#Mojo Leeds

[vodkaandsnakes]

On this day, May 11, in Type O Negative history:

Type O Negative play Sea Sea's in Moosic, PA (1994)

Type O Negative play BSU Pavilion with Queensryche in Boise, ID (1995)

Type O Negative play the Mississippi Coast Coliseum with Ozzy Osbourne and Sepultura in Biloxi, MS (1996)

Type O Negative play the Town and Country Club with Entombed and Stuck Mojo in Leeds, England (1997)

Type O Negative play The Norva in Norfolk, VA (2008)

[mojo-homes-official]

The Future of Construction: Top Trends “What the Best Companies in 2025

Innovations in project management, sustainability initiatives, and new technologies are all contributing to the construction industry’s rapid evolution. As 2025 approaches, the construction industry is witnessing significant transformations in the management, delivery, and execution of projects. In order to stay ahead of the competition, provide top-notch work, and guarantee the greatest results for their clients, the top construction companies are adjusting to these trends. The main trends influencing the construction sector in 2025 will be discussed in this blog, along with the strategies used by the top construction firms to stay on top of developments. Based in Trivandrum, Mojo Homes is an architecture and construction firm that specializes in both commercial and residential projects. Construction companies in Trivandrum They provide services like building, 3D design, and architectural design. They specialize in making fantasy homes a reality. and business areas into reality, emphasizing quality, creative design, and meticulous attention to detail. Mojo Homes’ team of talented architects and artisans creates outstanding outcomes while accommodating a variety of styles, from modern to retro.

Eco-Friendly Building Methods In the building sector, sustainability is a top priority. Sustainable and environmentally friendly building techniques will be more crucial than ever in 2025. Green building practices are being adopted by construction companies in an effort to lessen their influence on the environment, use less energy, and create healthier spaces. Construction companies in Trivandrum Sustainable materials including bamboo, low-carbon concrete, and recycled steel are increasingly being used. In order to lessen their carbon footprint, the top construction companies are also putting energy-efficient concepts into practice, such smart buildings and passive dwellings. Additionally, developments in solar Buildings may now produce their own energy thanks to the integration of wind and power technology into their architecture. These days, green certifications like BREEAM (Building Research Establishment Environmental Assessment Method) and LEED (Leadership in Energy and Environmental Design) are seen as necessary credentials for construction enterprises looking to demonstrate their dedication to sustainability.

AI and IoT-Powered Smart Construction Technology’s introduction into the construction sector has revolutionized the sector. These days, sensors, artificial intelligence (AI), and Internet of Things (IoT) devices are essential for enhancing the productivity and security of building sites. From worker safety to resource allocation and material delivery, smart construction solutions are assisting in the monitoring of every facet of the building process. IoT devices gather data from construction projects in real time. on the construction site. This method helps prevent cost overruns, minimizes on-site disturbance, and drastically cuts down on construction time. Construction companies in Trivandrum In order to satisfy the increasing demand for large-scale commercial structures and quick, reasonably priced housing, the top construction corporations are adopting modular construction. By lowering construction waste and enabling improved quality control of building components, this approach also supports sustainability objectives.

Automation and robotics are increasingly essential components of construction operations. The sector is using robotics more and more, from robots that lay bricks to drones that conduct inspections. By 2025, tasks that formerly required a lot of physical labor are becoming faster thanks to robotics. For instance, materials are increasingly being transported throughout building sites by driverless trucks, while Robotic arms lower the danger of injury by handling repetitive jobs and heavy lifting. Drone integration for site inspections and surveys is also having a big effect. Drones can record aerial images of building sites, track developments, and instantly spot possible dangers, giving project managers useful information. Construction organizations may increase production, safety, and efficiency on the job site by automating repetitive processes.

Customization and 3D Printing By enabling businesses to create building components, 3D printing technology is transforming the construction sector and lowering the demand for conventional building materials. It is anticipated that 3D printing would dominate the market by 2025, especially for producing specialized parts and even whole structures. Leading construction firms are using 3D printing to more economical and efficient building. 3D printing enables greater personalization, quicker turnaround times, and less waste whether producing entire homes or intricate architectural details. Construction companies in Trivandrum Furthermore, 3D printing can help construction companies rely less on labor, which will streamline processes and cut down on delays.

A greater emphasis on risk management and safety Although safety on building sites has always been important, it will become even more crucial in 2025. The construction sector is growing safer and more effective with the introduction of new technology like wearable safety gear and real-time monitoring. Construction sites are increasingly frequently equipped with wearable technology, such as smart helmets and vests with integrated sensors. Interior designing in Trivandrum ,These tools keep an eye on employees’ vital indicators, identify any mishaps or dangerous situations, and notify managers. Digital tools are revolutionizing the way that projects are planned, carried out, and tracked. Historically, the construction industry has relied on paper-based project management and documentation. By 2025, construction organizations will need digital project management systems to manage several projects at once.

Real-time timeline tracking, budget management, and distant collaboration are all made possible by cloud-based software platforms. By enhancing communication between suppliers, clients, and contractors, digital project management solutions also help construction organizations lower the risk of mistakes and miscommunications. Interior designing in Trivandrum These tools are essential for overseeing complicated, large-scale projects and making sure that all parties involved are in agreement. The leading construction firms are embracing the future of the sector, from robotics and 3D printing to smart construction tools and sustainable building methods. Digital tools are revolutionizing the way that projects are planned, carried out, and tracked. Historically, the construction industry has relied on paper-based project management and documentation.

[ahereticatoll]

0- introduction

i had my first cigarette on the Saturday Night of Leeds Festival. it was a cold, august night and blink 182 was in the middle of all the small things. i had sat down at the back of the crowd as i had fucked up my leg in a mosh pit that afternoon. the cigarette was one dashed away from a random passerby, still lit. i dragged it and i felt like it was a dawning of a new me. i had had my first vape the evening before, mind you. fast forward two, three months and i have developed a crippling addiction to nicotine and a burgeoning love for weed. i probably have the gene for addiction within me, as my father, mother, grandmother, great grandmother, aunt, uncles, cousins all have nicotine addictions, two dying from it. this is the great irony of me, i have all this context of how crippling addiction is and i just continue.

it was around this time where i had my last girlfriend for the time being, she was slightly younger and from finland. it was purely online as i had lost all my 'mojo' following 2 bad breakups in december 2023 and july 2024. ever since them, and my split from this finnish girl, i promised myself that i would never love someone deeply, i will commit myself to the hedonistic parts of my hypersexuality, to meet people and not love them, just sleep with them. its not worked, ever, but its good to have boundaries. my sexuality is one of the great unanswered questions of life, as it seems to be constantly waving like water in a sink. i flip from straight to bi to gay to pan to aro to gay again quicker than a coin, but i never land. as of right now i find myself defining myself with an uncommon label- homoromanticism. in my life i have found that i can have attraction to all genders but i can only catch feelings for boys (the 3 people i have ever cried over were all boys- ill introduce them all when its called for).

for what its worth, to those around me my official label doesn't matter, i'm just a faggot.

i want to preface too that i am not as good a person as a first person pov may make me seem. it is natural for someone who is speaking of themself to make themself seem more sympathetic, but please don't. i'm not a person i think is deserving of sympathy.

finally, i will explain the title of this blog, something i want to write as a concrete work once my feelings are catalogued, an unwanted autobiography. i came up with the concept of A Heretic Atoll while reading the liner notes of hail to the thief by radiohead, and it came up. i see it representing where i live, a place that, within the outskirts, lays the hedonism that i see myself being a part of. we are all heretics, me and my friends, even if we don't show it. we all have things about us that make us heretics in the eyes of conservatives- gender identity, sexuality, actions, addictions, all making us heretics circling the waters of the city i call home. i hate this place, i want to escape, but i cannot help but feel like i love it. i love the feeling that this city gives me- the borderline northern identity.

this will all get personal, so i will change every name, but every word is true, at least to me.

[stillunusual]

Leeds United: Meslier, Firpo, Ampadu, Piroe (Joseph 74), Kamara, Summerville (Anthony 74), Rodon, Gray, Rutter (Roberts 74), Gnonto (James 69), Gruev (Cooper 83).

Subs not used: Darlow, Cresswell, Cooper, Shackleton, Gelhardt. Leeds United booked their place in the Championship play off final after a surprisingly emphatic 4-0 demolition of Norwich City at Elland Road.

This was a much-needed return to form by a Leeds team that has failed to deliver in recent weeks. Joel Piroe led the line superbly, Glen Kamara and Ilia Gruev controlled the midfield, Georginio Rutter got his mojo back, Crysencio Summerville and Willy Gnonto were a constant threat, our back four - Archie Gray, Joe Rodon, Ethan Ampadu and Junior Firpo - looked solid throughout and Illan Meslier had very little to do.

The atmosphere was electric and Leeds were on the front foot from the start.

After a couple of early chances we took the lead in the seventh minute, by actually scoring from a set piece (I can't remember the last time that happened but it seems like a long time ago). Rodon was fouled in what looked a great crossing position on the right, but Gruev chose instead to whip an inch-perfect free kick inside the near post, beyond the despairing dive of the Norwich keeper….

We kept up the pressure and soon had a two goal cushion when Gnonto delivered a superb cross for Piroe to head home at the far post. Meslier made a crucial one-on-one save to deny Josh Sargent a couple of minutes later, and I started to believe that it was going to be our night….

Leeds dominated the rest of the first half and a killer third goal just before the break pretty much put the game to bed. Piroe broke down the left and slid an enticing delivery across the face of goal, which ended up at Rutter's feet after Summerville and Norwich’s Shane Duffy failed to control the ball, and he fired home off the underside of the crossbar, sending Elland Road into ecstasy.

Rutter, Gnonto, Piroe and Summerville all had excellent chances to add to our lead, before we finally scored our fourth goal midway through the second half. A shot from Gnonto rebounded to Firpo, who cut the ball back to Summerville and he fired it into the net from close range.

Further chances came and went as Daniel Farke brought on four substitutes. It was nice to see a brief cameo from Liam Cooper, which was almost certainly his last appearance in a white shirt.

In the other play off semi-final Southampton beat West Bromwich Albion 3-0 on aggregate, so we will face them at Wembley on 26th May to decide which team gets promoted to the Premier League. I've never had any negative feelings about Southampton, but at one point during the home leg of their semi-final, the Sky cameras focused in on Rishi Sunak, who was in the crowd and is apparently a life-long fan.

How utterly nauseating….

[stsgooo]

watch mojo lady: hi welcome to watch mojo

jacob and tom:

[viewervewor]

Crystal castles tour

#CRYSTAL CASTLES TOUR FULL#

#CRYSTAL CASTLES TOUR CODE#

#CRYSTAL CASTLES TOUR PLUS#

), 1 236 Crystal Castle & Shambhala Gardens, 1 Tripadvisor 19.

#CRYSTAL CASTLES TOUR FULL#

over a full half-year later) in Ostersund, Sweden. Crystal Castle & Shambhala Gardens, Mullumbimby: (993. The international concert trek begins January 15 in Auckland, New Zealand, and won’t wrap up until July 27 (i.e. Contact us to report a problemįor Crystal Castles' latest music, news, and tour dates, check out their Zumic artist page. Keeping their touring mojo going through the new year, Crystal Castles have announced a host of winter, spring and summer dates. Sorry, no future events are currently in our system. Keep in mind, each date can be different and details are subject to change. However, Crystal Castles' official site does appear to be missing some dates and some ticket links are not working. We recommend following Crystal Castles on social media and going to their official website, in addition to checking your local venue, to get the most up-to-date information. Even being credited as producer for the Crystal Castles track Their Kindness Is Charade.

#CRYSTAL CASTLES TOUR CODE#

There is no public presale code we're aware of yet, but the Live Nation Mobile App presale offer code is COVERT. Recently featured in the Devolver Digital video game RUINER Soundtrack S&S has worked with & played shows with bands such as Crystal Castles, HEALTH, Brothel, Levitte and many others. Find concert tickets for Crystal Castles upcoming 2022 shows. Click the links below for the show you’re interested in. These are small family operations that have been passed down over several generations. For the newly announced dates, ticket sales begin as early as Friday, July 8 at 10 AM ET. We source all of our unique crystals from Crystal Castle friends all over the world including Madagascar, Brazil, Uruguay, Mexico, China, and Morocco. The first song was " Frail," released in 2015 WHEN DO CRYSTAL CASTLES 2016 WORLD TOUR TICKETS GO ON SALE AND WHAT IS THE PRESALE CODE?įor many concerts and festivals, tickets are already on sale. #5.Indie pop electronic darlings Crystal Castles have announced an extensive 2016 world tour, which will be their first extended run of concerts since Edith Frances replaced Alice Glass as the group's lead singer.Įarlier this week, the group released a music video for a new song called " Concrete," which is the second song to feature Edith Frances. Want to check out Crystal Castles live but don’t know where to start? Here is our top five tunes to get you familiarized with the band. The band came into existence in 2004 and has since then released a number of EPs featuring experimental music. It consists of Alice Grass, the lead vocalist and Ethan Kath, the producer and mixer. Crystal Castles Tour Dates 2016Ġ3/11: New Orleans, LA Buku Music + Arts ProjectĠ3/13: Santa Ana, CA Burgerama – The Observatory OCĠ4/02: Athens, GA Slingshot Festival, Georgia TheatreĠ7/22: Seattle, WA Capitol Hill Block PartyĠ8/05: Castellon, Spain Arenal Sound FestivalĠ8/26: Reading, England Reading & Leeds FestivalĠ8/27: Leeds, England Reading & Leeds Festival Crystal Castles TicketsĬlick here for a full listing of Crystal Castles tickets. Crystal Castles is an electronic dance music group from Toronto. In keeping with the festival theme, Crystal Castles is also included on the Spring Awakening lineup, Capitol Hill Block Party, and are on tap for the Reading & Leeds Festival(s) on August 26 and 27. Formed in 2003, the duo released their eponymous debut album in 2008, which was followed by ‘Crystal Castles (II)’ in 2010 and. Crystal Castles are a Canadian experimental electronic duo consisting of vocalist Edith Frances, who replaced Alice Glass, and producer Ethan Kath. The tour kicks off on March 11 at Buku Music + Arts Project in New Orleans, followed by a couple SXSW showcases and a stint at Ultra Music Festival on March 19. Crystal Castles Tickets, Tour Dates & Concerts 2022/2023.

#CRYSTAL CASTLES TOUR PLUS#

Enter Edith Frances, who will joint Ethan for an upcoming tour, plus the release of new material later this spring. Luckily, the brains behind the outfit–Ethan Kath–is still around, and has recruited another member to sing distorted vocals for him. Nobody’s heard much from Crystal Castles since half the group, Alice Glass, left the band in October 2014.

[xxbakacoconutxx]

So here’s a nice little interview with Tobias where he talks about Copia, changing characters, the three times Papa III fell, a common nightmare, horror movies with his kids and horror movies in general. The volume is pretty low, so I’ve typed everything out below the read more!

Nudge: This is Nudge on the bus here with Tobias Forge. It is an honor to be here, sir. Thank you for creating an entire universe with your music.

Tobias: Thank you for enjoying it. [laughs]

Nudge: I’ve enjoyed it from the very start. Now, I wanna start out in the – Cardinal Copia… Your backstory with him, he won the most employee of the month awards from Papa Nihil. What kind of crazy stuff did he have to do for that?

Tobias: Uhhm…. For my well-being, I’m actually quite happy that I don’t know.

[Someone in the background laughs]

Tobias: I don’t want to think about whatever chores there are within the ministry that adds up to employee of the month. I don’t know exactly.

Nudge: You don’t know? But that’s alright.

[Someone in the background says “but I’m sure it’s hard work”]

Nudge: Speaking of hard, when you transition to another singer with Ghost, is it hard to say goodbye to that particular character? That front man?

Tobias: Uhm… I usually feel a bit ambivalent about that segment of… you know it’s always enthusias- like I’m always enthusiastic about making a new record, and also very very pumped about having a new release as much as any artist, I guess, and from a creative point of view, it’s always refreshing. And it’s exciting, but that bit is definitely putting a limiter on that excitement, unfortunately. But I’ve learned over the years, of doing it a couple times, that it’s just part of the program and uh….yeah. [laughs]

Nudge: Now Cardinal Copia is sticking around for a second album. At one point, he was called an imposter. Do you still feel he’s an imposter, or has he proved himself?

Tobias: I think he’s fine, I mean I think he’s cool. I would love- like also from the previous questions asked- to do it that way. [laughs] Because then that means you don’t have to change that much. But still, it’s like, also like reconfiguring the look of the band is also like a…it’s a hard thing to um… Imagine if your … it’s almost to the point where - if you’ve had a long, big beard and long hair for a long time and all of a sudden you shave everything off, it takes time to sort of like adjust to that because you have, you know, this picture in your head of what you’re doing and… but throughout all these years of doing Ghost it is a sort of a schizophrenic experience just because you are so distant. Me, personally, my own vision of myself does not correlate with what I see on a picture of us playing last night. It’s like this completely different being. So, adding to that is like when you’ve done the first few shows of a tour cycle and with a new costume and with the new look of the band it always feels a little bit like “ok, so this is what we are now?” [laughs] You know, it’s always a little strange.

Nudge: With new costumes, it’s been rumored that Cardinal Copia is still working hard at becoming a Papa. Are you excited for that movement? And getting promoted?

Tobias: Um, potentially yeah. Yeah, yeah I’m very curious to see where we’re going as well.

Nudge: what does he have to do to get promoted?

Tobias: [in a funny voice] oh, meters and meters of – [regular voice] no! [laughs] Uh, I dunno. Hard work and… that’s what it is. Hard work, and don’t fuck up.

[Someone laughs in the background]

Nudge: Has he fucked up in your opinion? On these last legs of the tour?

Tobias: No, I mean, I mean even compared to his brother in the past… uhm, no his brother- that was the previous guy… uh [laughs nervously] compared to the previous dudes, Cardi has not - so far - fallen off stage, which is a good thing.

[Someone is the background says “Oh I remember that video. Did that hurt?”]

Tobias: I-I wouldn’t know!

Nudge: He didn’t complain?

Tobias: He felt - like, Papa III fell three times. Three times was… like- hard. Like I remember there was one time at a festival in LA and that wasn’t very- it wasn’t involved with pain, but it was one of those where the air almost like [makes a coughing/wheezing noise]. And uh, the one on the Iron Maiden show where he fell into a hole on stage- or technically it was in between the two sort of thrusts – that could have ended very badly. Because it was a jack in the leg and would have been a jack in the back of the head hadn’t it been for the extra padding. So that could’ve ended very, very badly. And what else was it���?

Nudge: It was impressive that he went on and didn’t miss a beat after he got back up.

Tobias: Right, well we were lucky because we were doing it in between Mummy Dust and Monstrance Clock so there was the speech thing in between and had it been like just a dry start into the next song it would have been probably not doable. I had sit down and I was sitting on the edge of the stage just like “my god”, just feeling - like touching my leg and it was all numb and I could feel that it was all messed up underneath and it was bloody, and… and um, you know when you injure yourself sometimes you feel so nauseous? [Person in background says “yeah”] You’re about to- you know I was almost hurling like [makes pained noise] and you feel all shook up.

And the third time was in Leeds, of all places. We have these ego risers, which is basically just a box on stage - on the edge of the stage - with a little bit of grating on and then underneath you have like pyro and things that sort of- lights and stuff. But you can jump up on it, and we do that all the time, and this was a night like any other so we do that little bounce and you land with two feet on that box. But one foot was outside the box, so I just went like, almost head first down into the pit. And I sort of landed on all fours, sort of like a cat like [makes a “kch” sound] but I sort of hit my head on the mojo fence. Because you know, the barrier has like one um, sort like leg that it’s resting... um what do you call it… angular to sort of support the crowd. So, landing on all fours like that, but then hit my head right on the, on that little leg there.

Nudge: Speaking of horror stories, is there any mask horror stories? I find it impressive that performers wear a mask and go through all that. Is there one where it almost fell off or you lost it?

Tobias: oh, I thought you said whores- [laughs] no, no. Um, horror stories… well, I mean the most terrifying things that I usually dream about, which is a nightmare – which I know several others in the band also have, and I think it comes sort of with the fact that, I think most entertainers that are due to stand on stage at a certain time and prepare to do something dream this, it’s like – every now and then I dream that we’re sort of circling up before the show and we’re like “alright, go!” and everybody runs up to their positions and then you notice that you’re standing there in your civil clothing like “…no!” [laughs] uhm, but other than that, like…. Yeah, sneezing in it is not very cool.

[Someone in the background laughs]

Tobias: I’ve done that a couple times.

Nudge: [laughs] It’s trapped in it

Tobias: Yeah, yeah.

Nudge: Let’s go to the family side of you. You don’t get a lot of time at home, so I’d like to know: when you’re home what kind of family fun activities do you enjoy?

Tobias: One thing that I enjoy now which I’ve been waiting for, for years- I’ve always been, I mean, I come from a very liberal home, we’ve always been very… you know, my mom was very…allowing? And I had an older brother so I saw a lot of things that I maybe shouldn’t have seen. And many, many, many nights… mom sleeping on the couch and I’m seeing late night films with her sort of just sleeping next to me. And that could’ve been anything, like Scarface, Alien, you name it. Like all those things, when I was like 5, 6, 7, 8, 9. Um, Shining. So my relationship to a lot of these films are very, very- I connect it with my childhood, like I connect it with so many nostalgic things… And I guess I was a little quick sometimes with my kids, like “Yeah, Temple of Doom, sure” like, and it-

[Someone in the background says “yeah, see a heart get ripped out!”]

Tobias: Yeah, and basically that scene was just like… caused like, a negative effect and like… “What’s…? This is like a matinee Lucas/Spielberg film…?”

[Someone in the background says “Rated PG!”]

Tobias: Yeah, yeah, like, totally fine! But now they’re 10 and my son has been - started to show real interest in horror films. He’s like really into Chucky and Child’s Play and you know, he wants to see Friday the 13th and like, “I’m game!”

[Someone in the background says “Oh yeah!”]

Nudge: you have to take him to see the new Child’s Play movie that’s coming out.

Tobias: Yeah that’s the one that we haven’t seen.

[Someone in the background “It’s coming out in a few months I think. There’s a new trailer for it.”]

Tobias: Yeah, I hope it’s as humoristic as the other ones. But most films that’re being remade, they have a tendency to completely not be charming anymore and they’re just like filled with jump-scares and it’s just horrible from first to last second. And that’s not really cool. I mean, all the horror films that I love are sort of very well balanced where there are segments of just transportation. So they’re just, you know there’s just better pacing in the old film.

Nudge: Alright, final question: what is your favorite horror film? Or a couple?

Tobias: My favorite ones… if I’m just going for like, for pure quality, it’s definitely the big cinematic releases like Jaws, Silence of the Lambs, Shining, Omen, The Exorcist, like the real films done by directors who don’t normally do horror films because that tends to get better that way. But on the other hand, I’m a big fan - from an entertainment point of view - of the more specialized like, genre directors. But those films have a lot of other qualities. It’s not techn- they’re not necessarily like, the best films.

[Someone in the background says “Mmhmm, like B movies”]

Tobias: Right! Yeah, yeah, yeah. That I really enjoy. Um, but yeah I mean I like a lot of the Italian like- old- like Fulci, like stuff like that. And not throwing him under the bus in any way, I think a lot of his films are fantastic, but they do not compare to Kubrick. It’s like a completely different level. So I sort of differentiate between like, here you have the “A grade”, big cinematic, fuckin box office success films, and then you have all of the cult films. They’re sort of two different things. And a lot of the things I grew up watching as well, that I have like a very fond memory of seeing, that I used to obsess about when I was a kid as well, like Friday the 13th and Texas Chainsaw Massacre is obviously – obviously that’s, even though it’s not a huge budget film, that is obviously very good. I think Terror - we say Terror in Sweden because it’s called Terror on Elm Street - but Nightmare on Elm Street, the whole Freddie series – especially the first four… three…. four films - I’d say is really cool. Every time I’m in LA I always swing by that, the house that’s on Genesee Street just because it’s like “there it is!”

[Someone in the background chuckles]

Nudge: Well I appreciate the time, man. Thank you so much for what you do. I appreciate it, and have a good show tonight.

[blackkudos]

Muddy Waters

McKinley Morganfield (April 4, 1913  – April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who is often cited as the "father of modern Chicago blues", and an important figure on the post-war blues scene. His style of playing has been described as "raining down Delta beatitude".

Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess.

In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included "Hoochie Coochie Man", "I Just Want to Make Love to You" and "I'm Ready". In 1958, he traveled to England, laying the foundations of the resurgence of interest in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960.

Muddy Waters' music has influenced various American music genres, including rock and roll and rock music.

Early life

Muddy Waters' birthplace and date are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but other evidence suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. In the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915.

His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.

He had his first introduction to music in church: "I used to belong to church. I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall.

Career

Early career, 1941–1948

In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled for Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it.'" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.

In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Mudddddddy Waters open his shows in the rowdy clubs where Broonzy played. This gave Muddy Waters the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."

Three years later, in 1946, he recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra - Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.

Commercial success, 1948–1957

Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready"

Waters's band became a proving ground for some of the city's best blues talent, with members of the ensemble going on to successful careers of their own. In 1952, Little Walter left when his single "Juke" became a hit, although he continued a collaborative relationship long after he left Waters's band, appearing on most of the band's classic recordings in the 1950s. Howlin' Wolf moved to Chicago in 1954 with financial support earned through his successful Chess singles, and the "legendary rivalry" with Waters began. The rivalry was, in part, stoked by Willie Dixon providing songs to both artists, with Wolf suspecting that Waters was getting Dixon's best songs. 1955 saw the departure of Jimmy Rogers, who quit to work exclusively with his own band, which had been a sideline until that time.

During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.

Performances and crossover, 1958–1970

Muddy toured England with Spann in 1958, where they were backed by local Dixieland-style or "trad jazz" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Muddy Waters' performance, which included his electric slide guitar playing. He recalled:

They thought I was a Big Bill Broonzy [but] I wasn't. I had my amplifier and Spann and I was going to do a Chicago thing. We opened up in Leeds, England. I was definitely too loud for them. The next morning we were in the headlines of the paper, 'Screaming Guitar and Howling Piano'.

Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac.

In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, Muddy Waters recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.

In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. The Super Super Blues Band, bringing together both Wolf and Waters, who had a long-standing rivalry, was, as Ken Chang wrote in his AllMusic review, flooded with "contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck". In 1968, at the instigation of Marshall Chess, Muddy Waters recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy himself:

That Electric Mud record I did, that one was dogshit. But when it first came out, it started selling like wild, and then they started sending them back. They said, "This can't be Muddy Waters with all this shit going on – all this wow-wow and fuzztone."

Nonetheless, six months later Muddy Waters recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians.

Later in 1969, Muddy Waters recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.

Resurgence and later career, 1971–1982

In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy's return to form and the completion of his transfer to white audiences.

In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for They Call Me Muddy Waters, a 1971 album of old, but previously unreleased recordings.

Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy Waters was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.

He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. In November 1976 he appeared as a featured special guest at The Band's Last Waltz farewell concert, and in the subsequent 1978 feature film documentary of the event.

From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy "Mississippi" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as Muddy Waters' comeback album.

In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter and Buddy Miles, and played classics like "Mannish Boy", "Trouble No More", and "Mojo Working" to a new generation of fans. The performance was made available on DVD in 2009 by Shout! Factory. On November 22, he performed live with three members of British rock band the Rolling Stones (Mick Jagger, Keith Richards & Ronnie Wood) at the Checkerboard Lounge, a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman. A DVD version of the performance was released in 2012.

In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.

Personal life

Muddy Waters and his longtime wife, Geneva Wade (a first cousin of R. L. Burnside) were married in Lexington, Mississippi, in 1940. She died of cancer on March 15, 1973. Gaining custody of two of his children, Rosalind and Renee, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he travelled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979.

His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017, his younger son, Joseph "Mojo" Morganfield, began publicly performing the blues, occasionally with his brothers.

Death

Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was transported from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois. There he was pronounced dead at the age of 70. The funeral service was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. Muddy Waters is buried next to his wife, Geneva.

After his death, a lengthy legal battle ensued between Muddy Waters' heirs and Scott Cameron, his former manager. In 2010, Muddy Waters' heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.

Legacy

Two years after his death, the city of Chicago paid tribute to Muddy Waters by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". In 2017, a ten stories-mural commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra was painted on the side of the building at 17 North State Street, at the corner of State and Washington Streets.The Chicago suburb of Westmont, where Muddy Waters lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".

In 2008, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. He also received a plaque on the Clarksdale Walk of Fame.

On June 25, 2019, The New York Times Magazine listed Muddy Waters among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Influence

The British band The Rolling Stones named themselves after Muddy Waters' 1950 song "Rollin' Stone". Jimi Hendrix recalled that "the first guitar player I was aware of was Muddy Waters. I first heard him as a little boy and it scared me to death". The band Cream covered "Rollin' and Tumblin'" on their 1966 debut album, Fresh Cream. Eric Clapton was a big fan of Muddy Waters while growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", is based on the Muddy Waters hit "You Need Love" (written by Willie Dixon). "Hoochie Coochie Man", was covered by Allman Brothers Band, Humble Pie, Steppenwolf, Supertramp and Fear. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of Muddy Waters songs, including "Louisiana Blues", "Rollin' Stone", "(I'm your) Hoochie Coochie Man" and "I'm Ready" in collaboration with guitarists such as Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC, has cited Muddy Waters as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album. In 1981 ZZ Top guitarist Billy Gibbons went to visit the Delta Blues Museum in Clarksdale with The Blues magazine founder Jim O'Neal. The museum's director, Sid Graves, brought Gibbons to visit Muddy Waters original house, and encouraged him to pick up a piece of scrap lumber that was originally part of the roof. Gibbons eventually converted the wood into a guitar. Named Muddywood, the instrument is now exhibited at the Delta Blues Museum in Clarksdale.

Following his death, fellow blues musician B.B. King told Guitar World magazine, "It's going to be years and years before most people realize how greatly he contributed to American music." John P. Hammond told Guitar World magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves."

Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. Muddy Waters' 1970s recording of his mid-'50s hit "Mannish Boy" was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz. In 1988 "Mannish Boy" was also used in a Levi's 501 commercial and re-released in Europe as a single with "(I'm your) Hoochie Coochie Man" on the flip side.

[theoldfashionedsociety]

Old Fashioned Review #170 @MOJO_BAR Leeds.

Ride were one of the great shoegazing bands of the early 90s. Sadly the rise of Britpop put paid to their ambitions of bringing shoegazing guitar wonder to teh world... quite miraculously though they have recently reformed and in celebration of their superb concert at Leeds Beckett University the Brigadier and General Gibbs marched towards a Leeds drinking establishment where a confident young lady concocted several Old Fashioneds with Wild Turkey Rare Breed.

Her use of orange made the drinks have a strong citrus flavour and this was balanced out with a good balance of bitters, syrup, ice and lashings of Bourbon.

A very respectable 7/10 was therefore bestowed along with long lingering looks on her perfectly formed frame... we blame the bourbon!

[glitterarygetsit]

B, L, W, Z for the books and you ask!

Thank you! I already did L, so here are the others:

B: What’s your most expensive book?

I think it’s probably Cultures in Contact: Scandinavian Settlement in England in the Ninth and Tenth Centuries, which @corvus-pica-pica is currently looking after for me. If I remember correctly, it cost me £80 including postage in my second or third year of my undergrad (£80 is a lot for a book but it’s a fortune when you’re a student), but I then used it for pretty much every essay I wrote from that point onwards. When I bought it, it was pretty much the only volume of essays on Anglo-Scandinavian interaction available, and that’s my academic jam. There’s a lot more research in that field now, and sometimes I do regret not riding the topic as it grew more popular, but academia is not a healthy environment so I’m probably better off as a translator, which I am very good at and is a lot less stressful and exploitative. 

W: If you had to eat the same thing every day for a week, what would you choose?

I’m assuming this is for dinner, because frankly my breakfast is the same nearly every day anyway (v cronchy muesli mix and vanilla soy yoghurt). Um, I’m going to go with something like a veggie and tofu stir fry, because it’s got a bit of variety built in and won’t make me feel disgusting for a lack of green things. I’d also be sad if I got so sick of eating something I loved that I didn’t want it anymore. 

BUT here are my options if we’re living dangerously: 

The chicken soup my housemate reverse-engineered to be exactly like my the one my Zeide makes (seriously, my housemate/platonic life partner is the best) 

Or the tagliolini al tartufo pasta from our favourite Italian place (they scrape cheese shavings into the middle of a giant wheel of grana padano and set it on FIRE with grappa and then serve the melty deliciousness with shaved truffles and it costs twice as much as any other pasta on the menu but it’s WORTH IT). 

Khoresh fesenjaan, which is a Persian stew made of walnuts, pomegranate molasses, onions and chicken and it’s INCREDIBLE (I had to learn to make it myself after the restaurant in Leeds where I first tried it stopped making it because it takes about 4-5 hours, but again, WORTH IT) 

And for snacks, mojo picon olives, which are unbelievably delicious (they’re a Valencian thing and I have tried and failed to make them at home so I just look forward to them all year because I go to Valencia every January so my SAD doesn’t overwhelm me) and also baba ganoush, which has no right to be as delicious as it is when aubergines are so horrible and I don’t even like tahini.

Z: If you wrote a book, what would it be about?

The common thread in my favourite books is normal people being pulled into magical fantasy worlds just next to our own, so that would definitely feature. I’ve got a concept set in York which involves time travel, and another with a fairyland based on the Wieliczka salt mine, but I haven’t worked on either of those for a long time. Writing is super hard work and though I’d love to finish a novel I’m not sure I want to go through the process badly enough to give up that much of my free time.

[nuclearblastuk]

BLACK STAR RIDERS | Robert and Ricky on new single 'Tonight The Moonlight Let Me Down'

ROBERT AND RICKY ON NEW SINGLE 'TONIGHT THE MOONLIGHT LET ME DOWN' ANOTHER STATE OF GRACE IS OUT NOW 

"Another State Of Grace shows that there continues to be life beyond Lizzy..." Classic Rock - 7/8 "This is Black Star Riders’ best work!"

Mojo - 4/5  

"Courage, empathy…superior songwriting."

Planet Rock - 4/5  

"This changes everything...an album with the sort of pair you’ll only find on the biggest bull!"

Powerplay - 9/10 "Defines the very essence of classic rock..."

Vive Le Rock - 8/10

  "Another State Of Grace is the hard rock record of the year!"

Maximum Volume - 10/10 

Hard rock kingpins BLACK STAR RIDERS released their stunning new album Another State Of Grace last week via Nuclear Blast Records. In a new trailer released today, Robert and Ricky discuss new track 'Tonight The Moonlight Let Me Down'. Find out more about the lyrical content and how the track came together, here: youtu.be/zfp_PJuxDbg Another State Of Grace is available on CD, vinyl and vinyl picture disc, limited edition boxset and limited edition light green vinyl. Pre-order here: nuclearblast.com/blackstarriders-asog Watch Robert and Ricky perform an exclusive acoustic version of 'Ain't The End Of The World': youtu.be/Gz143L6ZckQ Watch the official video for 'Ain't The End Of The World': youtu.be/mv-tccUbm6U Another State Of Grace is a stunning collection of songs that will further develop the band’s burgeoning reputation as one of the most essential contemporary rock acts. Recorded at Sphere Studios in Burbank, California in February 2019, the album was produced & mixed by Jay Ruston (Stone Sour, Anthrax, Uriah Heep). Watch the official video for the title track, 'Another State Of Grace': youtu.be/1VVvp_jnUX8 

After a lengthy period off the road, Black Star Riders are back with a 15 date UK & Ireland Tour with special guests Stone Broken and Wayward Sons. The dates for the UK & Ireland tour are as follows:   Oct 10    Bristol - O2 Academy *^ Oct 11    Cambridge - Corn Exchange *^ Oct 12    London - O2 Shepherd's Bush Empire *^ Oct 13    Wrexham - William Aston Hall *^ Oct 15 – Dolans Warehouse – Limerick City, Ireland § Oct 16    Dublin - The Academy * Oct 17    Belfast - Limelight * Oct 18    Glasgow - Braehead Arena § Oct 19    Newcastle - O2 Academy *^ Oct 20    Nottingham - Rock City *^ Oct 22    Bexhill - De La Warr Pavilion *^ Oct 23    Bournemouth - O2 Academy *^ Oct 24    Cardiff - University (Great Hall) *^ Oct 25    Wolverhampton - KK's Steel Mill *^ Oct 26    Leeds - O2 Academy *^ Oct 27    Mancheste - O2 Ritz *^ Special guests: * Stone Broken | ^ Wayward Sons § BSR Only Tickets are on sale now: blackstarriders.com 

The band will then be hitting the road in Europe with support from Diamond Head and Waywards Sons. The EU tour dates rack up as follows: Oct 30    Roskilde - Gimle + Oct 31    Malmö - Kulturbolaget + Nov 01    Stockholm - Fryshuset Klubben + Nov 02    Gothenburg - Trädgår'n + Nov 03    Oslo - Vulkan + Nov 05    Tampere - Talo + Nov 06    Helsinki - The Circus + Nov 08    Borlänge - Liljan Nov 09    Esbjerg - Tobakken Nov 12    Hamburg - Markthalle +^ Nov 13    Köln - Die Kantine +^ Nov 14    Dresden - Reithalle Strasse E +^ Nov 15    Aschaffenburg - Colos-Saal +^ Nov 17    Zurich - Dynamo ^ Nov 18    München - Backstage (Halle) +^ Nov 19    Nürnberg - Hirsch +^ Nov 20    Prague - Nová Chmelnice ^ Nov 21    Leipzig - Anker +^ 

Special guests: + Diamond Head | ^ Wayward Sons Tickets are on sale now: blackstarriders.com ICYMI: Robert and Ricky sit down to tell us a bit about the new line-up and how they met Chad and Christian: youtu.be/vaSO2-KLRlw Robert and Ricky sit down to tell us more about the band's new single 'Ain't The End Of The World': youtu.be/GyySCAYOLfY Robert and Ricky explain how the band came up with the ideas for the new album’s packaging: youtu.be/rvet2BDKtBs Robert and Ricky on why the band decided to record at Sphere Studios: youtu.be/Is5upqZebPk Ricky and Robert discuss what it was like working with Jay Ruston: youtu.be/L0pjxhnb1UQ Robert and Ricky discuss the themes and inspirations for the album, in particular the title and how it came about: youtu.be/pSe9jDVp0t8 Robert and Ricky give us the lowdown on what fans can expect from this new album: youtu.be/72-aHyNj4Cw Robert and Ricky discuss what it was like working again with Meat Loaf's daughter, Pearl Aday on the track 'What Will It Take?': youtu.be/rlXW0B3Uo0Y Click here to download hi res images and posters... 

The band will be taking part in a series of in store performances and singings in the UK and Ireland this October. See below for details: Oct 10th - hmv 24/26 Broadmead & Upper Floors, 26/28 & 30 Broadmead, Bristol BS1 3HA @ 2pm Oct 11th - Fopp, 37 Sidney Street, Cambridge CB2 3HX @ 2pm Oct 12th - Fopp, 1 Earlsham Street, London WC2E @ 2pm Oct 16th - Tower Dublin, 7 Dawson St, Dublin 2 @ 12:30pm Oct 17th - hmv, 3-6 Donegall Arcade Belfast Northern Ireland BT1 1PT @ 2pm Oct 18th - hmv, Unit 167, Braehead Centre, Kings Inch Road, Glasgow G51 4BN @ 2pm  Oct 20th - Fopp, Broadmarsh Shopping Centre, 49 Broad Walk, The, Nottingham NG1 7LH @ 2pm Oct 23rd - hmv, 5/6 The Avenue, Commercial Road, Bournemouth, BH2 5RP @ 2pm Oct 24th - hmv, Unit 4, 53-57 Queens Street, Cardiff CF10 2AS @ 2pm Oct 25th - hmv, 8 The Gallery, Mander Square, Wolverhampton WV1 3NJ @ 2pm Oct 27th - hmv, Unit 92, Manchester Arndale Shopping Centre, Manchester M4 2HU @ 2pm  These are wristbanded events. Wristbands will be available with the purchase of a copy of the album Another State Of Grace from Friday 6th September onwards. Pre-order your copy of the album in store now to guarantee your wristband. More info: HMV: https://www.hmv.com/hmvlive/black-star-riders 

Tower: https://www.overdrive.ie/overdrive-presents-black-star-riders-exclusive-in-store-dublin-performance

[gazeta24br]

A espera finalmente acabou... Hoje Tim Burgess lança seu aclamado novo álbum Typical Music into the world! Para celebrar o lançamento, Tim compartilhou um vídeo animado e encantador para a faixa "Flamingo" criada pelo diretor premiado do BAFTA, Greg Mcleod aka myinkyhead. Comentando sobre o vídeo, Mcleod diz: "Tendo trabalhado com Daniel O'Sullivan antes, animando um filme para acompanhar sua faixa 'Honour Wave', ele me alertou de sua colaboração com Tim Burgess. Sendo um fã de longa data eu perguntei se ele gostaria de um filme para uma de suas músicas do seu próximo álbum, ele disse que sim e então eu me concentrei em sua faixa 'Flamingo' e saí de lá com um mundo estranho e colorido habitado por flamingos dançantes, e uma interessante bateria. Aproveite"! Clique AQUI para assistir.   Críticas para Typical Music: "22 faixas épicas... Typical Music apresentam Sparks-ish pop eletrônico, arranjos sumptuosos e psicodelia moderna, e se lança com todos a luxúria pela vida e a alegria de viver aparentemente sem limites de seu criador.” The Guardian – 4 estrelas **** “Com o Here Come The Warm Jets, Sparks e ELO entre os pontos de referência aqui, o otimismo e o controle de qualidade de Burgess nunca cai.” MOJO – 4 estrelas **** “Sua doce e adorável personalidade brilha em toda sua eclética e peculiar maravilha... Com 22 faixas é um trabalho de amor e uma alegria absoluta.” The Sun – 4 estrelas **** “O Solo de Burgess pode ser comparado ao tipo de pop off-kilter feito por XTC, Sparks ou pós Beatles McCartney. Em outras palavras, um pop muito bom de fato.” The Observer “Tim Burgess continua seguro de si mesmo e aventureiro. Typical Music é de longe seu projeto mais ambicioso até hoje: um pacote de tudo, do pop clássico ao funk squelchy e ao surf rock sci-fi... Uma viagem emocionantemente eclética. ” Shindig – 4 estrelas ****  “Nada típico de se ouvir aqui, apenas um artista sendo apaixonadamente prolífico.” The Arts Desk – 5 estrelas ***** “Tim Burgess atinge o êxtase psicodélico na maravilhosa 'Typical Music’.” Far Out Magazine – 4 estrelas ****  “Um dos conceitos mais completamente realizados de Burgess, e apresenta um brilhante senso de amor e adoração que reverbera em cada canção.” Consequence of Sound “Tudo menos música típica... as 22 canções ecléticas que abrangem psico-pop, rock eletro-speckled e Britpop mais direto.”SPIN Tim Burgess parte hoje para uma semana de eventos especiais para celebrar o lançamento da Typical Music. Cada evento contará com um convidado especial, incluindo Chardine Taylor-Stone (Big Joanie), Duglas T. Stewart (BMX Bandits) e Simon Raymonde (Bella Union), com Tim compartilhando histórias, novas músicas e assinando discos. Datas destes eventos e shows ao vivo no Reino Unido, abaixo:    Tim Burgess datas da turnê:  23 de Setembro – Bristol – Rough Trade Bristol  24 de Setembro – London – Rough Trade East  25 de Setembro – Nottingham – Rough Trade Nottingham Monday 26 de Setembro – Glasgow – Mono Cafe  27 de Setembro – Leeds – Crash (Brudenell Social Club)  28 de Setembro – Manchester – Piccadilly  29 de Setembro – Brighton – Resident  8 de Novembro – Bristol – Fleece  9 de Novembro – London – Lafayette  10 de Novembro – Manchester – Gorilla  12 de Novembro – Newport – Le Pub Typical Music é um álbum duplo de 22 faixas, um conjunto de canções que são tão expansivas e diversificadas quanto ricas: "OK, todos sabemos sobre álbuns duplos, certo?" começa Burgess, um apaixonado estudante de história pop e rock. "Historicamente, eles têm sido considerados como indulgentes. Mas cheguei à conclusão de que o que eu estava fazendo era o oposto disso. Eu queria dar às pessoas tudo o que eu tinha feito. E tudo o que eu trouxe para o estúdio e trabalhei com os caras, pintei todos de igual para igual. Cada ideia era tratada como se fosse a melhor coisa e tinha que ser tratada com extremo cuidado. Eu queria dar tudo de mim. Era isso".   Burgess passou 30 dias no estúdio com Thighpaulsandra e Dan

iel O'Sullivan. O primeiro é o autenticamente lendário tecladista, sintetizador e produtor que tocou com Coil, Julian Cope e Spiritualized. Este último é o ex-multi-instrumentista do Grumbling Fur que lançou discos no selo Burgess’s O Genesis e é membro de sua banda ao vivo. Dave Fridmann então espalhou sua magia sobre o álbum, misturando todas as 22 faixas.   "Eu só queria mais", enquanto sorri. "Eu queria desafiar a todos nós". Eu queria fazer mais coisas eletrônicas. Eu queria expandir o som. Estávamos limitados no que podíamos fazer por causa do Covid, mas tínhamos orquestras em nossos cérebros. Mas o fizemos apenas como nós três".   Para destacar apenas três canções de Typical Music: "Revenge Through Art" é um funk solto. A 'Kinetic Connection' oferece um psyche-pop cintilante, uma eletrônica perspicaz tecendo dentro e fora do piano. Take Me With You' é uma canção de amor e de alma. "Voltei a me apaixonar pelo mundo", explica ele sobre as origens líricas deste último. "Durante a Covid, eu li uma pilha de livros, fiquei melhor na guitarra". Eu tinha uma nova perspectiva. Eu queria aprender a ser o Tim Burgess, que faz discos solo. As pessoas têm uma visão de mim como o cantor em The Charlatans. Isso não vai mudar. Depois há a mim como o cara do Twitter. Mas eu me apaixonei pelo mundo novamente e queria que o mundo me levasse com eles".   Juntos os três músicos criaram um cosmos multicolorido, criado quando o mundo exterior era tão preto e branco e abatido. "Esse era totalmente o objetivo", afirma Tim Burgess. "Em meus pensamentos mais distantes, pensei nisso como se tivéssemos construído uma nave espacial totalmente selada, uma tripulação de três pessoas. E só queríamos transcender a lama". Typical Music promete ser uma viagem. Typical Music artwork and tracklist: 1. Here Comes The Weekend 2. Curiosity 3. Time That We Call Time 4. Flamingo 5. Revenge Through Art 6. Kinetic Connection 7. Typical Music 8. Take Me With You 9. After This 10. The Centre Of Me (Is a Symphony Of You) 11. When I See You 12. Magic Rising 13. Tender Hooks 14. L.O.S.T Lost / Will You Take a Look At My Hand Please 15. A Bloody Nose 16. In May 17. Slacker (Than I’ve Ever Been) 18. View From Above 19. A Quarter To Eight 20. Sooner Than Yesterday 21. Sure Enough 22. What’s Meant For You Won’t Pass By You

[pcnmagazine]

St. Paul & The Broken Bones - UK Shows July - New Album 'The Alien Coast' Out Now

St. Paul & The Broken Bones – UK Shows July – New Album ‘The Alien Coast’ Out Now

ST. PAUL & THE BROKEN BONES  UK SHOWS JULY  NEW ALBUM ‘THE ALIEN COAST’ OUT NOW “Fever dream convergence of soul and psychedelia, stoner metal and funk” Mojo “R&B from another planet” Uncut St. Paul & The Broken Bones, who released their new album ‘The Alien Coast’ earlier this year, will perform a string of UK shows in July. Tickets available here. TUES 26TH JULY – LEEDS, BRUDENELL SOCIAL…

[sportearly]

They’re both comfortable on the ball - Whelan names 2 Villa players who have improved most under Gerrard

They’re both comfortable on the ball – Whelan names 2 Villa players who have improved most under Gerrard

They’re both comfortable on the ball – Whelan names 2 Villa players who have improved most under Gerrard Under Steven Gerrard, Aston Villa appear to be rediscovering their mojo, with the Villans winning each of their previous three Premier League games. Noel Whelan, a former Leeds United striker, has picked two players who have made the most progress under their new boss. They’re both…

[moochilatv]

Nuevo álbum doble de Johnny Marr

Fever Dreams Pts. 1-4

Johnny Marr lanzó su nuevo álbum doble “Fever Dreams Pts 1-4” y para celebrarlo comienza una gira de una semana de apariciones en tiendas de discos independientes de todo el Reino Unido.

Ya se encuentra disponible en todas las plataformas: https://johnnymarr.lnk.to/feverdreamspt1-4PR

En esta gira de siete paradas, Johnny se reunirá hoy con sus fans en Piccadilly Records de Manchester, antes de visitar desde 28 de febrero al 3 de marzo,  Rough Trade East y West de Londres, Resident Records de Brighton, Rough Trade Nottingham, Bear Tree Records de Sheffield y Jumbo Records de Leeds.

“Fever Dreams Pts 1-4", que incluye los singles ‘Night and Day’, ‘Tenement Time’, ‘Sensory Street’ y ‘Spirit, Power and Soul’, ya ha recibido numerosos elogios de la crítica. Descrito como "el álbum más ambicioso de su carrera" por la revista UNCUT, "una aventura épica" por MOJO, "estupendo" por The Observer, "material impactante" por Rolling Stone UK, "rebosante de melodía e impulso" por Record Collector, y, "en el cuarto disco en solitario, Johnny Marr ha puesto el dial en 'épico'" por DIY Magazine.

Al reflexionar sobre el nuevo lanzamiento, Johnny dijo: "hay un conjunto de influencias y un sonido muy amplio que he estado desarrollando realmente desde que salí de The Smiths hasta ahora, y lo escucho en este disco. Hay muchos hilos de música en él.  No lo hicimos conscientemente, pero creo que tengo un vocabulario sonoro y me siento muy satisfecho de haber sido capaz de aprovecharlo.  Es un disco inspirado y no podía esperar a entrar a grabar cada día. Todavía tengo esa sensación de que es un privilegio hacer discos, casi siento el deber de llevar la guitarra, y una actitud guitarrera, a la vanguardia de lo que creo que es la música moderna".

Johnny Marr regresará a los escenarios, encabezando el Festival de Música de la BBC Radio 6 en Cardiff el 3 de abril, antes de unirse a Blondie como invitado especial en su gira "Against The Odds" durante abril y mayo, incluyendo el O2 Arena de Londres, antes de participar en la gira de The Killers por los Estados Unidos desde agosto hasta octubre. Las entradas están disponibles aquí.

Actualmente el último single de Johnny"Night and Day" se encuentra en la lista de reproducción de Radio 2 y 6 Music de la BBC.  La canción se extrae del EP "Fever Dreams Pt 3" (la tercera parte de "Fever Dreams Pts 1-4"), que incluye cuatro temas nuevos, "The Speed Of Love", "Night and Day", "Counter-Clock World" y "Rubicon". El EP saldrá a la venta en una edición limitada de vinilo dorado el 20 de mayo, ordenalo aquí.

“Fever Dreams Pts 1-4” está disponible en CD y doble vinilo, y la tienda oficial ofrece una edición limitada exclusiva en vinilo blanco y cassettes, además de paquetes de merchandising con impresiones firmadas.  HMV y las tiendas de discos independientes también tienen una edición limitada en vinilo turquesa. Ordena el álbum aquí.

Fechas de firma en tienda de “Fever Dreams Pts 1-4”

Febrero:

Viernes 25 Piccadilly Records, Manchester (12.30PM)

Lunes 28 Rough Trade East, Londres (1PM)

Lunes 28 Rough Trade West, Londres (5PM)

Marzo:

Martes 1 Resident, Brighton (6.30PM)

Miércoles 2 Rough Trade, Nottingham (1PM)

Jueves 3 Bear Tree Records, Sheffield (1PM)

Jueves 3 Jumbo Records, Leeds (5PM)

2022 Fechas de la gira por el Reino Unido (con Blondie)

Abril 2022

Viernes 22The SSE Hydro, Glasgow

Sabado 24Motorpoint Arena, Cardiff

Martes 26 The O2 Arena, London

Jueves  28 The Brighton Centre

Viernes 29Bonus Arena, Hull

Mayo 2022

Domingo 1AO Arena, Manchester

Lunes 2Liverpool M&S Bank Arena

Miercoles 4First Direct Arena, Leeds

Jueves 5 Motorpoint Arena, Nottingham

Sabado 7Birmingham Utilita Arena

[speedyortizmusic]

did you know speedy ortiz is named after a character created by jaime hernandez for the comic book series love and rockets? those comics changed my life, and it’s so unbelievably cool to have a portrait of the band by jaime. pick up an illustrated poster while supplies last.  

Participating Stores (UK):

Rough Trade

Resident - 28 Kensington Gardens, Brighton BN1 4AL, UK

Piccadilly - 53 Oldham St, Manchester M1 1JR, UK

Jumbo - Merrion Street, 1-3 Merrion Centre, Leeds LS2 8NG, UK

Drift - 103 High St, Totnes TQ9 5SN, UK

Participating Stores (US):

Music Millennium - 3158 E Burnside Street Portland, OR

The Record Exchange - 1105 West Idaho St Boise, ID

Easy Street - 4559 California Ave SW Seattle, WA

Graywhale - 1773 West 4700 South Salt Lake City, UT

Graywhale - 208 S 1300 E Salt Lake City, UT

Graywhale - 824 E 9400S Sandy, UT

Graywhale - 4062 Riverdale Rd Ogden, UT

Skips Records - 3215 W 11th Ave Eugene, OR

Silver Platters - 2930 1st Avenue South Seattle, WA

Silver Platters - 3715 196th St. SW, Lynnwood, WA

Silver Platters - 2616 Bellevue Way NE Bellevue, WA

Streetlight Records - 980 S Bascom Ave San Jose, CA

Streetlight Records - 939 Pacific Ave Santa Cruz, CA

Boo Boo Records - 978 Monterey Street San Luis Obispo, CA

Ear Candy - 624 S Higgins Ave Missoula, MT

Sonic Boom - 2209 NW Market Street Seattle, WA

Everyday Music - 1313 W. Burnside Portland, OR

Everyday Music - 1931 NE Sandy Blvd Portland, OR

Everyday Music - 3290 SW Cedar Hills Blvd Beaverton, OR

Everyday Music - 115 E. Magnolia Bellingham, WA

Everyday Music - 1520 10th Ave. Seattle, WA

Dimple - 2499 Arden Way Sacramento, CA

Watts Records - 1211 Grant Ave Novato, CA

Sound & Vision - 3444 Main St SLC, UT

Hungry Ear - 675 Auahi St Honolulu, HI

Groovacious Platters - 195 W 650 S Cedar City, UT

The Long Ear - 1620 N Government Way Coeur D'alene, ID

Resurrection Records - 921 W Northwest Blvd Spokane, WA

Obsession Records - 2213 E Tudor Rd #53 Anchorage, AK

Siren Records - 527 Ramona Avenue Monterey, CA

Jackpot Records - 3574 SE Hawthorne Blvd Portland, OR

Albums on the Hill - 1128 13th St Boulder, CO

Amoeba - 1855 Haight Street San Francisco, CA

Amoeba - 2455 Telegraph Ave Berkeley, CA

Cactus Music - 2110 Portsmouth Ave Houston, TX

Euclid - 19 N Gore Ave, St. St. Louis, MO

Fingerprints - 420 E. 4th St. Long Beach, CA

Freakbeat - 13616 Ventura Blvd Sherman Oaks, CA

Good Records - 1808 Greenville Ave Dallas, TX

Guestroom - 125 E Main St. Norman, OK

Guestroom - 3701 N. Western Ave OKC, OK

Independent - 3020 Platte Ave Colorado Springs, CO

Josey Records - 2821 Lyndon B Johnson Fwy #100 Farmers Branch, TX

Josey Records - 1814 Oak St. Kansas City, MO

Lou’s Records - 434 N Coast Highway 101 Encinitas, CA

Mills Record Co - 4045 Broadway Blvd. Kansas City, MO

Moldy Toes - 221 S Ola Vista San Clemente, CA

M-Theory - 827 W Washington St, San Diego, CA

Ralph’s Records - 3322 82nd St, Lubbock, Lubbock, TX

Rhino Records - 235 Yale Ave, Claremont Claremont, CA

Salzer’s - 5777 Valentine Rd, Ventura, TX

Stinkweeds - 12 W Camelback Rd Phoenix, AZ

Vintage Vinyl - 6610 Delmar Blvd. St. Louis, MO

Vinyl Renaissance - 7932 Santa Fe Dr. Overland, KS

Vinyl Renaissance - 111 S 9th St Columbia, MO

Zia Records - 3839 N 16th St. Phoenix, AZ

Bull Moose - 219 Waterman Drive, Attn: Sebastian Grass South Portland, ME

Scotti’s Record Shop - 351 Springfield Ave, Summit, NJ

Songbyrd - 2475 18th St NW, Washington, DC

Main Street Music - 4444 Main St Philadelphia, PA

Darkside Records - 611 Dutchess Turnpike Arlington, NY

Record Archive - 33 1/3 Rockwood St, Rochester, NY

Vintage Vinyl - 51 Lafayette Rd Fords, NJ

The Sound Garden - 1616 Thames St Baltimore, MD

Princeton Record Exchange - 20 S Tulane St Princeton, NJ

Angry Mom Records - 115 E State St Ithaca, NY

Creep Records - 1050 N Hancock St #76, Philadelphia, PA

Juke Records - 4526 Liberty Ave, Pittsburgh, PA

Hill & Dale Records - 1054 31st St NW #010 Washington, DC

Pure Pop - 115 S Winooski Ave Burlington, VT

Ka-Chunk Records - 78 Maryland Ave Annapolis, MD

Flat Black & Circular - 541 E Grand River East Lansing, MI

Reckless Records - 3126 Broadway Chicago, IL

Reckless Records - 26 E Madison Chicago, IL

Reckless Records - 1379 N Milwaukee Ave Chicago, IL

Shuga - 1272 N Milwaukee Ave Chicago, IL

Drastic Plastic - 1118B Howard St Omaha, NE

Toxic Beauty Records - 220 Xenia Yellow Springs, OH

Shake it - 4156 Hamilton Cincinnati, OH

Homer’s - 1210 Howard St Omaha, NE

Strictly Discs - 1900 Monroe St Madison, WI

Luna Music - 5202 N College Av Indianapolis, IN

Landlocked Music - 202 Walnut Bloomington, IN

Used Kids - 2500 Summit St Columbus, OH

Plaid Room Records - 120 Karl Brown Way Loveland, OH

Mile Long Records - 350 W Front St Wheaton, IL

Lucky Records - 126 S Market St Wooster, OH

Electric Fetus - 2000 4th Ave So Minneapolis, MN

Electric Fetus - 12E. Superior Duluth, MN

Exclusive Co - 318 E Main St Oshkosh, WI

Dearborn Music - 22501 Michigan Ave Dearborn, MI

Culture Clash - 4020 Secor Rd Toledo, OH

Laurie’s - 4639 N Lincoln Ave Chicago, IL

Finders - 128 N Main St Bowling Green, OH

Magnolia T- Pussy - 1155 N High St, Columbus, OH

Record Den - 7661 Mentor Rd Mentor, OH

ZZZ - 2200 Ingersoll Ave Des Moines, IA

Rolling Stone - 7300 W Irving Pk Rd Norridge, IL

Waiting Room - 113 W North Normal, IL

Wazoo - 336 ½ S State Ann Arbor, MI

Spoonful - 2960 N High St Columbus, OH

Down In The Valley - 8020 Olsen Memorial HWY Golden Valley Shopping Center Golden Valley, MN

Indy CD - 806 Broadripple Av Indianapolis, IN

Dave’s - 2604 N Clark St Chicago, IL

Lost Weekend - 2960 N High St Columbus, OH

Radio Kaos - 968 Min St Stevens Point, WI

Records Per Minute - 2579 High ST Columbus, OH

Karma Records - 21 N Post Rd Indianapolis, IN

Wooden Nickle Records - 3422 Anthony Rd Ft. Wayne, IN

Technique Records - 853 NE 79th Street Miami, FL

The End Of All Music - 103A Courthouse Square Oxford, MS

Criminal Records - 1154-A Euclid Avenue NE Atlanta, GA

Park Ave CDs - 2916 Corrine Dr Orlando, FL

Monster Music - 946 Orleans Rd Charleston, SC

Grimey’s - 1604 8th Ave S Nashville, TN

SchoolKids Records - 2237 Avent Ferry Rd Ste. 101 Raleigh, NC

Sweat Records - 5505 NE 2nd Ave. Miami, FL

Oz Music - 506 14th St, Tuscaloosa, AL

Arkansas Record Exchange - 4212 Mac Arthur N Little Rock, AR

Daddy Kool Records - 666 Central Ave St. Petersburg, FL

T-Bones - 2101 Hardy St Hattiesburg, MS

CD Cellar - 913 Noble St Anniston, AL

CD Central - 377 S Limestone Lexington, KY

Lunchbox Records - 825 Central Ave Charlotte, NC

Decatur CD - 356 W. Ponce de Leon Ave., Decatur, GA

Earshot - 3254 Silas Creek Pkwy Salem, NC

Wax N Facts - 432 Moreland Ave NE Atlanta, GA

Wuxtry - 197 E Clayton St Athens, GA

Wuxtry - 2096 N Decatur Rd Decatur, GA

The Groove - 1103 Calvin Ave Nashville, TN

East West Records - 4895 Orange Ave S Orlando, FL

Radio Active - 845 N Federal Hwy Ft. Lauderdale, FL

Seasick Records - 5508 Crestwood Blvd Birmingham, AL

Horizon Records - 2-A West Stone Ave, Greenville, SC

Central Square - 89 Central Sq, Santa Rosa Beach, FL

Guestroom Records - 1806 Frankfort Ave. Louisville, KY

Al Bums Record Shoppe - 4606 S. Main St.  Acworth, GA

Fantasyland Records - 360 Pharr RD. NE Atlanta, GA

Mojo Books & Records - 2540 E Fowler Ave Tampa, FL

Magnolia Records - 214 W. Magnolia Ave Knoxville, TN

Vinyl Tap - 2038 Greenwood Ave Nashville, TN