heartbreakers on Organ, Tal Wilkenfield on Bass and Mike Viola on 12-string and vocals. Viola also co-produced the A and B side.
The B Side “Aching For More” has Adams on Electric Guitar and Vocals, Johnny Depp (!!) on Electric Guitar and Solo, Gus Seyffert on Bass, Jeremy Stacey on Drums and Percussion, and Mike Viola on Acoustic Guitar, 12-string and vocals.
You can pre-order the new album from Amazon. It is apparently self-titled and should release on September 9th:
I’m pretty excited about the lineup for Saturday night at CSPS– both bands put on great live shows, and we’re lucky to get them here in Cedar Rapids. Oh, and Twins will be bringing vinyl! In between sets DJ Tone Zone will be spinning records.
Sounds like a great night, doesn’t it? See you there!
The Surf Zombies with TWINS and DJ Tone Zone will start at 8PM on Saturday, April 26th. Tickets are $10 in advance and $12 at the door.
3-19-14 Update: This release has been pushed back to November. I’m assuming that it will be Black Friday Record Store Day 11/28/2014. I don’t have confirmation on this. The press release says, “due to several other projects that Young has in the works that he wishes to focus on.”
The curious part of this is that these box sets would almost have to have been manufactured at this point to make it for RSD one month from now considering the complexity of the packaging, so I don’t know why they would hold it up on Neil’s availability, though he would have to have the last signoff I suppose. They don’t say what projects these are, but we know about Pono and his recent media blitz for that and the announced A Letter Home lo-fi album recorded with Jack White, he also apparently has a Sci-Fi book in the works to be titled “Special Deluxe.” According to this article at Billboard, he also wants to do an orchestral album– monophonic to one mic.
The original post:
This week Warner Brothers Records announced their Record Store Day (Saturday, April 19th this year, folks) special releases. In amongst the Tegan and Sara, Mastodon, Green Day and the regular avalanche of Flaming Lips there was a real eye-opener: Neil Young Official Release Series Discs 5 -8!
Unconfirmed Cover art for Official Release Series 5-8
The first Official Release Series was announced in 2009 and included the first four albums in Young’s catalog: Neil Young, Everybody Knows This Is Nowhere, After the Gold Rush and Harvest, representing the years 1969 – 1972. This release was timed with the first Neil Young Archives box set of his first recorded decade from 1963 – 1972.
The new Official Release Series has the next four LP’s in his solo catalog: Time Fades Away (1973), On the Beach (1974), Tonight’s The Night (1975) and Zuma (1975). From the Warner’s press release: “Each remastered from the original analog studio recordings at Bernie Grundman Mastering. The artwork is a historically accurate reproduction by Young’s long-time art director, Gary Burden. These classics are being reissued on 180-gram audiophile vinyl for the first time and pressed at the world’s premiere pressing plant, Pallas MFG Germany.” Bernie Grundman and Pallas were responsible for the first box as well. The release says that it will come in a “telescoping box” which I’d never heard of. From what I can tell, this just means that it isn’t a common slipcase style box (the Grateful Dead box for example), but a box just like the first Official Release Series where the “lid” of the box covers the bottom (think a typical board game box, for example). The box will be limited to 3200 and numbered.
Back then, the predicted next Official Release vinyl box set was 2010, so in typical fashion the Archives was late to deliver. We still don’t have a release date for the Archives Vol 2. box, so who knows what is actually holding that up, or why Neil is holding that up.
I incorrectly assumed that the Official Release box sets would be paired up with the Archives releases, which would be done to represent decades of Young’s career. The Archives Volume Two would likely represent 1973 – 1982, then. That represents 10 (well, 11, but I’ll get to that in a minute) LP’s and would need to be split up. I guessed it would come out as two five-LP boxes.
The eye-opener with this release is the inclusion of the contraversial Time Fades Away live album! I speculated in the 2009 article that it would not get the vinyl reissue treatment. There is a lot of information about this album available on line, but the reason this is surprising is that Young has expressed his dissatisfaction with this album and when he at long last reissued some of the “missing six” albums in 2003 on CD he left Time Fades Away out. All of the “missing six” got a remastering in 1995, but Young was famously dissatisfied with CD audio, so it took until the advent of higher-resolution HDCD and DVD-A for him to release On The Beach, American Stars n Bars, Hawks & Doves, and Re-Ac-Tor as part of his “Digital Masterpiece Series.”
Time Fades Away is referred to as being part of the “Ditch Trilogy” of post-Harvest albums which also includes On The Beach and Tonight’s The Night. So, this box set brings the trilogy back together. These LP’s are so-named due to a quote from the Decade liner notes: “” ‘Heart of Gold’ put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch.” And, it was a dark ditch– the tour that made up all of the songs except for one was a mess. Neil had fired Danny Whitten of Crazy Horse ahead of the tour and Whitten OD’d right after that. The depression, funk and drinking that followed made for a very erratic and tumultuous tour for everyone involved. Factor in the new and faulty mastering technology that Young was trying for these recordings and you get an album that was doomed from the start.
Original copies of Time Fades Away on vinyl are generally pretty easy to get ahold of and most of them seem to be in really good condition. I guess that most of the people who bought it were expecting a continuation of the sound from Harvest. I’ve actually bought two copies in the last few years and didn’t pay over $10 for them.
I’m certain that the inclusion of Time Fades Away in this box set signals the inclusion of it in the next box set. The 2-channel masters of the original pressing of Time Fades Away don’t exist, so this pressing and subsequent versions would have to be honest-to-goodness remixed and remastered versions from the original 16-track tapes. It’s possible that the masters used here would be based on the 1995 remasters. It isn’t clear whether Time Fades Away will also get a CD release, though it would be time to capitalize on this. Young didn’t release Journey Through The Past as an individual release (also part of the “Missing Six”), but it was in the Archives Box. According to Wikipedia, Young mentioned a Time Fades Away II that would be included in the next box which would be made up of songs from a different part of the tour that had a different band.
Based on an online music store that had it listed (and now taken down!), the MSRP on Official Release Series Discs 5-8 will be about $160. That’s $10 more than the first box, and based on the crazy prices for new Neil Young vinyl, I guess that is about in-line. That makes all four single-LP’s about $40 apiece.
Since I have the first box set (got it as a gift from my wife!) I’m interested in getting this one as well– I’m a fan of all four albums. I have original pressings of these except for Tonight’s the Night.
My Modified Speculation on the future Official Release Series Box Sets
So, what do we know based on this release? Well, for one thing, the boxes are 4 LP and don’t directly coorespond to the Archives Releases (meaning they don’t cover the same time period by box). The releases are primarily Neil Young solo albums. We didn’t get any CSNY or Buffalo Springfield LP reissues as part of this– though this might be because the catalogs for these bands are not completely owned by Neil Young. This draws into question whether the 1976 Stills-Young Band album Long May You Run would be included in a future box.
Neil Young Official Release Series Discs 9-12 would include the following albums: American Stars n Bars (1977), Comes A Time (1978), Rust Never Sleeps (1979) and Live Rust 2 LP(1979). I like the arrangement of this box because it keeps Rust Never Sleeps and Live Rust together as they are companion releases. If they decide to release the Stills-Young Band album, then it would be part of this box set– then they could push Live Rust to the next box.
Neil Young Official Release Series Discs 13-16 could include the following albums: Hawks & Doves (1980), Re-ac-tor (1981), Trans (1982) and Everybody’s Rockin’ (1983) bringing the first of the Geffen releases to bear. An alternative version of this might be to put Live Rust on here in the scenario where they included Long May You Run in the third box. Since Live Rust is 2 LP’s, then they could truncate this box at Re-Ac-Tor, ending the box with the last three Reprise releases. An argument for this box including up to Everybody’s Rockin’ is that 1983 ends the 2nd decade that could be included in the second Archives box set.
Neil Young Official Release Series Discs 17-20 could include the following albums: Old Ways (1985), Landing On Water (1986), Life (1987), This Note’s for You (1988). The last album marks the return of Neil Young to Reprise Records and the end of a rocky relationship with Geffen Records that ended with a lawsuit from the label accusing Neil of releasing works uncharacteristic of his career. The alternative release for this box would be one that completely encompassed the Geffen Years– especially if 13-16 didn’t include Trans and Everybody’s Rockin’.
Neil Young Official Release Series Discs 21-24 could include the following albums: Eldorado EP (1989), Freedom (1989), Ragged Glory (1990), Arc/Weld (1991) This box represents a kind of renaissance for Neil Young and an embracing of the louder sound that he trademarked with Crazy Horse. It should include the Eldorado EP since it was a formal release (even though it was only available in Japan and Australia). I would expect to see a tandem release of Times Square– the lost album that ended up making Freedom, Eldorado and This Note’s For You. He could release that 20-minute version of “Crime in the City (Sixty to Zero)” as part of that.
Obviously, no one can predict what Neil Young will do– every time you think you know what he will or won’t release, he changes it up. What the hell happened to the Homegrown “lost album” release, for example? Young is an artist more interested with new releases than focusing on his past. For the faithful, that means he’ll keep cranking out new albums until he can’t do it anymore.
As far as the Archives and Official Release Series are concerned, he’ll need to step up the pace of these. Five years between them (based on the first two) would put 21-24’s release date in 2034!?
Well, it’s been a while since I’ve posted one of these. I guess it’s because I tend to post about individual albums via other social media outlets like my Instagram which cross-posts to Twitter and Facebook. But, this week had a lot of new additions to the collection, so I thought I’d collect them for the blog.
I was in Dubuque yesterday helping with some wireless network issues at the family business so I thought I’d run over to one of my favorite record stores, Moondog Music. I had intended to pick up the new sophomore release from Justin Vernon’s (Bon Iver) collaboration band with members of Collections of Colonies of BeesVolcano Choir. Titled Repave, it’s a more cohesive release than their first album. Even though Vernon is the frontman in this band, it isn’t exactly Bon Iver part 2. More direct rock on this album and less vocoder falsetto vocals. I was also hoping that the vinyl version of Wise Up Ghost by Elvis Costello and The Roots would maybe be in the bins ahead of this Tuesday’s release.
Moondog had Repave for $19.99, but they didn’t have Wise Up Ghost on LP (they did have the CD). I had Volcano Choir in hand and was going to buy it until I started digging through the used and came up with a few surprises!
The Smiths – Louder Than Bombs (2 LP, Sire Records, 1987) ($19.98) WOW! On my wish list for YEARS. Really nice and clean copy of this album, which is probably my favorite Smiths album even though it’s technically a compilation of non-album singles. Initially, this was a US-only release used as a way to bring these tracks stateside. The UK had a couple of singles comps on Rough Trade– The World Won’t Listen and Hatful of Hollow– and Louder than Bombs was the vehicle to bring some of those tracks here. UK Smiths fans being what they are, they started importing this release to the UK, so Rough Trade ended up releasing this over there which solidified its position as a regular catalog release.
My friend Julie in college turned me on to both the Smiths and Depeche Mode letting me borrow The Queen Is Dead and Black Celebration– bands very different from my jangly guitar preferences at the time. I distinctly remember buying Louder Than Bombs and Def Leppard’s Hysteria on the same day on cassette. Odd to think that these albums are both from 1987!
The Smiths – Rank (LP, Sire Records, 1988) ($14.98) And, as soon as I get into the band, they break up… Bombs was released in March of 1987, the Smiths’ final studio album Strangeways Here We Come was released in September, 1987 and by that time the band had officially split up. I have the entire studio releases of the Smiths on cassette and CD plus Bombs on cassette and CD and Hatful of Hollow on CD (it was in a used bin otherwise I wouldn’t have picked this up as I consider it to be redundant). When Rank came out in September of 1988, I had pretty much moved on as far as paying attention to new releases and I didn’t think a live album was essential. I still haven’t listened to it, but will. The recording is a distillation from a BBC-1 live concert from 1986. The album was released as a contractural obligation. I decided to buy this because it is rare to find any Smiths in used bins around here and the new 180g Rhino reissues of the Smiths catalog are $35 which is pretty steep for my budget, so I’ll continue to keep an eye on the bins to complete my Smiths collection.
Gift of Gab – Escape 2 Mars (LP, Cornerstone Recording Arts Society/Quannum, 2009)($16.98) An unexpected find– the R&B and Hip-Hop selection at Moondog is usually very thin. I’ve been building my Quannum/Solesides vinyl collection lately– lots of gaps since I had really been focusing on CD’s up until five years ago. That said, I didn’t have this on CD either. Gift of Gab is more recognized as the MC for Blackalicious– his effort with producer Chief Xcel, but has had a run of solo work that is notable. We listen to 4th Dimensional Rocket Ships Going Up quite a bit in the house, so I imagine that this release will be as good– I totally slept on this release so it will be good to get caught up.
Spoon – Transference (LP, Merge Records, 2010)($9.98) While I was digging through the used section I saw a whole bunch of nearly-new indie releases. Looked like they were opened and maybe played once? Some Sundazed releases, a few Sub Pop releases all for under $10. I didn’t find out what the story was on those, but I picked a couple of great ones including this one from Spoon. Transference wasn’t as good as Ga Ga Ga Ga Ga, but still pretty great. I remember listening to this a lot in the car in early Winter 2010. We had a major car breakdown that had Sherry and I commuting together in one car for a few weeks– she was getting her Professional Makeup training so I’d drop her off in the morning and pick her up at night.
Sebadoh – Bakesale (LP, Sub Pop Records, 1994/2011 Remaster)($7.98) Another of the mysterious “new” LP’s in the used bins at Moondog. A grey marbled vinyl release as part of the reissue campaign for the Sebadoh catalog. I loved this album when it came out– I listened to it repeatedly. In 1994, I was working in Dubuque at the time and I think living with my parents following a failed cohabitiation with a girlfriend. I was on the road installing computer systems in the Midwest and East, with a lot of road time, so my CD’s were constant companions. Brilliantly flawed but accessible album. At the time I definately thought that Sebadoh was a better band than Dinosaur Jr was (the band that Lou Barlow used to be in with J Macsis). I’m really happy to have this in my collection– I need to pick up the Harmacy reissue as well.
A really great haul from Moondog Music! While I was there they were playing the new album from Iggy Pop and the Stooges titled Ready to Die which sounded pretty good, may need to check that out.
In the mail this week:
Calexico – Ancienne Belgique Vol. 2 (2 LP, Our Soil, Our Strength, ) OSOS9, 2013)($20 + shipping) 2012 and 2013 has been a year of many releases from Calexico– the brilliant Algiers came out in September of 2011 which included a live album titled Spiritoso if you ordered the box set. This eventually came out as a numbered release for Record Store Day in April in the US. Soon after that the band put out a 2 LP live sequel to Ancienne Belgique (which got the vinyl treatment as part of the Road Atlas box set as well). Then they announced a Europe tour-only 5-track EP of covers titled Maybe on Monday. My copy of Ancienne Belgique Vol. 2 delivered this week. I had pre-ordered it in June (I think). They were supposed to have copies of this on tour, but they weren’t done in time for the Iowa City show. (I was out of town and missed that show anyway). Another really nice addition to my growing Calexico collection.
Arcade Fire (as The Reflecktors) – Reflektor 12″ (12″, Sono Vox/Merge Records, MRG484, 2013) ($8.99, free shipping) Merge put some copies of Arcade Fire’s mysterious “Reflektor” single in their online store. Released under the pseudonym The Reflektors, it was timed with the announcement of the album and single of the same name on September 9th at 9PM (9/9/9). Lots of speculation and rumor about the announcement leading up to the time and an accurate leak of the song the day before. The 45 RPM 12″ has the full version of the song and an instrumental version on the flipside. The song was produced by James Murphy of LCD Soundsystem and features guest vocals by none other than David Bowie. It’s a pretty decent song and apparently points to the direction of the new album due out October 29th as being, in the words of Win Butler as a “mashup of Studio 54 and Haitian Voodoo.” (S.I.C.)
I also received four of the Daytrotter split LP’s this week, including the amazing Gary Clark Jr. split with Son House, and Grace Potter and the Nocturnals. We’re up to 13 of 14 of the preorders shipped (still waiting on the Maine one which is #13) I got the PHOX one ordered and will order the Tegan and Sara one in the next couple of weeks.
Continuing the trend of jaw-droppingly awesome shows at Codfish Hollow Barn in Maquoketa, this Friday, June 21st, it will play host to actor John C. Reilly’s non-film music endeavor John Reilly and Friends.
For the past few years Reilly has been working with some musician friends of his to bring a revue of old country and folk music of the likes of the Stanley Brothers, Porter Wagoner and Dolly Parton, The Everly Brothers, Claude Ely and the Delmore Brothers to name a few. With regular “Friends” sidekicks Becky Stark of Lavender Diamond and Tom Brosseau (solo and of Les Shelleys) Reilly cut two 7-inch singles on Jack White’s Third Man Records.
The band is doing a run of dates through the Midwest from June 13th to June 22nd, with a stop at the wonderful Codfish Hollow Barn in Maquoketa, IA– home of many Daytrotter.com Barnstormer shows as well as a few shows put on by the Biehls themselves. Joining Reilly, Stark and Brosseau will be Mt. Vernon, IA native Dan Bern (who headlined his own show in May), Willie Watson– formerly of Old Crow Medicine Show (OCMS’s “Wagon Wheel” has been covered by Darius Rucker and climbing the charts currently), and Sebastian Steinburg– formerly of Soul Coughing and these days a go-to bass sideman (Marc Ribot, Dixie Chicks, k. d. lang). That’ s one hell of a lineup with lots of varing backgrounds, so you can count on some pretty inspired performances!
According to Brosseau’s website, there will be copies of the Third Man Records 7-inches as well as “the official John Reilly and Friends teeshirt” at the merchandise table. Tiffany Biehl also told me about exclusive stickers with art done by Dan Bern and limited-edition posters done by the Biehl’s and sent me images of those:
John Reilly and Friends Codfish Hollow Barn Sticker
John Reilly and Friends Limited Edition Codfish Hollow Poster available at the show.
As usual, there will be camping available (with no service hookups), food vendors with soft beverages and just good old fashioned great times with other people who are there for the music. Coolers are welcome. Here is a list of what food will be available onsite:
Grilled chicken sandwiches
BBQ pulled pork sandwiches
All beef hotdogs
Brats and sauerkraut
Nachos and cheese
Beef taco nachos
Vegetarian bean nachos
POP- Mt.Dew Pepsi, Diet Pepsi,Sprite
At the time of this writing there are still tickets left, but you should expect that this show will sell out this week. Doors are at 6:30PM with the bands hitting the stage at 8PM. The tickets are $25 in advance (plus some minimal service charges).
I was interviewed in The Cedar Rapids Gazette Arts and Entertainment magazine Hoopla– click here!
Click Here to visit the Third Man Records page on John C. Reilly and purchase his two singles.
15 June 13: The Assembly at the Women’s Club of Minneapolis: Minneapolis
16 June 13: Miller Caves: Milwaukee
17 June 13: Muskegon Unity Church: Muskegon MI
18 June 13: Ramsdell Theater: Manistee MI
19 June 13: The Magic Bag: Ferndale MI
20 June 13: Radio Radio: Indianapolis
21 June 13: Codfish Hollow Barnstormers: Maquoketa
22 June 13: Old Town School of Folk: Chicago
In the list for the Record Store Day 2013 (April 20, 2013) releases I noticed under LP’s that there will be a LP + CD release of Spiritoso by Calexico. The notes say that this was originally available only as a vinyl release on tour. While I’m not sure about that, it was part of the special box set release of Algiers– Calexico’s most recent album release. Here is what City Slang (Calexico’s European label who put out the box set) said about it:
Spiritoso [is] a full album of superb live recordings from two shows in Vienna and Potsdam [last] summer, with full symphonic orchestras. Here’s the tracklisting:
1. Frontera /Trigger *
2. Epic **
3. The News About William **
4. Black Heart **
5. Minas de Cobre **
6. Inspiracion **
7. Two Silver Trees **
8. Para *
9. Quattro (World Drifts In) **
10. Crystal Frontier **
11. The Vanishing Mind *
12. Fortune Teller **
* Live with the Radio Symphonic Orchestra Vienna
** Live with the Deutsches Filmorchester Babelsberg
Here is a video of “Para” with the Radio Symphonic Orchestra Vienna.
Calexico is normally a band with a very complex sound, but having them backed by a symphony is a whole new experience as you can tell from the video above. If you didn’t order or missed out on the box set that included this– here is your 2nd chance!
At this point the importance of Miles Davis groundbreaking work on his 1959 release Kind of Blue is well-established. Recorded over two dates in 1959 (March 2nd and April 22nd at Columbia’s 30th Street Studio) and featuring the legendary “First Sextet” lineup of Davis, Julian Adderley, John Coltrane, Wynton Kelly/Bill Evans (Kelly was on “Freddie Freeloader”), Paul Chambers and James Cobb. This is the band that Davis started his experimentation with modal jazz and the move away from his hard bop style. Though Kind of Blue is heralded as the pinnacle of modal style, Davis had already been working with it on his 1958 release Milestones, suggesting that Coltrane was the catalyst of this move.
Kind of Blue stands head and shoulders above many other jazz releases in popularity– depending on who you believe, it may be the greatest selling jazz release of all time. It certainly represents an important release in my jazz collection. When people who are unfamiliar with jazz ask me where to start listening, it is a safe bet to suggest Kind of Blue. So much about the album lends itself to being a springboard of sorts to more jazz– Miles Davis, John Coltrane, and Bill Evans’s participation alone will send the newly motivated jazz investigator down some very important and landmark releases in the jazz canon.
Of course, these facts are not lost on the label custodian of Miles Davis’s catalog– Sony/BMG. I don’t think I can even count the reissues of just Kind of Blue that have happened over the years. For the 50th Anniversary of Kind of Blue in 2008, Sony Legacy released a beautifully-packaged release that included a clear-blue vinyl stereo LP (which fixed the long-standing mastering error that had side 2 at the wrong speed), 1 CD of Kind of Blue with an alternate take of “Flamenco Sketches” and session chatter, 1 CD with five tracks from a May 26, 1958 session and a live version of “So What” from April 9, 1960 in Holland. There was also a DVD documentary of the album, and a beautiful book, posters and photos. This is the version I have in my collection.
So, I was surprised to see in the Record Store Day list diligently maintained at Wax Poetic the mention of an LP called The Kinda Blue Sessions ’59. Some quick googling turned up some information about it, but not a lot of details. It is on Birdland Records and distributed by RedEye. (Birdland also has an interesting Art Blakey and the Jazz Messengers Munich ’59 live release). At SpinCD’s website, they provide the tracklist and credits:
1.Freddie Freeloader session
2.So What session
1.Blue in Green session
2.All Blues session.
Musicians: Miles Davis – Trumpet, John Coltrane – Tenor sax, Bill Evans – Piano (S1 T2. S2 T1&2) Wyn Kelly – Piano (S1 T1), Julian Adderly- Alto Sax (All except S2 T1), Paul Chambers – Bass James Cobb- Drums
Initially I was a little concerned that this would be a release of only the additional tracks on the first CD of the 2008 Sony Legacy release of false starts and studio sequences. In fact, these are in exactly the same order, but it’s missing the tracks from “Flamenco Sketches” making this a release that– including the “Flamenco Sketches” chatter and false starts would have only been 10 minutes long!
7. Freddie Freeloader studio sequence 1 from the 3/2/59 sessions (0:51)
8. Freddie Freeloader false start from the 3/2/59 sessions (1:25)
9. Freddie Freeloader studio sequence 2 from the 3/2/59 sessions (1:26)
10. So What studio sequence 1 from the 3/2/59 sessions (1:53)
11. So What studio sequence 2 from the 3/2/59 sessions (0:59)
12. Blue in Green studio sequence from the 3/2/59 sessions (1:59)
13. Flamenco Sketches – studio sequence 1 from the 4/22/59 sessions (0:42)
14. Flamenco Sketches – studio sequence 2 from the 4/22/59 sessions (1:09)
15. All Blues – studio sequence from the 4/22/59 sessions (0:18)
But, the notable absence of the “Flamenco Sketches” sequences and the one outtake that they released on the Legacy release of “Flamenco Sketches” would make this, although interesting from a collector’s standpoint, a pretty lame release out of the context of full songs. Especially at $29 MSRP.
The Kind of Blue Studio Sessions and Outtakes notes lists this track listing:
Tracks 1,2,3 > March 2, 1959 (2:30pm to 5:30pm and 7:00pm to 10:00pm)
Tracks 5,6 > April 22, 1959 (2:30pm to 5:30pm)
Columbia 30th Street Studio, New-York, USA
1. FREDDIE FREELOADER SESSION (13’38)
2. SO WHAT SESSION (12’53)
3. BLUE IN GREEN SESSION (11’13)
4. FLAMENCO SKETCHES SESSION (24’10)
5. ALL BLUES SESSION (11’53)
Since we know that an LP can be at the most 24 minutes per side, if you take out the 24 minutes of “Flamenco Sketches,” it would fit on one LP. Though, they could include “Flamenco Sketches” as a bonus track on the CD they are including.
The only caveat I’d mention here is that these recordings are direct dumps of the safety masters of each of the sessions (Columbia 62290, 62291, 62292, 62293, 62294) and include the tape starts and stops and have some cut outs– possibly from the tape edits? I suspect that due to the very few extra full takes available, this may include takes that were used on the official release of Kind of Blue, which begs the question about the legitimacy of the release.
Based on the wonderful Miles Ahead Sessions Information database which articulates all of the details of the sessions down to the studio chatter, here is what I know about the possible tracks:
1. Freddie Freeloader Session – This is Take 2, Take 3, Take 4 – An Edit of Take 4 was used on the official release.
2. So What Session – This is the full Take 3- An Edit of Take 3 was used on the official release. The bootleg includes Cannonball Adderley singing “with a song in my heart…” at the end.
3. Blue in Green Session – Take 2, Take 3, Take 4, Take 5 – An Edit of Take 5 was used on the official release.
4. All Blues Session – Take 1 – An Edit (faded) version was used on the official release. The bootleg includes the unfaded end with Paul Chambers panting at the end and saying “Damn…” part of “Damn that’s a hard mother!”
If this release is the Kind of Blue Sessions and Outtakes version, I’ll be happy to have this in my collection! The sound is incredible– which isn’t surprising considering the source, but certainly one I’d play. It’s great to hear the musicians working through what would become one of the most important jazz albums in history.