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August 1, 2018

Goldmine Magazine Pixies announce 30th anniversary edition ‘Come On Pilgrim, Surfer Rosa’ combo

4AD Records will release “Come On Pilgrim…It’s Surfer Rosa,” three special 30th anniversary editions of Pixies’ first releases, the eight-track mini-album “Come On Pilgrim” (originally released September 1987) and the band’s first full album, “Surfer Rosa” (released March, 1988). 

The post Pixies announce 30th anniversary edition ‘Come On Pilgrim, Surfer Rosa’ combo appeared first on Goldmine Magazine.

from Goldmine Magazine
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Classic Album Sundays Album Of The Month: Jane’s Addiction ‘Nothing’s Shocking’

It’s safe to say few frontmen or women possess the ineffable qualities of Perry Farrell. The freewheeling singer-songwriter boasts the kind of natural confidence and assured stage presence which many performers would kill for; a microcosm of classic rock ’n roll archetypes rolled into one. A difficult and uncompromising figure, he has made an improbable career hopping between successive lineups, each time remaining the magnetic central focus.

But when Farrell established his most famous band, Jane’s Addiction, in the mid 1980s, it was not only the first true consummation of his passion for music, but also the fulfilment of a difficult life spent in transition. By 1988 the rag-tag group had generated a significant level of buzz on their local live scene, as hunger grew for their long awaited major label debut. It was the beginning of a breakneck period of excitement, not only for Farrell & Co, but for the wider west coast American rock scene, as new musical and performative styles began to intermingle. At the forefront of this new vanguard, Jane’s Addiction were ready to ride the wave.

The band had settled on the name Jane’s Addiction in honour of Farrell’s housemate, Jane Bainter, whose heroin addiction proved to be a twisted source of inspiration – whilst the name provided the perfect amount of mystique and ambiguity. A narcotic focus certainly made sense to the frontman, who shared a Hollywood home with around sixteen other musicians and their hedonistic partners. Establishing a practice room in the house’s garage, they lined the walls with egg cartons and carpet in a vain attempt to stem the frequent noise complaints and disgruntled police visits.

Tired of the hair metal posturing that was commonplace on the mainstream circuit, Farrell realised that rock music, now well into it’s third decade, needed a huge overhaul in order to retain it’s place at the cutting edge of the popular conscious. This was manifesting itself in the mongrelisation of sounds emerging through the punk-funk of the Red Hot Chilli Peppers, the proto-grunge of the Pixies, and the country mutations of the Meat Puppets, amongst others.

Jane’s Addiction began to court major label interest after the release of their self-titled independent debut, recorded during a live show at the Roxy Theatre in January 1987. The album, released by local label Triple X, captured the band in their element; a free-flowing, yet grungy rock n’ roll experience which seemed tailor made for the sweaty heat of a Californian crowd. Impressed by the band’s explosive stage energy, Warner Bros. cemented their interest with an unprecedented advance of around $300,000, successfully wrangled by the group’s no-nonsense manager.

Whilst Farrell would seek to claim conceptual control of the project, it was the instrumental skills of Navarro, Avery and Perkins in which many of the album’s songs took root. As Navarro is keen to highlight : “Some came from Eric’s bass lines, some from guitar, some came from Perry, some came from drum riffs, and some just came from free-form jams. There was really no formula.”

Indeed, Navarro’s guitar leaves an indelible mark on the listener, his ability to both absorb and subvert classic heavy metal tropes via his wildly virtuosic guitar solos (immortalised on “Mountain Song”) and soaring echo-laden riffs remaining largely unrivalled amongst his contemporaries. The soft, folk-tinged strumming found on “Summertime Rolls” and “Jane Says” further emphasises the wild contrasts which lay at the very core of Jane’s Addiction’s shock-tactic ideology; Navarro’s instincts ensure the listener never knows what’s around the next corner.

Bass guitarist Eric Avery also held a particularly prolific influence, writing several songs for the album, including “Had a Dad”, “Mountain Song”, “Summertime Rolls”, and “Jane Says.” Going further beyond his duties, he even established the lyrical concepts for these songs before Farrell would develop the text further; “Had a Dad”, for instance, explores the feelings Avery felt after he discovered that he was born to a different biological father. In his own right, Avery’s bass is also continually adaptive across the album, frequently fulfilling a melodic role whilst Navarro’s guitar carves a free flowing textural atmosphere, echoing a style explored by post punk bands earlier in the decade.

Unsurprisingly though it was Farrell who had found his ultimate playground in Nothing’s Shocking, and in the cavernous sound the band had created he found ample space for his outsized personality to truly flourish. Lacing his voice with reverb and echo the frontman often sounded as if he was singing from the centre of a storm, perfectly at one with the chaos but never failing to cut through the swirling mass. His audibly east-coast Jewish vocal inflections had collided with a singing style that was capable of both gritty wordplay and smooth melodic crescendos; a perversion of Farrell’s apparent fascination with Frank Sinatra.

Lyrically, the singer also excelled in his exploration of unconventional and taboo topics. One notable example is “Ted, Just Admit It…”, referencing Ted Bundy, one of America’s most infamous serial killers who, at the time of recording, was awaiting execution via electric chair at Florida State prison. Beyond the darkly humorous nod to the album’s title, Farrell used the actions of Bundy as a means to explore the impact of sexual violence against women and the sensationalist media’s role in the public’s desensitisation to murder.

Alongside societal critique, Farrell was also unafraid to explore deeply personal topics on record. In addition to the spiritual yearning of “Had a Dad”, “Mountain Song” contains oblique references to his mother’s suicide, most obviously in the chorus line, ‘Cash in now, honey… Cash in Miss Smith.’

Nothing’s Shocking was almost instantly lauded as a modern rock classic after its release in August, 1988; the band emerging as critical darlings for their bold amalgamation of influences and rewarded with high profile magazine covers. But the final obstacle would spring from another of Farrell’s provocative ideas. His explicit cover design, modelled on his girlfriend Casey Niccoli and  featuring a pair of naked siamese twins with flaming heads, proved as commercially toxic as it was brilliantly bizarre.

Despite now sitting comfortably as a platinum release, at the time this all resulted in rather modest first year sales figures of around 200,000 copies sold in the US. Guns N’ Roses had hit the top of the US chart with Appetite For Destruction only one month before the release of Nothing’s Shocking, which peaked at No.103.

But although the album had succumbed to the harsh realities of the music business, perhaps more importantly it placed the band at the forefront of an alternative rock movement which saw its true mainstream breakthrough in their follow-up, Ritual De Lo Habitual, infiltrating the US Top 20 and hosting the band’s biggest hit thus far in ‘Been Caught Stealing.’  

And despite their crack-cocaine fuelled collapse in 1991, the legacy of Jane’s Addiction’s short but sweet major label experience remains an integral moment in the commercial acceptance of alternative rock.

Nothing’s Shocking was a stubborn manifesto against creative boredom and a daring ode to the risk-takers who felt alienated by the passive consumerism of the status quo. And whilst it’s radical collision of ideas has perhaps finally been accepted, in an age of both relentless nostalgia and internet innovation, it will surely remain a foundational blueprint – a cornerstone for the future freaks of rock n’roll.

from Classic Album Sundays
Take a look at what’s in Pop at mandersmedia on Discogs

Classic Album Sundays Jane’s Addiction ‘Nothing’s Shocking’ Legacy Playlist

Check out the bands who were inspired by the groundbreaking style of Jane’s Addiction including Rage Against The Machine, Korn, Nothingface, Stabbing Westward and more.

from Classic Album Sundays
Take a look at what’s in Pop at mandersmedia on Discogs

PledgeMusic News The Guess Who: The PledgeMusic Interview

One of the greats, The Guess Who, are back with a fantastic new record and their first studio album of new music in over 30 years! The new album, The Future IS What It Used To Be arrives September 14th on CD, vinyl, and digital formats and can be pre-ordered now, along with a whole bunch of fan goodies, through the band’s PledgeMusic campaign. Guests on the album include Tommy Shaw (Styx) and Guess Who founding member, Jim Kale. We spoke to Garry Peterson – who has banged the drums on every Guess Who album – and Derek Sharp (vocals/guitars since 2008) to tell us about the new record, the past, present and the future of The Guess Who.


How did you first hear about PledgeMusic and tell us a little about your new PledgeMusic project?

(Derek Sharp) I first heard of PledgeMusic through Sass Jordan and Brian Tichy, who were using it for their project S.U.N., contributing to a Kiss 40th Anniversary Tribute album. Sass is a brilliant singer from Montreal and Brian did a Christmas Holiday album through PledgeMusic last year.

The new album called The Future IS What It Used To Be has been a long time coming; what galvanised you into making a new record?

(DS) I had been writing songs specifically for this band since I joined. We did some recording over the years, but it became more focused when Will Evankovich (guitars/backing vocals) Joined the band in 2014 and we decided to complete the album together.

Your PledgeMusic campaign has signed albums, cool merch, signed guitar, drumsticks and a drumhead signed by all the band. Was it fun dreaming up the campaign?

(DS) Of course! it’s really an integral part of marketing and promotion in the present climate.

Looking ahead, what is coming up for The Guess Who? Is this the first of a series of new records? 

(DS) Yes! We intend to continue to make records and play to as many people as possible. 

Can you remember the first piece of music that made an impact on you?

(Garry Peterson) The jazz standard ‘C Jam Blues’ originally composed by Duke Ellington in 1942 also covered by Ella Fitzgerald & The Count Basie Orchestra, Oscar Peterson, Django Reinhardt and Charles Mingus.

(DS) ‘Rock Around The Clock’ by Bill Haley and the Comets

What’s the last album you bought and the first that you purchased with your own money?

(GP) First was Rich vs Roach, a 1959 studio album by drummers Buddy Rich and Max Roach with their respective bands of the time. Described as a “drum lover’s dream come true”, it’s both a period piece and a great musical record of possibly the finest drummers of their era at the height of their creative and technical powers. The newest is Soul Side of Town by Tower Of Power, which 50 years into their career has earned them their first Billboard No. 1.

(DS) First one for me was Sgt. Pepper’s Lonely Hearts Club Band and most recent was Celia Cruz with La Sonora Mantancera.

The first concert that you remember going to?

(GP) The Ventures

(The Ventures are widely considered to be the greatest surf band of the era. Formed in 1958, they sold over 100 million records worldwide and are the best- selling  instrumental band of all time. Ed.)

(DS) Don Messer’s Jubilee at the Fort William Gardens, Thunder Bay, Ontario. 

(Don Messer was a Canadian fiddler, bandleader and radio broadcaster who died in 1973, but is today remembered as an icon of Canadian folk music. Ed. )

Perfect gig: what makes it for you as a performer and maybe a memorable show for you?

(GP) The perfect gig for me is one in which the band and fans are in complete harmony. The SARS benefit concert in Toronto July 30th with The Rolling Stones, AC/DC & Rush in 2003 was a big highlight.

(DS) Same concert as Garry, only with a different band!

My Life’s Playlist – please list 5 songs that are really special to you and maybe a couple of lines on each as to why.


  1. Long Distance Love/Little Feat – where music meets lyric in the most perfect way.
  2. Love’s In Need Of Love Today/Stevie Wonder – one of the many songs that taught me how to sing, harmonize and phrase properly…. in any genre.
  3. Moonlight Serenade/Glenn Miller Band – a perfect lesson on music arranging and how to get 15 musicians to make one beautiful sound.
  4. Whole Lotta Love/Led Zeppelin – the song that helped me turn a corner on guitar playing and my approach thereafter.
  5. Rock Around The Clock/Bill Haley and the Comets – this song came on the radio when 5 years old, I decided at that moment what I was gonna do the rest of my life.

(GP) The question of a life song playlist is too immense and overwhelming to begin to contemplate for me. Music is the ultimate drug.

[[project:theguesswho]]For more information visit:

Official Website:


Instagram: @TheGuessWhoBand

Twitter: @TheGuessWho

2018 US Tour Dates:

Fri, Aug 24, 2018        Foellinger Theatre                                Ft. Wayne, IN

Sat, Aug 25, 2018       Lincoln Amphitheatre                           Lincoln City, IN

Fri, Aug 31, 2018         Oregon State Fair                                Salem, OR

Sat, Sep 1, 2018         Fort Randall Casino                              Lake Andes, SD

Sat, Sep 15, 2018       Twin River Casino                                 Lincoln, RI

Sat, Sep 29, 2018       Helwig Winery                                       Plymouth, CA

Sun, Sep 30, 2018      Yoshi’s                                                 Oakland, CA

Fri, Oct 5, 2018           The Golden Nugget                             Las Vegas, NV

Sun, Nov 11, 2018       Magic City Casino Amphitheater          Miami, FL

Fri Nov 23, 2018          Boomtown Casino Hotel                       Reno, NV

Fri, Nov 30, 2018         One World Theatre                               Austin, TX

Sat, Dec 1, 2018          Arlington Music Hall                              Arlington, TX

Tue, Dec 11, 2018       Savannah Center                                 The Villages, FL

from PledgeMusic News
via IFTTTTake a look at what’s at PledgeMusic

Richer Unsigned Unsigned Session – June 2018

With festival season soon approaching and spring seeming like all but a distant memory, we thought we would invite two incredible acts down to Cambridge Audio’s Melomania event space once again to give us a taste of what summer has in store.

 To kick things off we had Jerry Williams, a singer- songwriter from Portsmouth who has spent the last ten years honing her craft for the stage. This translated perfectly on stage as Jerry delivered an impressive vocal performance accompanied by her dreamy guitar work.

We sat down with Jerry Williams to ask her about Richer Unsigned and how we help artists by getting them on a platform. “I’m happy to be part of it” Williams replies, her enthusiasm for Richer Unsigned really showed in her eagerness to perform “It’s amazing and it gives great exposure to unsigned artists, Richer Unsigned really helps these artists to breakthrough on the radar”. Jerry Williams gave us a captivating performance and she is definitely one for the future. You can check out her latest single ‘Left and Right’ on iTunes and available to stream on Spotify. Jerry Williams is also playing Victorious Festival in her hometown of Portsmouth on 26th August.

Next up we had a band from Maidstone, Kent called Rattlesnake comprising of band members Danny (vocals), Gary (bass), James (drums) and Jonah (guitar). Previously meeting at school, their combined sounds of 80’s synth magic with guitar sounds paying homage to the noughties indie sound, Rattlesnake are band to watch out for.

Talking about Richer Unsigned, Rattlesnake explain “It’s very hard when you are a musician to find such an accessible platform” beaming with confidence they continue to talk about the impact Richer Unsigned has on them “It is very cool to be invited down to play, sometimes it can take an artist such a long time to finally get their first few gigs, but to be invited is great”. Their performance bolstered energy and great potential for the band to come. Rattlesnake have a new single in the works so that is certainly one to watch out for.

Once again, big thank you for everyone that came down and a bigger thank for to each artist that came down for another successful Richer Unsigned session!

The post Unsigned Session – June 2018 appeared first on Richer Unsigned.

from Richer Unsigned
Take a look at what’s in Pop at mandersmedia on Discogs

Classic Album Sundays CAS Berlin presents The Lyman Woodard Organization ‘Saturday Night Special’

A precursor to New York’s Strata East, Detroit’s Strata Records was founded in the late 1960s by former Blue Note artist Kenny Cox. Starting life as a music-led community organisation, coffee shop studio and venue, Strata released only a few titles as a record label but managed to gain a cult following among record collectors and jazz lovers across the globe. Possibly the best known of Strata’s releases, The Lyman Woodard Organization’s Saturday Night Special is rightly heralded as a jazz fusion classic.
Yuko Asanuma and Amir Abdullah (DJ Amir) will provide the musical context and tell the story behind `Saturday Night Special`.
This is followed by an uninterrupted vinyl replay of the album.

6:30pm open
7:00pm talk
8:00pm listening session
10:00pm end


Recorded in 1975, Saturday Night Special features organ, electric piano and Mellotron by bandleader Lyman Woodard alongside guitar and bass by Ron English, with drums and percussion by Leonard King, Bud Spangler & Lorenzo “Mr. Rhythm” Brown respectively. Despite the fairly sparse instrumentation, ‘Saturday Night Special’ lays down an impressive wall of sound, powerfully atmospheric in its almost low-fi aesthetic. Hinting at more traditional jazz, rhythm & blues, afro-cuban styles and more, the uniqueness of this album is surely in its feel: summoning up images of a vast industrial landscape, assembly lines and urban decay. In other words, this record sounds like Detroit.

No great album artwork is complete without a good story to match, and Saturday Night Special does not disappoint. Snapped by photographer and political activist Leni Sinclair (responsible for seminal pictures of Miles Davis, Fela Kuti and John Coltrane and many others), the cover image shows the contents of Lyman Woodard’s pockets placed on the hotel bed after a show: cigarette papers, cash and a pistol.

Rhinoçéros Bar is a small berlin jazz joint, strongly dedicated to the highest quality of sound, wines and drinks.


Date and Time: Sunday August 19th 2018 7:00pm – 10:00pm


Rhinocéros, Rhinower Str. 3, 10437 Berlin, Germany


€5 in advance


Yoko Asanuma and DJ Amir

Audio Menu

Bowers & Wilkins DM70 speakers, Quad 33 Preamp, Quad 303 Amp, Micro-Seiki DQX-500 turntable, AT VM740ML Cartridge

from Classic Album Sundays
Take a look at what’s in Pop at mandersmedia on Discogs

Alex Ross: The Rest Is Noise Fifth Bayreuth pilgrimage

I passed through Bayreuth to see Yuval Sharon’s new production of Lohengrin and last year’s Meistersinger, by Barrie Kosky. A report will appear in a future issue of The New Yorker. In keeping with my composer-grave habit, this year I not only paid homage to the Meister, the Meisterin, and their dogs but also went to the Stadtfriedhof to see the resting places of Liszt, Hans Richter, and various other Wagners. Above lies Richter. An attempt to find the grave of Oskar Panizza, author of Das Liebeskonzil and “Bayreuth und Homosexualität,” was unsuccessful.
Seldom does the ordinary operagoer have the opportunity to see stars just before they go onstage, but in a parking lot near the Festspielhaus a fortunate few caught a glimpse of the canines playing the roles of Marke and Molly in Kosky’s Meistersinger. That production opens with a delightful pantomime of a day at Wahnfried, circa 1875.

Incidentally, last year saw the publication of Franziska Polanski’s Richard Wagners Hunde, in which the history of Wagner’s dogs is told in full.
For the first time I took a tour of the Mystic Abyss, the legendary orchestra pit at the Festspielhaus. How the man thought of this arrangement — and knew that it would work — is beyond understanding.

I was sad to find that the Markgrafen Buchhandlung, the book and music store opposite the Goldener Anker, had closed. Its replacement, Cosima, seems to be faring no better.

To achieve the requisite overstuffing of my luggage, I went to the Antiquariat Walter Bösch, where, amid a lavish collection of old Wagner books, scores, and programs, I found Max Kalbeck’s monograph on the Parsifal première.

Sadly, I will miss Boybands Forever.

My first night in Bayreuth coincided with the recent lunar eclipse. A crowd of Bayreuthers gathered on a hill above the Festspielhaus to observe the event. In the end, the Blutmond was mostly hidden by long-hanging clouds, but it was a pleasant hour in the dark.

Until the Ring in 2020….
Previously: Bayreuth Pilgrimage, Third Bayreuth Pilgrimage, Snapshots from Bayreuth.

from Alex Ross: The Rest Is Noise
Take a look at what’s in Classical at mandersmedia on Discogs

Classic Album Sundays Classic Album Sundays Manchester presents Blondie ‘Parallel Lines’

Originally born out of the New York punk rock scene of the mid-1970s, the band made a surprising shift toward more pop-oriented material on this album, a deft mix of new wave, pop and disco produced by Mike Chapman.

In a sense, that time has long passed: Blondie, like contemporaries such as the Cars and the UK’s earliest New Pop artists specialized in whipsmart chart music created by and for adults, a trick that has all but vanished from the pop landscape. Parallel Lines, however, is practically a blueprint for the stuff: “Picture This” and “One Way or Another” are exuberant new wave, far looser than the stiff, herky-jerky tracks that would go on to characterize that sound in the 80s; “Will Anything Happen?” and the band’s cover of the Nerves’ “Hanging on the Telephone” are headstrong rock; “11:59” does run-for-the-horizon drama, while “Sunday Girl” conveys a sense of elegance. The record’s closest thing to a ballad, the noirish “Fade Away and Radiate”, owes a heavy debt to the art-pop of Roxy Music.

Join us to experience this album as never before.

Buy the album here


Time & Date: Sunday September 2nd 2018 17:00 – 20:30


Folk & Soul, Manchester, 30-32, Thomas St, Manchester, M4 1ER


Tickets £5 in advance



Audio Menu

Supplied by Audiocounsel 

from Classic Album Sundays
Take a look at what’s in Pop at mandersmedia on Discogs

Richer Unsigned Best Of August by Richer Unsigned

It’s a brand new month, which means a brand new Best Of playlist, full of fantastic unsigned music. For this month’s playlist, our guest curator is… us!

We’ve selected ten of our favourite Unsigned artists that we feel really highlight the diverse nature of the submissions we see come through to us. If you’re in a band and you haven’t signed up with us yet, it’s really easy, simply sign up here! We promise to listen to every submission (private links won’t appear, so please only submit public links).

The post Best Of August by Richer Unsigned appeared first on Richer Unsigned.

from Richer Unsigned
Take a look at what’s in Pop at mandersmedia on Discogs

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