AdLuna Records is a label I’ve been following for a little while due to their ties with Thrill Jockey artists. AdLuna is a boutique-ish label out of France which has a penchant for free jazz and funk (well, and one folk release). They released their first three releases in 2008. Due to the low volume of releases from the label, they are able to focus on the packaging of the releases. All three CD releases are in a unique 5.5″ x 7.75″ book style cover– printed on high-quality card stock with a matte finish. In the case of Rob Mazurek’s Abstractions on Robert D’Arbrissel (AR001CD) release, there was a 10-page full-color booklet included in the cover. In the case of Doug Scharin’s project Activities of Dust, whose sidemen included Jeff Parker (Tortoise), Bill Laswell and Bernie Worrell, in addition to the CD of their releaseA New Mind (AR003CDDVD), a DVD titled “Return to the Original Matrix” which was produced by Doug Scharin.
Last week AdLuna announced that their next release would be an album from Chicago Odense Ensemble. Chicago Odense Ensemble is a group made up of Rob Mazurek (Chicago Underground, Isotope 217, Exploding Star Orchestra), Jeff Parker (Tortoise, Isotope 217, Exploding Star Orchestra), Dan Bitney (Tortoise, Isotope 217), Matt Lux (Isotope 217, Exploding Star Orchestra), Brian Keigher (aka DJ Warp), Jonas Munk (Causa Sui, Manual) and Jakob Skott (Causa Sui). Evidently derives its name from the fact that Mazurek, Parker, Bitney, Lux and Keigher all call Chicago home and Causa Sui members Skott and Munk are from Odense, Denmark.
I was not aware of Causa Sui until I heard about this release so I checked them out. They are spacy-stoner rockish instrumental group. Kind of Doors-meets-Hawkwind, I suppose. I’ve been listening to it quite a bit in the last week, and the influence of Causa Sui should make for a really great release! From the press release is a quote from Jonas Munk, “The closest reference for this kind of music is probably early-1970’s proto-fusion jazz that strived for a similar synthesis of jazz improvisation, psychedelic rock, Eastern and African sounds and the use of the studio as a musical tool instead of merely a recording facility.”
The release, which doesn’t have a date yet, will come out in CD and 2 180g LP versions as well as digital download. AdLuna sent me some pictures of the proposed packaging which they are still formalizing. I also included the pretty cool teaser trailer for the release.
Stay tuned for more details as they come.
Click Here for AdLuna Records which will release Chicago Odense Ensemble this year.
Click Here for Chicago Odense Ensemble’s MySpace Page.
The title of Tom Petty and the Heartbreakers first collaborative effort in nine years is appropriately-enough Mojo which releases on June 15th. If it seems like we’ve heard from Tom in the last nine years, it is because he had a solo release as well as a “side project.” The “concept album” and last studio release with the Heartbreakers The Last DJ was released in 2002. Highway Companion came out in 2006, and he had a reunion of sorts of his pre-Heartbreakers band Mudcrutch in 2008. It’s important to note, however, that except for the Mudcrutch shows, he tours pretty much exclusively with the Heartbreakers anyway, so even though those releases were considered non-Heartbreakers releases, he never toured with a different band that I know of.
But, it is the Mudcrutch project where Mojo gets its groove-happy roots. Tom was quoted on rollingstone.com, “I knew there was something in the band that hadn’t been brought out. I was listening to early Jeff Beck Group, Peter Green, Muddy Waters and even a little JJ Cale– so that’s kind of the way I was thinking when I was writing.” According to an article in Billboard last week, the album was recorded live in the studio in a similar fashion to the Mudcrutch sessions which add to the immediacy of the tracks I’ve heard so far.
In a pretty smart fashion, the Tom Petty camp has been sneaking out tracks starting with “Good Enough” since the announcement of the album and supporting tour in February. For members of the Highway Companions fanclub who purchased presale tickets for the upcoming tour, they were given free downloads of “Good Enough” and “First Flash of Freedom” (you can listen to it below).
Additionally, Tom previewed Mojo tracks on his XM Radio show “Buried Treasure.” In addition to “First Flash of Freedom” which was played on April 22nd, he also shared the road story track “The Trip to Pirate’s Cove” on April 15th, and “Running Man’s Bible” on April 8th. If you have XM Radio you could hear these songs, and if you are a member of the Highway Companions fanclub, you can stream these shows. If you participated in the pre-sale of the tickets you will also be able to get a free download of the complete Mojo album on 6/15 and will also be able to download a 10-track compilation of songs from the upcoming summer tour.
So, four of the 15 tracks have been “leaked” so far and, in interviews conducted since February we found out about two other tracks. Apparently “Don’t Pull Me Over” is actually a song in a Reggae-style, and a first for the band (at least on album), and the song “I Should Have Known It” is one of three tracks co-written with Heartbreaker/Mudcrutch guitarist Mike Campbell. The other two co-written tracks were the nearly-seven-minute (!!) “First Flash of Freedom” and the nearly-six-minute (!!) “Good Enough.”
I’ve had a chance to hear all four tracks and it was a bit shocking for me. Particularly the acid-trippy nearly Grateful Dead-sounding “First Flash of Freedom” which is pretty much the mission statement for Mojo, I think. It’s sprawling disregard for the typical Heartbreakers economy of melody and composition sort of left me a bit disoriented the first couple of times through! It’s particularly satisfying to hear Campbell flex his soloing muscles on “First Flash” and “Good Enough.” It will be really great to hear what the band does with these songs on tour.
It makes me happy that the nearly-sixty-year old Petty is feeling like it isn’t time to rest on his laurels just yet and is interested in shaking things up a bit. That said, it is a change that isn’t 180-degrees away from his regular sound– no Neil Young Trans, here. The chops he’s bringing out come from the same place the Heartbreakers always come– 60’s blues and rock.
Originally, the album was slated to be released in the Spring, assumedly to coincide with the original May 6th start of the tour. On the 16th, it was announced that the release date of the album was June 15th. At the same time, it was announced that the first nine shows would be moved to the end of the tour which extended the tour into October.
tracklisting for Mojo:
1. Jefferson Jericho Blues
2. First Flash Of Freedom
3. Running Man’s Bible
4. The Trip To Pirate’s Cove
5. Candy
6. No Reason To Cry
7. I Should Have Known It
8. U.S. 41
9. Takin’ My Time
10. Let Yourself Go
11. Don’t Pull Me Over
12. Lover’s Touch
13. High In The Morning
14. Something Good Coming
15. Good Enough
Tom Petty and the Heartbreakers Summer Tour (from Billboard):
June 5: Oakland, Calif. (Oracle Pavilion)*
June 8: Vancouver, BC (GM Place)*
June 11: Seattle, Wash. (The Gorge)*
June 12: Seattle, Wash. (The Gorge)*
June 15: Calgary, Alberta (Pengrowth Saddledome)*
June 16: Edmonton, Alberta (Rexall Place)*
June 19: Winnipeg, Manitoba (MTS Centre)*
June 22: St Paul, Minn. (Xcel Energy Center)**
June 23: Omaha, Neb. (Qwest Center)**
June 25: Milwaukee, Wis. (Summerfest)***
July 10: Indianapolis, Ind. (Verizon Wireless Amphitheatre)**
July 13: Kansas City, Mo. (Sprint Center)**
July 15: Cincinnati, Ohio (Riverbend Music Center)**
July 17: Chicago, Ill. (United Center)**
July 20: Cleveland, Ohio (Blossom Music Center)**
July 22: Detroit, Mich. (Palace of Auburn Hills)**
July 24: Pittsburgh, Pa. (First Niagra Pavilion)**
July 28: New York, N.Y. (Madison Square Garden) $
July 31: Philadelphia, Pa. (Wachovia Center) $
Aug. 1: Philadelphia, Pa. (Wachovia Center) $
Aug. 11: Atlanta, Ga. (Philips Arena)****
Aug. 12: Nashville, Tenn. (Sommet Center)****
Aug. 14: Darien Lake, N.Y. (Darien Lake Performing Arts Center)****
Aug. 15: Bristow, Va. (Jiffy Lube Live)****
Aug. 17: Hartford, Conn. (Comcast Theater)****
Aug. 19: Boston, Mass. (Comcast Center)*****
Aug. 21: Boston, Mass. (Comcast Center)*****
Aug. 24: East Rutherford, N.J. (IZOD Center)*****
Aug. 25: Toronto, Ontario (Air Canada Center)****
Aug. 27: Saratoga Springs, N.Y. (Saratoga Performing Arts Center)****
Sept. 16: Tampa, Fla. (St. Petersburg Times Forum)
Sept. 18: Raleigh, N.C. (Time Warner Cable Pavilion)
Sept. 19: Charlotte, N.C. (Verizon Wireless Amphitheatre)
Sept. 21: Dallas, Texas (Superpages.com Center)
Sept. 24: Houston, Texas (Cynthia Woods Mitchell Pavilion)
Sept. 26: Phoenix, Ariz. (US Airways Arena)
Sept. 28: San Diego, Calif. (Cricket Wireless Pavilion)
Oct. 1: Los Angeles, Calif. (Hollywood Bowl)
Oct. 2: Irvine, Calif. (Verizon Wireless Amphitheatre)
* with Joe Cocker
** with Drive-by Truckers
*** with ZZ Top $ with Buddy Guy
**** with Crosby, Stills & Nash
***** with My Morning Jacket
As we count down to the impossibly-long wait to the release date of June 8th for Grace Potter & The Nocturnals self-titled album, the band is releasing a series of YouTube videos of a series of acoustic versions of some of the songs off the album– one per week starting with the album closer “Things I Never Needed “.
These videos were recorded on a Friday afternoon near San Diego, and the video for “Things I Never Needed” shows an impressive ability for Grace and the band to launch into song– at least it looks like they just decided on the spot to do the song. Some of the videos will be from this “unplugged” session and some of the videos will be from the cool black and white footage shot of the Burlington Waterfront show where the “White Rabbit” video was shot.
Grace and Co. also shot a video for the first single from Grace Potter & The Nocturnals— the smoldering to raging fire track “Tiny Light.” This song kicks off with a Bonnie Raitt-ish midtempo song and builds to an all-stops-out explosive conclusion. This is a video worth watching.
Click Here to go to the official Grace Potter & The Nocturnals YouTube Channel where you can subscribe to be notified when new videos arrive.
Grace Potter & The Nocturnals is scheduled to release on June 8th. You can pre-order from Amazon.com
Javelin is an electronic duo from NYC that is steeped in the tradition of old school cratedigging and cut up sampling. They’ve gained a lot of notice over their first self-released cassette Jamz n Jemz which Pitchfork gave a 7.4 rating saying, “At a time when it seems like everyone’s roommate is cooking up bargain-bin symphonies, Javelin stand out like two heady chefs, turning canned food classics into tiny little pieces of inspired, inverted gourmet reimaginings.” They gained the attention of David Byrne who has signed them to Luaka Bop for their first full length to come out next year.
Thrill Jockey will be releasing two EPs from Javelin leading up to their label debut. The first self-titled EP is limited to 500 on vinyl and is part of the amazing Thrill Jockey subscription. The best part is that each of the sleeves are pulled from thrift store vinyl and are screened by Crosshair Screenprinting and Design in Chicago who were responsible for the amazing Spring 2007 Tortoise tour poster. See the streaming player below for closer “TWYCE” to see examples of the covers. I didn’t count them, but maybe all 500 are in the display? Lots of interesting cover selections both obscure and familiar– play “spot the cover” at home!
The tracks on the 5-track EP are new with the exception of “Lindsey Brohan” which was on Jamz n Jemz. The version of “Lindsey Brohan” on this EP is prepended with the Jamz n Jemz opening “skit” “Snow Aorta” where someone is interviewed about jumping expensive bikes into water.
This EP will be followed with another EP on Thrill Jockey early next year.
Click Here to visit the Javelin EP page on Thrill Jockey’s site where you can listen to streaming samples.
It’s week #2 of the Pax-Am reboot and we are treated with another digital single from Ryan Adams’s archives. This time we get a track that was dropped from early consideration for Cardinology and another track that surfaced a bit as a “foggy” video. The third track is another demo from Cardinology.
Side A is the track “Allumette” clocking in at 1:43 and according to the Ryan Adams scholars on the ryanadamsarchive.com site was listed on an early proposed tracklisting for Cardinology.
Apparently the song is in reference to the 1974 book by Tomi Ungerer titled Allumette; A Fable, with Due Respect to Hans Christian Andersen, the Grimm Brothers, and the Honorable Ambrose Bierce. The Ungerer book is a re-imagining of the Hans Christian Andersen story “The Little Match Girl” where the girl this time lives and carries out her wish.
Side B is the track “What Color Is Rain” which showed up as a video on the old version of Ryan’s video blog, affectionately called “Foggy.”
Again we are treated to a home demo of Cardinology– this time “Go Easy.”
All three songs are 160Kbps mp3’s and there aren’t any FLAC’s or cover art.
As you might imagine this caused quite a stir on the boards since this release differred in content from the first single’s inclusion of FLAC’s. Another point that upset some was that these songs weren’t the same quality as the songs on the first single, which were ostensibly multitrack recordings that were mixed for release and these songs were sketches. But for $1.49 who should complain? All of these songs are unreleased and we’re lucky that these songs are seeing the light of day– AND Ryan is excited to release them!
Both “Allumette” and “What Color Is Rain” are relatvely short songs but sound like they might have been written about the same time– both using multitracked guitar picking and utilizing a similar drum track. According to Ryan’s retorts to the complaints he used GarageBand to record them.
Both songs are very pretty songs with Ryan singing in a soft but urgent voice. These are songs that would have fit comfortably on Easy Tiger.
Click Here to purchase Pax-Am Digital Single No. 2
Click Here to read my review of Pax-Am Digital Single No. 1
Thrill Jockey has announced a 12″ Subscription Club! The first series (optimistically keeping my fingers crossed for future ones!) will be for 7 very rare 12″es– some of these you can only get in the subscription, some of them guarantee you to get one before they are generally available. The lineup of acts providing releases is great– a mixture of long-time acts on the label and some new and future acts!
Already the demand has been so great that they have had to substitute a release that ran out. Although this isn’t too surprising because some of these releases are less than 500 pressings! In the case of the Pit Er Pat 12″ there was only 300!
The subscription ships in three packages.
Package #1 (Ships immediately)
Pit er Pat – “High Time Remix” (thrill 12.31) Early subscribers got in on the remainder of the 300 hand-numbered pressings of this release which included remixes of tracks off the band’s new album High Time. Cool hand-assembled sleeve with art cards glued to each side.
The Fiery Furnaces – “The End is Near” (thrill 12.32) The rest of the orders will be filled with the remainder of this release– so now this is OOP! One album track, one “radio” edit, an alternate version and an unreleased track make this a great replacement for the Pit er Pat 12.
Tortoise – “Beacons of Ancestorship Remixes – Eye / Mark Ernestus (thrill 12.34) Tortoise’s first new remix 12″ since 1998’s T.N.T. pair of 12″es. This one has a gorgeous cover done by Andrew Paynter who did the cover of Beacons as well as the video for “Prepare Your Coffin.” The Eye remix is the same remix that is available on the Japanese version of Beacons. “Gigantes” remixed by Mark Ernestus. This is a 45 RPM pressing! 1500 copies, so I’m sure this will be available on tour and on the Thrill Jockey store.
Package #2 ( Ships in October)
Thank You – “Pathetic Magic” (thrill 12.35) Limited edition pressing of 300. Two new studio track and three remixes.
Pontiak – “Sea Voids” (thrill 12.33) Limited press of 500 with hand-printed covers. New material recorded before they went on tour with Earthless.
White Hills – “Dead” (thrill 12.36) 1000 copies. Three brand-new songs and a remix of “Oceans of Sound.”
Package #3 (Ships in November)
Javelin – TBA (thrill 12.37) Limited edition of 500. Just found out about Javelin through this club. A pair of guys from NYC who craft J Dilla-influenced electronica (my opinion). Their self-released CD was raved about by Pitchfork. Cool stuff I wouldn’t have expected from Thrill Jockey. 5 song release with covers that are recycled from vintage album jackets they found at thrift stores (hopefully they don’t smell musty!!).
Mi Ami – TBA (thrill 12.38) One of the casualties of the stop of new releases from Quarterstick/Touch and Go was Mi Ami. Their newest album and debut on Quarterstick was released the same day the label announced layoffs and ceasing new releases. It appears that Mi Ami just took their business across town to Thrill Jockey and will have a new release next year.
The price of the subscription is $84 (U.S.–$98 Canadian, $122 International) for the seven 12″es which includes shipping! In addition club member will get one of the Thrill Jockey 15th Anniversary record bags that were sold at the shows in December 2007.
Click Here to Read More about the Thrill Jockey 12″ Subscription Series.
I was at Best Buy for the release of the Iron and Wine collection of rare and b-sides called Around the Well. I had a $15 Reward Zone certificate. But, since the 2 CD release was $9.99 I needed to buy something else to bring it over the $15. I picked up Woman King by the Iron and Wine as well which was $7.99. Ever since I picked up the live Iron and Wine Record Store Day release, I’ve been trying to get caught up with Mr. Beam.
Since I was on that side of town anyway, I stopped in to Half Price Books to see if anything interesting was in the bins.
BestBuy Purchases:
Around the Well – Iron and Wine (2 CD, SubPop SPCD 808, 2009) ($9.99) Great collection and replaces the need to try to track down all of the singles, soundtracks (The “Twilight” soundtrack… “In Good Company”… yikes) as well as the iTunes Exclusives, which have now been pulled down, presumably because of this release. Lots of great songs on here– Sam Beam is so prolific that even his b-sides are quality tracks.
Woman King EP – Iron and Wine (CD, SubPop SPCD 665, 2005)($7.99) This is probably my favorite release next to 2007’s The Shepherd’s Dog. Every song on here is a keeper. Jim Becker from Califone is on this release which helps fill out the sound of the band.
Half Price Books Purchases:
The Bumper Crop – Pell Mell (LP, SST 158, 1987)($2.98) Holy crap! Certainly wasn’t expecting this in the bins. A corner-cut cut out. The bad cut job also caused a tear in the cover. You might know me in my other internet job as the guy who runs the official Pell Mell website so I collect things Pell Mell. The work for this album started in 1982 after the remaining members of Pell Mell moved to Berkeley, CA following the tour for their debut EP Rhyming Guitars. The songs for this release came from some outtakes recorded for the EP and some new material with new members Greg Freeman and Steve Fisk. This trio of Fisk, Freeman and Bob Beerman would form the basis for the remainder of Pell Mell’s career which ended after their 1997 album Star City. Pell Mell was influenced by the instrumental rock bands of the sixties and a lot of the instrumental rock bands around today (El Ten Eleven, The Six Parts Seven come to mind) owe Pell Mell for blazing the trail for them.
(self titled) – The Cars (LP, Elektra/Asylum 6E-135, 1978)($2.98)
Candy-O – The Cars (LP, Elektra/Asylum 5E-507, 1979)($2.98)
Panorama – The Cars (LP, Elektra/Asylum 5E-514, 1980)($2.98)
Shake It Up – The Cars (LP, Elektra/Asylum 5E-567, 1981($2.98)
Heartbeat City – The Cars (LP, Elektra/Asylum/Nonesuch ST-E-60296-1, 1984)($2.98) This was a pretty impressive haul! Someone dumped their Cars collection apparently. All of the records were in fantastic shape with little to no cover wear. All inner sleeves were intact and the vinyl was pristine! There was actually two copies of Heartbeat City there, so I picked the best-looking one. The copy of Heartbeat City that was around my house when it came out was a cassette. The vinyl version was a very nice gatefold sleeve. The only records that were missing were the Greatest Hits and their last record Door to Door.
We also had Candy-O on cassette at the house. With its combination of pop and New Wave sensibilities coupled with the Alberto Vargas pinup cover it was an intriquing album. That was their second album, and it had the big singles “Let’s Go” and “It’s All I Can Do.” It seemed that the Cars were all over the radio and movie soundtracks. Some of the big hits from The Cars are still some of the great pop songs of all time. This selection of albums represents the peak of The Cars creative output. Just looking at the track list from 1985’s Greatest Hits album proves it: “Just What I Needed,” “My Best Friend’s Girl,” “Good Times Roll”– all from The Cars; “Let’s Go” from Candy-O; “Touch and Go” from Panorama, “Since You’re Gone” and “Shake It Up” from Shake It Up; and “You Might Think,” “Drive,” “Heartbeat City” and “Magic” from Heartbeat City. Quite a run of singles!
Out of these, however, Panorama is probably the one that faired the worst. It only had one single– it was considered The Cars’ “experimental” album. I picked up an 8-Track version in some cutout bin a long time ago and listened to it maybe one time and dismissed it. I think that I’ll give it a fair shake now to see what I think.
Once upon a time there was a little band from San Francisco called The Court & Spark. For seven years they crafted their own flavor of Americana and Rock in relative obscurity. For those people who did hear their music, most– like me– became fans.
I first heard about The Court & Spark on All Things Considered one cold night at the end of 2001 when Sarah Bardeen reviewed Bless You. I had never heard anything quite like it, and the loping clockwork percussion paired with singer M.C. Taylor’s melancholy vocals and slide guitar– particularly on “To See The Fires” had me tracking the album down immediately and I followed their career until they disbanded in 2007 following the release of Hearts– an album I thought was their best effort to that point.
As announced from their website, “seeing as how we’re all involved in different musical projects, it seems best to retire the C&S name for a while.” M.C. Taylor and Scott Hirsch moved to the East Coast and would continue to work together in a new project cryptically called Hiss Golden Messenger. At the same time they announced the new direction, they also announced from their MySpace page a live CD for sale of a show that Hiss Golden Messenger did called Live at the Fernwood Lodge, Big Sur 4/22/07. I ordered that right away since it was a limited hand-stamped run. When I received the CD, I also got another nondescrept CD-R with only a Sharpie-scrawled “HARPO” on it.
The songs contained on this CD were, according to M.C., “very rough mixes” of an album he was hoping to release after he sorted out getting a label and taking to a studio for mixing and mastering. He was very modest about the recording since I guess he felt it wasn’t done, going so far as to suggest I could share it on my site if I wanted.
The music contained on HARPO was mesmerizing. It was really a continuation of the experimentation I’d heard on the last Court & Spark album, Hearts. I was a bit giddy with this secret album and I did share it with a couple of people I knew who loved The Court & Spark as much as I did. I really felt that the modesty that M.C. had about HARPO’s fitness to be released was completely unfounded! If these were home demos on some hissy old 4-track, I would have still been excited to hear it, and would have shared it out– but I saw the potential of these songs to be much more than mere “rough mixes.” The damn thing sounded complete, to me! I know that others who had received HARPO felt the same way.
As it turned out the songs on HARPO would become Country Hai East Cotton remixed and in a different track sequence. I received a review copy of Country Hai East Cotton in early May and have been listening to it in my regular diet of music. The resequencing was a bit jarring at first, since I was so familiar with the sequence on HARPO. The mix was certainly an improvement on Country Hai East Cotton over HARPO, so the effort of taking it to a studio for some polish yielded exceptional results. The levels were pushed up a bit and the instrument head space has been expanded. HARPO was a good headphone album, but Country Hai East Cotton is really an experience on the cans. No more is the remix more evident than on the cover of the Tim Rose song “Boogie Boogie” where we gained prominent breaths and and a wah guitar line! What was a song I didn’t really care for in the original mix, but the Country mix has much more texture and kind of reminds me of “Digging in the Dirt” by Peter Gabriel.
Standout tracks for me have been “Watch Out For the Cannonball” with it’s compressed snare and keyboard patches, and “Oh Nathaniel.” “Oh Nathaniel” is the theme to a vampire story that sounds a lot like an outtake from late-period Buckingham-Nicks Fleetwood Mac. True Blood’s second season starts this month– they could use this song for the soundtrack– “drink their blood when they call on you…Rise up like the moon…” “Resurrection Blues” is a Nawlins funeral march of desperation where the narrator can’t seem to make it to heaven.
Country Hai East Cotton was released this week and is available in a couple formats from either the website of the record label the band formed called The Heaven and Earth Magic Recording Company, or from a number of brick-and-mortar stores– mostly on the coastal regions. The first format– and most desired frankly, is the crazy-limited edition CD pressing seen in the picture above in all its glory. The limited-to-500 CD is encased in a color miniature gatefold cover which was illustrated by Nathaniel Russel and printed on 100% recycled cardstock. The CD is lovingly encased in a woven-fibre inner sleeve and the whole shebang is protected by a mylar sleeve. The picture above also shows the small gold-colored thankyou card that lists all of their intertube access and a haiku by Jaime De Angulo on the flipside.
Alternatively, you can download a 256Kbps version of the album in mp3’s for the price of a donation. Per the press-release from the band, “I realize that Country Hai East Cotton will be easily obtained for free on a host of torrent sites and blogs very soon, if it isn’t already. That’s OK. We appreciate that. But, at the risk of sounding totally romantic and/or naive, we’re hoping that those who have heard HGM and like what we do will choose to spend a little money on a disk or download directly from us.”
Indeed, this form of electronic sales where the consumer chooses what to pay has been attempted before successfully and not. Country Hai East Cotton is certainly one of my favorite releases this year and I can’t recommend enough that you, gentle reader, give this album a shot, and I think you’ll find that the band deserves your donation for this fantastic album.
Click Here to visit the Hiss Golden Messenger MySpace Page where you can hear tracks from Country Hai East Cotton.
Click Here to visit the Heaven & Earth Magic Recording Company to order your copy of Country Hai East Cotton.
Click Here to visit the blog page for Hiss Golden Messenger
Click Here to visit Hiss Golden Messenger Facebook Page
Some great news for Jayhawks fans– Sony Legacy/Columbia are working on preparing Legacy releases of the Jayhawks American/Sony catalog. This would be Hollywood Town Hall (1993) and Tomorrow the Green Grass (1995) with Mark Olson in the band; and the post-Olson-departure releases Sound of Lies (1997), Smile (2000), and Rainy Day Music (2002). According to information shared on the jayhawksfanpage board (THE source for all things Jayhawks-related) as well as some interviews recently Gary and Mark (mostly Gary) have been combing through their personal archives to come up with the bonus material to be included in these releases.
Additionally, there will be an anthology to be titled Music From the North Country – The Jayhawks Anthology, which will be a two-disc set with one disc of tracks from their albums including their bigger hits, and the second disc will be full of demos, compilation-only tracks, soundtrack-only tracks and b-sides. This will be released on July 7th– just in time for their reunion gig at the Basilica Block Party in Minneapolis on July 10th.
Tracklisting for Music from the North Country – The Jayhawks Anthology:
DISC ONE: Two Angels / Ain’t No End / Waiting for the Sun / Martin’s Song / Clouds / Settled Down Like Rain / Blue / I’d Run Away / Over My Shoulder / Miss Williams’ Guitar / Trouble / Big Star / The Man Who Loved Life / Smile / I’m Gonna Make You Love Me / What Led Me To This Town / Tailspin / All the Right Reasons / Save It For a Rainy Day / Angelyne
DISC TWO: Falling Star (from Bunkhouse Album, 1986) / Old Woman From the Red Clay (alt version) / That’s the Bag I’m In (KFAI recording) / Won’t Be Coming Home (early demo) / Stone Cold Mess (HTH outtake) / Mission on 2nd (demo) / Lights (from Sweet Relief album, a classic!) / Darling Today (Blown Away soundtrack) / Break My Mind / Get the Load Out (both “Bad Time” B-sides) / Poor Little Fish (alt version) / Someone Will (Live from Woman’s Club) / Cure for This (this and all the rest are from the band’s rehearsal studio, 1999-2001)/ I Can Make It on My Own / Rotterdam / Follow Me / In the Canyon / Tailspin (alt version) / I Think I’ve Had Enough (Louris home tape) / Help Me Forget
As far as the Legacy releases of the albums are concerned, according to this thead on the fanboard in a reply by “Sacred Roots” who was involved in the archive research for the releases, including the Anthology release, the plans have been to add around six songs to each of the releases, except for Tomorrow the Green Grass which should get a second disc that includes 18 tracks from “The Mystery Demos.” Here is a great post on the blog Sixty-to-Zero about the Mystery Demos resulting from what must have been be the work done for these releases.
In this time of record labels trying to figure out how to stay viable it is clear that they at least feel that the future sustainability lies in re-releasing and re-packaging product. In the case of Sony/Columbia we see in the Legacy releases the interest in providing fans with new material that hasn’t seen the light of day before commercially. As a collector, I’m overjoyed that they can do this, but as a past consumer, I can’t help but feel like I’m being taken advantage of. I know, “gift horse” and all that, but I only have so much money to invest in material I already have.
Aside from that, I’m hoping that the relationship momentum that Gary Louris and Mark Olson have established resulting in the fantastic Ready For The Flood and the renewed interest in their back catalog may precipitate a future Jayhawks release of new material.
One of my all time favorite jazz records is the 1959 Columbia release Time Out by the Dave Brubeck Quartet. I have this release on compact disc (not the remaster) and a couple copies on vinyl. Frankly, it is a lot of people’s favorite jazz release– it is one of the best selling jazz albums ever (next to Miles Davis’s Kind of Bluealso produced by Teo Macero). It has the distinction of having a single that reached the Top 5 on the Adult Contemporary chart– “Take Five” composed by band member Paul Desmond.
2009 is the 50th Anniversary of Time Out, and to celebrate the occasion Sony Legacy is re-releasing it’s 1997 compact disc remaster of the album on May 26th. According to this posting on the Down Beat website, the second disc is made up of previously unreleased performances from The Newport Jazz festival from 1961-1964. So, sadly, no unreleased session outtakes for this release. The unreleased Newport recordings are a nice touch, I suppose but makes the release not worth much more than the 1997 remaster except for the third disc in the release which is a DVD with an interview with Dave Brubeck on Time Out as well as some photographs and an “interactive piano demonstration” (who knows what this is?).
I spent time today trying to find any information on this release other than the paltry little bit that the online retailers have and was not successful. No press release, no mention of the release at the Sony Legacy website (at least at the time of this writing)! So, while it might be nice that they are doing a new packaging of the release, they don’t bother to promote it.
At first glance this really looks like a way for Sony to cash in on the 50th Anniversary of this release. Unfortunately this is nothing like the Kind of Blue 50th anniversary box with the 180g blue vinyl, the CD, DVD and book that they did last year. I will pick this up because I’m interested to see the interview with Brubeck (who turned 88 last December) and I don’t have the remastered version of Time Out.
Here is the track listing with some session information I found at the excelent jazzdisco.org I haven’t found any place that indicates which Newport Jazz Festival shows the songs are from. I’ll update if I get any details.:
Dave Brubeck Quartet Time Out 50th Anniversary Legacy Edition Track Listing
Disc 1:
1. Blue Rondo A La Turk (Album Version) (NYC, August 18, 1959)
2. Strange Meadow Lark (Album Version) (NYC, July 1, 1959)
3. Take Five (Album Version) (NYC, July 1, 1959)
4. Three To Get Ready (Album Version) (NYC, June 25, 1959)
5. Kathy’s Waltz (Album Version) (NYC, June 25, 1959)
6. Everybody’s Jumpin’ (Album Version) (NYC, June 25, 1959)
7. Pick Up Sticks (Album Version) (NYC, August 18, 1959)
Disc 2 (Live at Newport Jazz Festival 1961-1964):
1. St. Louis Blues – (previously unreleased)
2. Waltz Limp – (previously unreleased)
3. Since Love Had Its Way – (previously unreleased)
4. Koto Song – (previously unreleased)
5. Pennies From Heaven – (previously unreleased)
6. You Go To My Head – (previously unreleased)
7. Blue Rondo a La Turk – (previously unreleased)
8. Take Five – (previously unreleased)
Disc 3 (DVD):
1. Dave Brubeck on Time Out
2. Photo Gallery
3. Interactive Piano Demonstration
It’s week #2 of the 
