#beck signed lp

[mikethefanboy]

I Get Crazy With The Cheese Whiz After Meeting Beck Hansen! Autographs! Photos! And More!

Who here hasn’t gotten crazy with the cheese Whiz? Or Got a devil’s haircut in their mind? These are things to think about. I have been a huge fan of Beck’s for a long long time. His music has really stood the test of time and he’s been on constant rotation in my household. When I heard that Beck had a small concert here in Los Angeles, I knew I had to go check it out. I wasn’t able to score…

[bailey41]

Wolfwren Week 2023: Day 5 Band/Musician AU

I was thinking about the cover for Dua's new single, "Houdini," but that tongue thing was gonna be hard! In its place are parts Beck Hyperspace, and one Steely Dan album, cuz the title was irresistible. Colored and marbled 180gm LPs and EPs only, pls.

So Sabine got into a little substance abuse in high school, and musicianship and voice lessons helped with her recovery. Shin, the love of Sabine's life (obv), tinkered with guitars, her dad's Roland, and marinated in a vat of co-dependency until one of them had to leave for college.

They both grew up, glowed up and signed a 2-album deal with Universal after Shin graduated. They now live happily in Provincetown when they aren't on tour, and have a saluki, a husky and a tabby named Murley. Shin is still obsessed with DJ Spooky and developed an Hermès habit when the royalties kicked in. (She is the very proud owner of two Kellys, a Birkin in ostrich, and a vintage, oversized canvas one she got in Antwerp for 650 EUR after a gig. That's the story she gave Sabine anyway—and the price goes down with every telling.)

The also share a shrink, a Dr Huyang, who was born in British Hong Kong. He drives out from Boston once a month.

Photographer: Sylve Colless for the NLB image.

[singeratlarge]

HAPPY BIRTHDAY to one of my heroes Cliff Richard + 2 stories to tell: It’s still strange to me that Cliff Richard has sold millions of records, made movies, is a musical institution throughout the English-speaking world (and beyond), and is called “The English Elvis Presley,” yet he still barely registers in America. John Lennon said there was no British rock’n’roll worth listening to before Cliff. His back-up band, The Shadows (legends on their own), were led by trail-blazing guitarist Hank Marvin—who inspired a legion of young Brits to pick up a guitar, from Jeff Beck to George Harrison to Mark Knopfler.

In 1979 I became a big Cliff fan, and he became a role model to me for his disciplined, wide-ranging vocalizing, which matches his lifestyle He’s been making records since 1958, but I favor his gospel projects and post-1974 records with Bruce Britten and Alan Tarney. They remodeled his sound, re-inventing Cliff’s sound to reach audiences who favored New Wave, roots rock, and synth-pop.

2 STORIES: 1) I worked with Davy Jones (Monkees) for 20 years. At home he kept a stash of signed books and recordings from people he’d intersected with over the years—June Carter & Johnny Cash, Donovan, Mark Farner, Paul McCartney, Johnny Tillotson, etc. David had good stories to go with these items, but he fondly recalled that his first autograph came from Cliff. David was 12 at the time and said it was one of the few times he felt “starstruck” (little did David know he’d be signing countless autographs not long after).

2) In 1986 I was nudged to submit my song “Please Don’t Wait too Long” to Cliff with the aim of having him cover it. I contacted management, sent my LP and a cover letter, and the weeks passed. Right when I thought it was another pitch into the abyss, I received a kind letter from Cliff and his manager Bill Latham. They carefully critiqued the song and, while Cliff declined on doing it, he told me to send more tunes and to keep in touch. Then I got busy with a band and projects and didn’t follow through, but Cliff’s letter was a huge encouragement in a hectic time.

Here's a clip of Cliff from during the pandemic lockdown, and at age 84 he’s still out on the road!

HB CR and thank you for setting a high bar spiritually and creatively, and getting us to “move it!”

#cliffrichard #theshadows #hankmarvin #davyjones #monkees #johnnyjblair #happybirthday

[disappearingground]

Jenny Lewis: ‘My friends have heard some of the stories, but there’s some good ones I’ve been saving’

The Guardian June 4, 2023

The US singer-songwriter and former Rilo Kiley frontwoman on touring with Harry Styles, being happily single and the importance of joy – mostly in puppy form – in your life

By Kathryn Bromwich

One of Jenny Lewis’s many appealing traits is a certain kind of rock star insouciance. So when she was announced as the support act for Harry Styles’s North American tour in autumn 2021, prompting many of his fans to respond with: “Who the fuck is Jenny Lewis?”, the singer-songwriter created a Spotify playlist of the same name. It showcased the many highlights of her 20-plus-year career in music, from her days as frontwoman of indie rock band Rilo Kiley, through various side projects, to her current solo career making shimmering pop songs infused with country and 1970s rock (“The more she goes on … the more she sounds like one of the greats,” wrote Kitty Empire in these pages, about her last album, 2019’s On the Line).

Despite their initial misgivings, the fans “were amazing from show one”, says Lewis. She had just come out of the pandemic and total isolation – “I hadn’t even gone to a restaurant or done anything” – and found herself on the biggest stages she had ever played, arenas filled with thousands of new young fans. “I got pure love and support and total attention,” she recalls, speaking over Zoom from her home in Los Angeles, sunlight streaming in through the wall-to-wall windows behind her. “They make signs at the shows to get Harry’s attention, but about four shows in, someone in the crowd had a sign that said: ‘I’m here for Bobby Rhubarb.’”

Bobby Rhubarb is Lewis’s two-year-old cockapoo, a present from a poet friend named Serengeti and the subject of the first single from her fifth solo album, Joy’All (“I need a dog that’s hypoallergenic / In the poodle milieu and photogenic”). The song, Puppy and a Truck, came out of an online songwriting workshop organised by Beck and is a sweet, moving bop about being single in her 40s and finding a deep sense of fulfilment in her new life. “I don’t got no kids / I don’t got no roots,” she sings at the end, in a tone that could be read as wistful, or liberated, or both.

Shit gets real, there’s a lot of suffering, and how are you going to weather it?

This balance of emotions is a central tenet of Joy’All, an album that came out of lockdown and Lewis’s first opportunity to stop and process everything that had happened to her in the preceding years. “I think going through a big tragedy, or the loss of both of your parents, or the end of a long-term relationship,” she says of this time, “the common theme as a human being is just: shit gets real, there’s a lot of suffering, of varying degrees, and how are you going to weather it?”

During her time alone, she experienced “a spiritual shift – I realised that the pursuit of joy is a really important thing”. She found this in Bobby Rhubarb, who brought new rhythms to her daily routine and reminded her of the things that truly matter – “Like play and going on a walk.” She read books by Hermann Hesse, Raymond Chandler and Ram Dass, consumed “a lot of murder content” and grew two massive weed plants (“pleased to meet you, Mary Jane”, goes new track Love Feel).

Joy’All is an uplifting, layered album filled with ear-worming hooks and memorable lines, preceded by a spate of career-best singles such as Psychos (featuring what she calls the “ultimate Tinder profile description line: ‘I’m not a psycho / I’m just tryna get laid’”) and Giddy Up, a Kacey Musgraves-esque country-pop tune about taking a chance on romance, and cognitive dissonance. Throughout the LP, difficult events are balanced out by joyous ones: “the essence of life / is suffering” goes one line, later becoming “the essence of life / is ecstasy”. The pain of a breakup sits alongside the thrill of a new liaison; there are references to an encounter at an after-school party that “almost destroyed” her, but also to listening to Marvin Gaye with an “ice-cold Modelo”.

On our call, Lewis is engaging company, with a sparkling intelligence and a warm, easy laugh. With her feathered red hair and a T-shirt bearing the logo of the Beastie Boys label Grand Royal, she exudes an energy halfway between Stevie Nicks and Natasha Lyonne, interrupting herself with a joke when she feels she is coming across as too LA (she divides her time between there and Nashville). She was born in Las Vegas in 1976 and by the 1980s had a thriving career as a child actor, with roles in TV shows such as The Twilight Zone, The Golden Girls, Baywatch and Murder, She Wrote, as well as films including Pleasantville, Foxfire – opposite a young Angelina Jolie – and the now cult classic Troop Beverly Hills.

Lewis learned a lot during those years: memorising lines, accessing emotion while performing (“You have to think of the worst possible thing to make yourself cry, which is such an interesting thing for a brain that is still forming”). But by the early 00s she was out of that world. She has spoken openly about the trials she faced in childhood: her absent musician father, Eddie, and the heroin addiction of her Vegas entertainer mother, Linda. Lewis’s deceptively cheerful-sounding 2019 track Wasted Youth is about her mother spending her acting earnings first on buying, then selling drugs: “I wasted my youth / On a poppy, doo-doo, doo-doo, doo / Just for fun.” Their relationship broke down, with Lewis becoming estranged from her father and mother for many years. She reconciled with them before their deaths in 2010 and 2017 respectively.

Having some time and distance has given her perspective, allowed her to see things from their point of view as well as her own. “My attitude is good, in that I accept my mom for who she was. I understand that it was probably really hard for her and she did what she had to do to survive. I appreciate all of her choices, even if they weren’t the greatest choices.” She understands now that some addicts don’t get clean. “The recovery rate for heroin addicts – it’s a very small percentage. So the more I’ve learned about that, the more I can accept the whole thing.” She is still unearthing memories from that time; a memoir is in the works (Patti Smith’s Just Kids is a touchstone). “My friends have heard some of the stories, but there’s some good ones I’ve been saving,” she says, rubbing her hands together.

There were also, she adds, many amazing moments in her youth. “I think sometimes the good ones get overshadowed. But my mom was so charismatic and funny and cool. She was a hipster.” One moment in particular springs to mind: “She was in this rehabilitation centre after surgery and I went to visit her. And when I got to her room she was passed out with a peanut butter sandwich listening to Tame Impala. I was like: ‘How is she so cool?’ There were these absurd moments – the context was very serious, but there was always something funny going on.”

Lewis’s upbringing has been an endless source of material. Many of her songs with Rilo Kiley were verbatim accounts of the incredible characters in her mother’s orbit. “Blake [Sennett, Lewis’s then boyfriend and bandmate] and I would get together, he’d be playing guitar and I would just start reciting this stuff. He’d go: ‘Where the heck did you get this?’ And I was like: ‘Ah, never mind.’” A Better Son/Daughter is still the song she gets approached about most. “I’ve seen some tattoos [of it] as well,” shes says, “which is always incredible – it’s like, was that a mistake? But people really connect with that song and share their experiences with depression and addiction and their relationship with their parents.”

As well as the fans who have been with her from the beginning, Lewis now has a cohort of admirers who were too young to appreciate the music at the time. Early 00s female pop-punk acts such as Paramore and Avril Lavigne are now being reappraised; echoes of Rilo Kiley can be heard in the catchy, emotionally literate breakup songs of Olivia Rodrigo and Taylor Swift (the band’s hit Portions for Foxes was included in a list of 18-year-old Swift’s most listened to iPod songs). “It’s like the spin cycle on your washing machine,” cackles Lewis. “It’s the cool cycle: 20 years and suddenly you’re cool. You’re like, wait, you hated this shit back then.”

In addition to Rilo Kiley, Lewis has also been part of duo Jenny and Johnny – with former partner Johnathan Rice – and all-female indie supergroup Nice As Fuck, whose debut performance was at a Bernie Sanders rally in 2016. “I keep leaving behind versions of myself,” says Lewis. “The actor version, the girl in a band version, the start a band with your boyfriend version, the all-girl New York punk band version. I’m constantly starting these things and then moving forward.” While she loves collaboration and has learned a lot from it over the years – she has worked with the Postal Service, Vampire Weekend, Bright Eyes, She & Him, and Ringo Starr, who played drums on Heads Gonna Roll – for now she is happy having autonomy over her own work. “My relationship with my songwriting started out very solitary. I’ve only co-written with a couple of people. Mostly my boyfriends, whoever I’m going out with at the time. But now I’m totally free to do whatever I want to do creatively. What is interesting to me in a song might not be interesting to a collaborator, but I don’t really care because I’m writing more for myself.”

Maybe Elon Musk can throw a giant festival on Mars called CancelFest, where all the cancelled people go

Musician Ryan Adams did some early production work on her last album; he was later accused of sexual misconduct by several women. Lewis has talked about this on numerous occasions, standing in solidarity with his accusers, and is understandably keen to move on. “There’s a broader conversation on behaviour among rock’n’rollers and the bigger conversation of what to do with people who misbehave,” she says, choosing her words carefully. “I think we should all be accountable for our own behaviour. But I don’t think you can cast people out completely. There has to be some sort of rehabilitation process.” Her eyes crinkle into a smile. “Maybe Elon Musk can throw a giant festival on Mars called CancelFest, where all the cancelled people go.” She turns serious again. “It’s such a complex question. I don’t have an answer. There are some shady characters in the world but I sometimes hope they’re on their karmic journey, and they will figure it out, if not in this lifetime in the next – in a Buddhist context. But I don’t believe people are all bad.”

Like everyone who lived through the dubious gender politics of the early 00s, Lewis still has some thought patterns of her own to unlearn. “I think my generation, we assumed there was only one spot if you were a woman. So in being ‘just one of the guys’ I was kind of getting into the club. And you’d be very protective of your role within that because there were so few women.” On the Styles tour, when she introduced her song Just One of the Guys, she dedicated it to all the tomboys in the crowd. “I could feel my band cringing when I said that. And I thought: ‘Oh wow, I guess tomboy is not a term that we use any more.’ And then I looked it up and it’s got a totally negative historical meaning.” So she is adapting. “Here’s the thing: things are changing, language is changing. We just have to learn and accept the fact that we may not understand right away. I don’t have a problem with addressing people in a way that makes them feel comfortable. I don’t understand why people get pissed – do you want others to feel bad? It doesn’t make sense.”

One way in which society isn’t moving forward as fast as she would like is the pressure to have children and be in a relationship. “If you’re not, and you’re in your 40s, there’s this old maid thing. But I feel better now than I have felt in my life. I’m totally single and I’m in complete control of my creative output and my schedule – not to say that, you know, I don’t have my romantic dalliances.” She is on a dating app, largely for entertainment value (she points out the remarkable number of men who include photos of Larry David among their own pictures). She went on a date recently, which “ended up being very fun, even though he wasn’t the one”, she laughs. “He was wearing a Star Wars T-shirt when he walked up and I was like: ‘Oh, I’ve never seen Star Wars. This just can’t work.’”

Lewis has addressed the fact she doesn’t have children in a number of songs, something about which her feelings fluctuate. “The other day I had a visceral reaction to reading that Robert De Niro [just had] a baby and he’s 79. It’s the luxury of being a man or a Peter Pan – I also consider myself to be a sort of Peter Pan figure.” Most of her friends don’t have kids, but now some of the men are reaching their mid-40s and starting families. As a woman on the road for many years, there wasn’t a moment where she felt the need to stop and take care of a child.

“I’d never imagined myself as a bride or a mother. And, of course, there’s a little bit of fear when you come from a relationship like I had with my mom, which was very complex. So I didn’t care, didn’t care, didn’t care, and then when it’s no longer an option, there’s a sense of Fomo. But ultimately, I made this choice. And I’m totally good with it.” Her affection gets lavished on Bobby Rhubarb. “She gets all of my love and I treat her in all the ways I wish my mom had. So I just snuggle the shit out of her.”

In an interview with the NME a few years ago she talked about how, with confessional songwriting, you “can’t put the worms back in the can”. Are there any songs she wishes she could take back? “No. There are some interviews I wish I could put back in the can – not this one! – where I’m spouting off about cancel culture like a dumdum anyway, but I honour the work. Even songs that have been written about me that aren’t flattering. What you say later in an interview, that’s on you. I’ve talked about some personal things that I really wish I could take back, but no – the work is in amber for ever.”

[kulturegroupie]

In November 1968, Jimmy Page travels to New York with Peter Grant, armed with master tapes of the group's first album. Ahmet Ertegun, attorney Steve Weiss meet with Page and Grant at Atlantic's office (1841 Broadway, NY - November 11th, 1968). Jeff Beck is also in attendance, who was on his North American tour. They then travel to Miami for a short trip, including a fishing expedition.

A reported $200,000 advance is soon announced - a monumental sum at the time.

Official Press Review:

ATLANTIC RECORDS SIGNS ENGLAND’S HOT NEW GROUP, LED ZEPPELIN, IN ONE OF THE BIGGEST DEALS OF THE YEAR

Atlantic Records has signed the hot new English group, Led Zeppelin, to a long term, exclusive recording contract. Although the exact terms of the deal are secret, it can be disclosed that it is one of the most substantial deals Atlantic has ever made. Agreement for the group's services was made between Jerry Wexler, Executive Vice President of Atlantic Records, Peter Grant, manager of the group.

Led Zeppelin consists of four of the most exciting musicians performing in Britain today. They are Jimmy Page, leader of the group and lead guitarist; John Paul Jones, bassist, pianist, organist, arranger; John Bonham, drums; and Robert Plant, lead vocal and harmonica.

Jimmy Page is a former member of the Yardbirds, the group that spawned the careers of two other great musicians, Eric Clapton and Jeff Beck. Page joined the Yardbirds in 1966 and stayed with the group until it disbanded in the summer of 1968. Prior to joining the Yardbirds he was one of the busiest session men in London.

John Paul Jones is considered one of England’s finest arrangers as well as an outstanding bass player. He is the arranger of Donovan's “Mellow Yellow”, “Sunshine Superman”, and “Hurdy Gurdy Man”, and of the Rolling Stones' “She's a Rainbow”. Drummer John Bonham created a sensation with his drum solos, while accompanying Tim Rose on his British tour in early 1968. Vocalist Robert Plant is considered one of England's outstanding young blues singers, and has been involved in singing blues since he was 15. All of the members of the group are in their early 20s.

The pulsations surrounding Led Zeppelin have intensified ever since the group recorded its first (and as yet unreleased) album, which was produced by Jimmy Page, just a month ago in London. Top English and American rock musicians who have heard the tracks have called Led Zeppelin the next group to reach heights achieved by Cream and Hendrix. This Led Zeppelin LP will be released by Atlantic early in January.

Led Zeppelin is the eighth British group to be signed by Atlantic during the past 24 months. The others are Cream, Bee Gees, Julie Driscoll – Brian Auger & Trinity, The Crazy World of Arthur Brown, The Marbles, The Magic Lanterns, and Jimmy James & The Vagabonds.

— November 11, 1968

(From ledzeppelin.com)

[1962dude420-blog]

Today we remember the passing of Tommy Bolin who Died: December 4, 1976 in Miami, Florida

Thomas Richard Bolin was an American guitarist and songwriter who played with Zephyr, James Gang, and Deep Purple, in addition to maintaining a notable career as a solo artist and session musician.

Tommy Bolin was born in Sioux City, Iowa, United States, and began playing with a band called The Miserlous before he was asked to join another band called Denny and The Triumphs, in 1964 at the young age of thirteen. The band included Dave Stokes on lead vocals, Brad Miller on guitar and vocals, Bolin on lead guitar, Steve Bridenbaugh on organ and vocals and finally Denny Foote on bass & Brad Larvick on drums. They played a blend of rock and roll, R&B and the pop hits of the moment, and when bassist Denny Foote left the band to be replaced by the drummer's brother George Larvick Jr, they changed their name and became A Patch of Blue. An album was released in 1999, Patch of Blue Live! from two 1967 concerts in Correctionville, Iowa and in Sioux City. In 1999, the band was inducted in the Iowa Rock & Roll Hall of Fame.

Later in 1975, Bolin signed with Nemperor records to record a solo album. Bolin was encouraged and coached by The Beach Boys to do his own vocals on this album as well. Session players on this record included David Foster, David Sanborn, Jan Hammer, Stanley Sheldon, Jeff Porcaro, Phil Collins and Glenn Hughes (uncredited due to contractual reasons). During the recording of this album, he was contacted by Deep Purple.

After Ritchie Blackmore left Deep Purple, the band had a meeting and discussed whether to disband or try to find a replacement, and chose the latter option. David Coverdale had been listening to the Billy Cobham LP Spectrum, on which Bolin was lead guitarist for four songs. He decided he wanted Bolin in Deep Purple, and invited him over for a jam. He jammed with the band for four hours and the job was his. The band then relocated to Munich, Germany, to begin work on Come Taste the Band. Bolin wrote or co-wrote seven of the record's nine tracks, including the instrumental "Owed to G," which was a tribute to George Gershwin. Come Taste the Band was released in October 1975, and Australian, Japanese and US tours ensued. Bolin's solo album Teaser was released in November, but his obligations to Deep Purple meant he could not support his own album with a tour.

After Deep Purple disbanded in March 1976, Bolin was free to form the Tommy Bolin Band and he hit the road while making plans for a second solo album. The Tommy Bolin Band had a rotating cast of players which included Narada Michael Walden, Mark Stein, Norma Jean Bell, Reggie McBride, Jimmy Haslip, Max Carl Gronenthal and eventually Bolin's younger brother Johnnie Bolin on drums.

By mid-1976, CBS Records signed Bolin and he began to record Private Eyes, his second and last solo record, in June. The album was released in September, and a supporting tour ensued.

Bolin's tour for Private Eyes would be his final live appearances. He opened for Peter Frampton and Jeff Beck. In his final show, he opened for Beck on December 3, 1976 in Miami, and encored with a rendition of "Post Toastee." He also posed for his last photo, sitting backstage with Jeff Beck after the show, which appeared in Rolling Stone. The article in Rolling Stone stated, "Just before Bolin's final concert, Jon Marlowe of The Miami News, after an interview with the guitarist, told him, 'Take care of yourself,' to which Tommy replied, 'I've been taking care of myself my whole life. Don't worry about me. I'm going to be around for a long time.'" (Issue No. 230; page 14). Hours later, Bolin died from an overdose of heroin and other substances, including alcohol, cocaine and barbiturates. He is buried in Calvary Cemetery in Sioux City, Iowa

[dustedmagazine]

Listed: Lanterna

Photo by Theo Merritt (c) 2021

Lanterna is the ambient shoegaze project of Champaign, Illinois veteran Henry Frayne, who, in the 1980s, played with midwestern bands including The Syndicate, ¡Ack-Ack!, Area, and The Moon Seven Times. In her review of Frayne’s seventh album as Lanterna, Hidden Drives, Jennifer Kelly noted that, “It hits a sweet spot in the overlap between ambient meditation and propulsive groove.” Here are some of the songs and artists that inspire Frayne.

The Past Seven Days — “Rain Dance”

I joined a Champaign band called ¡Ack-Ack! in 1984 and in addition to learning about group composition I gained access to their mix tape library and LP collection. One song on a mixtape was “Rain Dance,” a curiously long song for a 7" from a band that only released one 7".

A song with a guitar part that is almost all harmonics is stunning. Also, the dark and unsettling drones that hover at the edge of the sonic space (with indistinct voices and the insistent beat.) I’m not sure how many other guitarists it inspired but I have to say I did eventually end up recording a song using only harmonics. After all these years I am hearing the slow fadeout for the first time and those rather discordant notes at the very end.

Tubeway Army — “Me! I Disconnect From You”

My father always returned home from his travels with an LP for me from the places he had visited. In April of 1979 he and my mom were coming back from Europe and meeting me at my grandparents’ house in Riverside, NJ. I had been listening to a newly acquired copy of The Yes Album on an old console turntable when my father pulled out a copy of Tubeway Army’s Replicas from his luggage. He’d walked into a record shop in London before flying home and asked, “What's hot this week?”

One might wonder how this influential piece of vinyl affected me. How many copies of Replicas were in the US at that time? Did I start my own dystopian synth band in the garage when arriving in Maine that summer? Did I flee to the relative comfort of my progressive rock albums (where ironically the Minimoog had been in common use for some years!)? The answer is that Tubeway Army’s Replicas still sounds as mysterious as it did in the parlor of my grandparents’ house all those years ago.

StarCastle — “True To The Light”

My brother’s high school newspaper interviewed the resident local progressive rock band StarCastle in January of 1977 (at the local Champaign Pizza Hut on the U of I campus). My brother brought home the brand new Fountains of Light and I proceeded to put on Side 2 and was met with the heavenly flanged/chorused vocals of StarCastle’s “True To The Light.”

StarCastle were mostly local lads. Three of the members had graduated from my high school a few years before. They were signed to Epic Records at the time and recorded with Roy Thomas Baker (for two albums in one year). A friend delivered papers to their band house and hung out with them when they weren’t touring which was always! It was only in recently years that I’ve realized just how much StarCastle toured. They played with practically every band that passed through the Midwest and beyond in the mid-1970s.And it being the 1970s they thought nothing of releasing two RTB produced albums in the calendar year of 1977!

The StarCastle experience taught me that music on LP records can come from people who live in small towns just down the street from where one was playing Little League baseball.

The Chameleons — “On The Beach”

A blur of sound! It is still hard for me to believe that these songs were recorded in a conventional studio and not just sounds echoing through the glens captured by a bird watcher with a tape recorder in the Peak District.

Giles, Giles & Fripp feat. Judy Dyble — “I Talk To The Wind”

From reading about The Brondesbury Tapes it is apparent that they were recorded on a Revox reel to reel machine with the sound-on-sound function which allowed one to add a new part to an existing track (a function which could be repeated a number of times). This yielded a mono master, but it is in fact composed of multiple performances.

Before acquiring a Tascam 4-track I created songs using a Revox A77. As well as being able to create my first tape echo effects on the A77 it taught me a lot about mixing instrument parts together. It is fun to imagine the folks in Brondesbury Road going through the same process as I did to make this recording of “I Talk To The Wind.”

Blitz — “For You”

Another album borrowed from a member of ¡Ack-Ack!. It was the era of lightly chorused guitar and bass. I’ve always been in awe of the glassy sounding guitars on this track, and puzzled by the haltingly uncertain guitar solo near the end. One can feel the legendary ambience of Strawberry North throughout this track.

The Vertebrats — “Left In The Dark”

Sophomore year at Champaign Central High School a classmate started playing in a group called The Vertebrats. In December of 1979 I was in the audience in the chapel at the Red Herring Coffeehouse in Urbana, Illinois to see one of their earliest shows. The chapel would always sport a very reverberant sound but with vocals, two guitars (one a Fender Mustang favoring the treble pickup), drums, and bass it was an awesome experience. For one, there was someone I knew making this ruckus, in addition to the songs and particularly “Left In The Dark” being instant classics. I’d started seeing rock shows at the local arena the year before but never up close with the band playing at floor level. I had a handheld Sony tape recorder on loan during that time but sadly didn’t take it along to this legendary show.

The Beatles — “Only A Northern Song”

In June of 1974, following afternoon showings of The Seven Samurai, and Modern Times at the University of Illinois, my father and I did our usual rounds to the local new and used record emporiums. Record shops proper, but also The Salvation Army. It was here amongst the discarded shirts, slacks, pots, and pans that I spied the distinctive artwork of the Yellow Submarine soundtrack album. I’d seen the film a few years before when it was first in the theaters, and still had the songs buzzing in my head. Being able to listen to songs from a film at home was a new concept which I was willing to dive into. The band was most certainly not quite right but that was okay with me!

The Wild Flowers — “The Promised Land”

A purchase at Champaign’s Record Swap (still around, now in Urbana at Lincoln Square!) in the Fall of 1984. As was the case with The Sound’s Heads and Hearts, The Quaker would hand me an album from behind the counter and it would go on to influence me for years to come. My favorite guitar, bass, synth, and drum sounds of all time!

Yardbirds w/ Jimmy Page & Jeff Beck — Blow Up (1966)

With a father who taught film studies at the University of Illinois, it fell to him to once in a while check incoming acquisitions to the 16mm film library there. I’m sure that I didn’t see ALL of Antonioni’s Blow Up but I'm sure I bestirred myself from doing my grade school homework when the opening howl of “Stroll On” tore through the Frayne household one summer’s eve.

At the time I had no way of knowing that the chap on stage right was the very same guitarist playing some wicked (heavenly?) acoustic and electric guitar (including a Fender Electric XII) on a certain tune that WLS would be playing every hour on the hour for the next several years.

[tabloidtoc]

National Enquirer, November 16

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Jeffrey Epstein’s madam Ghislaine Maxwell’s nights with Prince Andrew and teen Virginia Roberts Giuffre

Page 2: Brad Pitt kicked married galpal Nicole Poturalski to the curb after getting flak from his ex Angelina Jolie -- Brad’s relationship with Nicole hit the skids after Brad decided he needed to shore up his image during his ongoing custody battle with Angie and his focus right now is to get his dad image back on track and give Angie no more ammo to fling back at him

Page 3: Tiger Woods’ romance with Erica Herman has gone off course over legal troubles and wedding pressure and bickering over where to live and Tiger is so fed up he’s considering ditching his nagging girlfriend in Florida and moving back to his native California -- Erica’s been pressuring him to put a ring on it ever since she moved into his Jupiter Island mansion and that’s something he just won’t do and she’s already taken over his household buying new furniture and remodeling the master bath and building a new closet and hiring a gourmet chef -- California is looking better and better to Tiger who only moved to Florida to play on its tough Bermuda grass which helped improve his swing but now Tiger’s ex Elin lives in Florida with their two kids 

Page 4: Miranda Lambert is scoffing at ex Blake Shelton’s newly announced engagement to Gwen Stefani and she’s convinced Blake’s third walk down the aisle has failure written all over it because she thinks Blake’s bad to the bone and this marriage will wind up being a total disaster and after the hell Blake put her through Miranda can’t imagine his life with Gwen would be any different, lifelong bachelor Simon Cowell has had a change of heart since his horrific August accident and he’s finally ready to tie the knot with baby mama Lauren Silverman -- after spinal surgery to repair his broken back the entertainment mogul feels lucky to be alive and walking and the one constant in his difficult rehab after surgery has been Lauren and he wants to pay her back with a ring 

Page 5: Train-wreck Wendy Williams’ wacky behavior has TV producers scrambling behind the scenes to find her replacement after her unhinged performance on a recent episode of her talk show where she slurred her words and rambled incoherently -- there had been a hope a chatfest helmed by Nick Cannon could be a safety net should the daytime diva who spent a stint in a sober living house last year not be able to continue hosting but plans for that were pushed back after the comic made anti-Semitic rants in a podcast -- they also tried Jerry O’Connell when Wendy was out for three weeks last year but he tanked with viewers -- Wendy’s a mess and it remains to be seen how long producers will be able to put up with her problems before they decide to pull the plug 

Page 6: Grey’s Anatomy star Ellen Pompeo hinted that she may be making her final rounds -- Ellen who has starred on the show since 2005 and makes $20 million a year admitted she’s considering slipping out of her scrubs after the current season 17 but her departure could spell the end of the beloved series and show creator Shonda Rhimes has said it’s unlikely the show could continue without her but Ellen has also expressed her desire to spend more time with her husband and their three children

Page 7: Mariah Carey’s brother Morgan blasted her memoir as filled with lies and distortions and he’s considering legal action -- the book called Morgan and sister Alison her ex-brother and ex-sister and Mariah wrote Morgan had a long history of violence and when she was six he slammed their mother into a wall -- Mariah also wrote her siblings and mother were heartless in terms of dealing with her as a human being and once she got famous they started treating her like an ATM with a wig on but Morgan is fighting back and looking to hire a lawyer

Page 8: Reese Witherspoon’s marriage to Jim Toth is in the muck after the stunning collapse of his new business venture and tensions are mounting in the Hollywood power couple’s already troubled union now that the streaming service Quibi crumbled after less than six months leaving content acquisition president Jim out of work while Reese’s star continues to rise and there’s a real balance of power that’s been building up and that’s put a serious strain on the relationship -- living in quarantine added to the stress between them as Reese has been holed up with her two kids with ex Ryan Phillippe Ava and Deacon and her son Tennessee with Jim at the family’s ranch in Malibu

Page 9: Dementia patient Kenny Rogers cut his three adult children out of his $250 million will and now sources fear the late country legend could have been tricked into signing the document -- Kenny left everything to his 16-year-old twins sons with fifth wife Wanda and the will also stated it was his intent to specifically exclude his daughter Carole with his first wife and son Kenny Jr. with third wife and son Christopher with fourth wife and their issue as beneficiaries of his estate -- Kenny Sr. would never disown his own children according to the source especially since the singer’s son Kenny Jr. is incorrectly referred to Kenny Rogers III throughout the will -- the wording is not like Kenny Sr. and something is not right and his older kids are thinking about contesting the will 

Page 10: Hot Shots -- Kate McKinnon shot a Saturday Night live skit in NYC, Sophia Bush hit the road in L.A. with her co-pilot pup Maggie, pregnant Jinger Duggar Vuolo in Venice with daughter Felicity, Heidi Klum walking the streets in her native Germany, Snoop Dogg saluted young rappers as he accepted BET’s I Am Hip Hop award 

Page 11: Unwitting Jennifer Aniston and Gerard Butler once dabbled in the secret sex cult NXIVM -- the organization masqueraded as a self-help group but in 2017 it was exposed as a pyramid scheme for founder Keith Raniere who forced high-ranking female recruits to become his sex slaves -- in 2010 Jen and Gerry who were dating at the time wound up at one of the introductory seminars but they were turned off by the level of commitment expected and never returned -- they thought it was just a networking opportunity and had no idea what they were getting themselves into, cash-crunched Gwyneth Paltrow is facing hard times like everyone else and is looking to change her free-spending ways -- the belt-tightening caused by the coronavirus pandemic has even hit her lifestyle empire Goop causing her to shut down the London branch and make hard choices for the future -- Gwyneth may be worth $100 million but she and husband Brad Falchuk spend money like it’s going out of style on private jets they use on a whim and they own a fleet of fancy cars and pay steep salaries for staff who are at their beck and call 24/7 and it’s all draining their bank accounts -- they’re looking at making cuts across the board from personal trainers and chefs and drivers to the masseurs and beauticians who come to their house several times a week -- plus the couple believe it’s a bad look for them to be living so high on the hog when the rest of the world is suffering during the pandemic

Page 12: Straight Shuter -- Angelina Jolie spent years developing her own version of the Hollywood classic Cleopatra and now she’s livid that Gal Gadot has stolen the Egyptian queen -- Angie’s dream was to play Cleopatra the role that made Elizabeth Taylor an icon and it was to be the part that won Angie an Academy Award for Best Actress and now that’s over thanks to Gal who will be playing the Queen of the Nile instead, after ABC scrapped plans to honor Regis Philbin with a prime-time tribute Jimmy Kimmel insisted on honoring Regis on Who Wants to Be a Millionaire?, MSNBC talking head Rachel Maddow is fleeing New York for her Massachusetts farm after hanging a $2.3 million price tag on her NYC pad but Rachel didn’t want potential buyers looking through all the personal stuff at her apartment so all the personal pictures and books and clothing and everything else was shipped out and replaced with staged furniture, Ariel Winter and her dog (picture) 

Page 13: Ailing Joni Mitchell opened up about how she’s still struggling to get back to her old self five years after a debilitating brain bleed -- after Joni was found unresponsive in her Bel-Air home in 2015 she said she was forced to relearn everyday tasks because the aneurysm took away her speech and her ability to walk and although she’s showing slow improvement she hasn’t been writing or playing the guitar or the piano, Randy Travis is defying all the odds as he plans the greatest comeback in country music history as he is making amazing progress after suffering a massive 2013 stroke that most believed would end his career forever and he was given just 1% chance of survival and even after he pulled through doctors believed he would be bedridden and unable to speak -- instead his grueling rehab efforts have miraculously put him on the road to realizing his dream of returning to the spotlight -- some of his motivation is financial; last year he sold his Nashville home and released his memoir which was fueled by his need to pay medical expenses after years of not being able to perform

Page 14: Hollywood Hookups -- Channing Tatum and Jessie J have split again, Cole Sprouse and Reina Silva dating, Kate Beckinsale and Goody Grace split 

Page 15: Ariana Grande is raising eyebrows with her raunchy new record Positions -- the former squeaky-clean Nickelodeon star who has been dating real estate agent Dalton Gomez spouted off X-rated odes to an unnamed lover on the LP, six months after sidelining her marriage to former quarterback Jay Cutler Kristin Cavallari admitted there are good days and bad days but insisted it’s been nice to be able to focus on herself and figure out who she is now and what she ultimately wants out of life, hotel heiress Kathy Hilton is joining The Real Housewives of Beverly Hills as a friend of the main cast which includes her half-sister Kyle Richards

Page 16: Crime 

Page 17: On Drew Barrymore’s talk show a psychic guest channeled the spirit of one of the host’s former in-laws but the man in question is very much alive -- medium Anna Raimondi told Drew she sensed the aura of a judge causing Drew to burst into tears and named David a relative of her ex-husband Will Kopelman claiming he’d passed but Judge David Kopelman is alive and still going strong -- Will slammed Anna was a submental hack and said he was surprised that Drew chose to give oxygen to someone like that

Page 18: American Life 

Page 20: Cover Story -- Prince Andrew is desperate to quash explosive testimony by his pedophile pal Jeffrey Epstein’s accused madam Ghislaine Maxwell but the socialite’s second secret deposition is torpedoing his return from royal exile -- after Ghislaine danced around details of her relationship with the disgraced Duke of York in testimony released a few weeks ago Andrew is sweating bullets about her second grilling under oath which contains details of their intimate friendship and nights with Epstein’s teen sex slave Virginia Roberts Giuffre 

Page 22: Don McLean viciously slammed ex-wife Patrisha Shnier as the worst person her ever knew but in their ongoing war of words she maintains he was abusive to her -- Don is still bitter over a 2016 domestic incident at their home in Maine that landed him behind bars and led to divorce after 30 years of marriage

Page 26: Matthew McConaughey confessed he nearly turned his back on Tinseltown to be a wildlife guide like late Crocodile Hunter Steve Irwin -- he made a splash in a string of blockbuster rom-coms in the ‘90s and ‘00s but he was eager to move on to meatier movies and even passed on a $14.5 million paycheck in 2010 to seek more substantial roles and the struggle left him considering other careers such as a wildlife guide, Jamie Foxx has been crushed by the death of his beloved sister DeOndra Dixon who was born with Down syndrome

Page 28: Good Catch -- Bachelor stars who are still up for grabs -- Jon Hamm, Owen Wilson, Drew Carey

Page 29: Benicio Del Toro, Ryan Seacrest, Matthew Perry, some stars seem to say I do at the drop of the hat -- Larry King, Jerry Lee Lewis, Billy Bob Thornton 

Page 32: Olivia Munn was caught on camera flashing what looked like engagement bling on her left ring finger as she exited a gym following a morning workout in Los Angeles but she reportedly broke up with boyfriend Tucker Roberts last year leaving fans wondering who bought the stunning sparkler 

Page 36: Health Watch 

Page 42: Red Carpet -- Michelle Pfeiffer 

Page 45: Spot the Differences -- Allison Janney on Mom 

Page 47: Odd List 

[x--daughters-of-darkness--x]

Evanescence’s Amy Lee Gets Back to Life

She’s speaking out like never before — and burning through a new Evanescence album, pandemic or no pandemic

Amy Lee misses Brooklyn. She lived there for 12 years with her husband (and later their son, born in 2015), before they left their apartment for Nashville a year ago.

“The perfect year,” she says with an eye roll over Zoom. Lee had hoped to be closer to her family in Arkansas and friends in Nashville when she moved, only to find herself stuck at home with the rest of the world. “We haven’t gotten [to see people] as much as we would have liked to because of Covid, but now we are here, and we will be set up for a better next year,” she adds optimistically.

That’s not the only plan she’s had to readjust: Earlier this year, her alt-metal band, Evanescence, returned to the studio with producer Nick Raskulinecz, writing and recording songs for what will be their first album of new material since 2011’s Evanescence. While the pandemic slowed them down, the group has forged onward, working remotely at first and later, after getting negative Covid tests, at a Nashville studio. In April, they released the sobering power ballad “Wasted on You” as the lead single from their very much in-progress LP, The Bitter Truth, which is due to be released in early 2021.

“I’m not going to rush,” says Lee, 38. “I’m just trying to live in the moment, feeding my soul with the music.”

When the band began making a concerted effort to work on new material last year, their one rule was that there would be no rules. They began with a wealth of material and inspiration, along with a couple decade-old songs that finally feel ripe for release. Since August, when her U.S.-based bandmates took tour buses to join her in Nashville (guitarist Jen Majura has remained in Germany), they’ve been powering through the rest of the album.

“The energy was just amped,” Lee says. “We were in there on fire. Now, the guys are back at their homes, and I am wading through the aftermath of all the music, piecing it together and finalizing the record.” In some ways, she says, lockdown has been a blessing: “The upside of this time is that I’ve had to buckle down and focus. Even on the days that I don’t want to, I come out here and I go, ‘Let’s do this. Let’s finish the album.’ ”

The near-decade leading up to The Bitter Truth has been both eye-opening and invigorating for Lee. After the release of Evanescence, the group went on hiatus to deal with a legal dispute with their former label. Lee took some time to work on solo projects, including a children’s album. When the band got back in the studio, it was to reimagine their past hits with orchestral arrangements for the 2017 LP Synthesis.

Those changes, among others, mean that The Bitter Truth will be their first album with the current lineup of Evanescence. The band has changed significantly since Lee formed Evanescence as a duo with guitarist Ben Moody in 1995, the year after they met at a Christian youth camp in Little Rock at age 13. Lee, whose father worked in the radio business, had grown up loving Motown before seeing the film Amadeus and falling for classical music. “I wanted to be like Mozart,” she says. “I begged for piano lessons. I got to take piano lessons. Then grunge hit.”

Soon, she was deep into the radio rock of the day, like teens across America, listening to Nirvana, Soundgarden, Tori Amos, and Beck. At the same time, she was writing poetry and thinking about the connections between her favorite sounds. “It just all fell together,” she says. “The heavier the music — the more it was in the Metallica, Pantera world — the more similarities I could draw with Bach and Beethoven.”

Evanescence signed their first record deal in the late Nineties, when Lee was 19 and starting to study theory composition at Middle Tennessee State University. It took a few independent EPs and a jump to a major label for the duo to become a full band, enlisting a few friends for their first full-length album, 2003’s Fallen. The LP became one of the year’s hugest commercial success stories, going platinum seven times over and making them instant peers to Beyoncé, Christina Aguilera, Norah Jones, and Avril Lavigne. “Bring Me to Life,” its thrashing thunderstorm of a lead single, became an enduring goth-pop anthem, with follow-up “My Immortal” not far behind. At the 2004 Grammys, Evanescence took home the Best New Artist trophy, beating out 50 Cent and Sean Paul, and Fallen was nominated for Album of the Year (it lost to Outkast’s unstoppable Speakerboxxx/The Love Below).

Behind the scenes, though, success proved difficult for Evanescence to handle. “It was weird,” Lee says now. “I grew up in public.” She was surprised that an album so informed by real-life darkness, including the tragic death of her sister when they were both young kids, could yield Top 40 hits. “[We were] rock-band kids at the Grammys or the American Music Awards or whatever, rubbing elbows with the pop stars of the day,” she adds. “When we won, it felt like somebody was going to jump out from behind and surprise us and go, ‘Just kidding. Losers. You don’t belong here at all.’ ”

Lee spent the band’s first major tour worrying about an ailing brother, and tensions in the band boiled over with Moody’s dramatic departure halfway through a 2003 trek across Europe; he has never returned to the band. “I remember lots of times just wanting to go home,” Lee says. “I was the only female for miles, and I felt alone in my band and on the road.”

Every rock era has been defined by how few women have been able to break through to the mainstream, and Lee felt isolated even as her operatic mezzo-soprano became one of rock’s definitive voices. At one radio show, a DJ introduced the band by admitting that he had “jacked off” to the Fallen album cover, a close-up of Lee’s face. After the first song and a few minutes of simmering rage, Lee called him out. At another show, she interrupted her performance to confront a few members of the mostly male audience who were chanting “Show your tits.”

It took until this year for Lee to feel comfortable expressing her opinion on politics, speaking out in interviews against Donald Trump and the police killing of George Floyd. On “Use My Voice,” released as a single this summer, she makes it clear she’s no longer willing to stay quiet: “Drown every truth in an ocean of lies,” she sings. “Label me bitch because I dare to draw my own line/Burn every bridge and build a wall in my way/But I will use my voice.”

Evanescence recorded the song with backing vocalists including Halestorm’s Lzzy Hale and the Pretty Reckless’ Taylor Momsen — two leading voices in today’s hard rock who told Lee she’s been a major influence on their careers. “That started giving me life,” Lee says. “It made me pour myself into it with a new sense of understanding and purpose and confidence that what I was saying was worth hearing.”

[komburecord]

2021/1/22 新入荷リスト

イベントでまわしたレコードを中心に出品しました！

和モノはナイアガラ系・CITYPOP、洋楽はプリンスです。

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[fall-from-typeface]

MUSIC RESPONSE; ALBUM COVER IMAGERY - The Customisers

How do you take the album cover to the next level? For a handful of artists the answer is to create a customisable cover, often as a limited edition run of exclusive edition vinyl. 

Andy Warhol’s Album cover for The Velvet Underground & Nico (1967)

Perhaps the original, and most iconic, adopter of this practice is Andy Warhol’s design for the debut album by The Velvet Underground. The innovative cover featured the image of a banana covered with a sticker which fans could pull back to reveal the pink coloured fruit beneath. Although the complexities of the interactive sticker element delayed the release of the album, the record label MGM were willing to wait and incur the additional costs to cover its production as they felt the tie to Warhol would boost sales. Initially a commercial failure, it took a decade before the album started to attract praise from critics and slowly took on cult status. In the music journalism industry ‘The Velvet Underground & Nico’ is now deemed as one of the most influential albums of all time.

Abigail Cain’s photo of the original Rauschenberg-designed Speaking in Tongues album cover, signed by David Byrne and the artist himself. 

Another customisable artwork which delayed the release of the album was Robert Rauschenberg’s piece for Talking Head’s 1983 ‘Speaking In Tongues’. The limited edition run of 50,000 referenced Rauschenberg’s ‘Revolver’ artwork featuring five plexiglass discs silkscreen painted with a collage of images. The discs were lined up in a metal cradle and a set of switches controlled by the viewer rotated the discs to allow the viewer to determine their position. It took the guitarist and keyboard player Jerry Harrison six months to find a manufacturer to make the cover and transparent vinyl. 

Rauchenberg later went on to win a Grammy for this album artwork design.

Before and after scratching David Rudnick’s cover for Nicolas Jaar’s ‘Sirens’ (2016)

In more recent times, when digital steaming far outweighs vinyl sales there are still examples of customisable artwork featuring on album covers. Designer and typographer David Rudnick’s cover for Nicolas Jaar’s 2016 release ‘Sirens’ on first viewing looks plain white with an American Quarter tucked in the plastic dust jacket. On closer inspection the cover is film of lottery paper which invites the owner to actively participate in scratching off the film to reveal the artwork below; a photograph of Times Square, New York taken by the singer’s father Alfredo Jaar. 

Jimmy Turrell and Steve Stacey’s design for Beck’s Colors Deluxe Edition LP (2017)

2017 saw the release of a customisable edition ‘Colors’ by Beck designed by Jimmy Turrell and Steve Stacey. The deluxe edition sees a visual representation of the albums title with a set of various coloured shapes which can be slotted into the die cut hexagonal cover. 

After chatting with Beck we decided to bring together globular paint-like forms, simple geometric shapes and stripped back typography to create visuals that really summed up the melodic, upbeat nature of the album.

Jimmy Turrell (2017)

Personal Reflection

When creating a design for music cover art vinyl certainly gives the biggest physical canvas to work on. Thinking about Malcolm Garrett’s statement that “a record sleeve is not a substitute for an art gallery wall” as well as the suggestion that in today’s digital dominated market vinyl releases are more likely to be bought by fans as merchandise, creating a physical piece that is in some way customisable appeals to me.

References

news.masterworksfineart.com. (n.d.). Analysis: Andy Warhol’s Banana, 1967. [online] Available at: https://news.masterworksfineart.com/2019/06/12/analysis-andy-warhols-banana-1967.

Wikipedia Contributors (2019). The Velvet Underground & Nico. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/The_Velvet_Underground_%26_Nico.

Cain, A. (2016). The Story behind Robert Rauschenberg’s Iconic Talking Heads Album Cover. [online] Artsy. Available at: https://www.artsy.net/article/artsy-editorial-the-story-behind-robert-rauschenberg-s-iconic-talking-heads-album-cover.

Spice, A. (2016). Scratch beneath the surface of Nicolas Jaar’s new album Sirens. [online] The Vinyl Factory. Available at: https://thevinylfactory.com/news/nicolas-jaar-sirens-vinyl-artwork/ [Accessed 16 Oct. 2020].

Beck (2017). Beck - Colors Deluxe Vinyl Preview. YouTube. Available at: https://www.youtube.com/watch?v=WX54mI6c1JA.

Jimmy Turrell. (n.d.). BECK - “COLORS” ALBUM. [online] Available at: http://www.jimmyturrell.com/projects/beck-colors-album/ [Accessed 16 Oct. 2020].

[eildotcom]

JEFF BECK There And Back. Autographed 1980 US 8-track vinyl LP, his third studio solo album including The Final Peace and Too Much to Lose. The textured picture sleeve displays some minor general wear mostly to the edges, whilst the vinyl remains excellent with only a few light paper scuffs. This has been boldly signed by Jeff Beck, Tony Hymas and Simon Phillips all in green marker pen. The previous owner was a photographer, he aquired the signatures from group backstage after one of the shows he was working at, looks fantastic and ideal for framing and displaying. Available from https://eil.com/shop/moreinfo.asp?catalogid=734040 #eildotcom #eil #records #vinyl #rarerecords #rarelps #rock #pop #cratedigging #vinyljunkie #vinylcollection #recordcollection #vinylporn #instavinyl #jeffbeck (at eil.com) https://www.instagram.com/p/B5FeoW2BJqO/?igshid=evv6bdiew8o8

[50thirdand3rd]

Writer, producer, Poptone drummer, and co-founding member of Tones On Tail and Love And Rockets takes us back to his Bauhaus roots with The Bela Session EP and his new coffee table book, Bauhaus Undead and teases a few hints at what he has in store for 2019!

  Bauhaus – photo by Graham Trott

Kevin Haskins, the elusive Bauhaus drummer is quietly powerful behind his placid, penetrating expression. The jazz trained boyish younger Haskins brother who drew more inspiration from Stephen Morris than Gene Krupa paid his dues in bands with older brother, David J. before forming what would eventually become Bauhaus with friend and fellow art student, Daniel Ash and Daniel’s friend, Peter Murphy. The band’s chemistry was instant and Bauhaus began playing shows wherever they could and on January 26, 1979, the band recorded their iconic debut single, “Bela Lugosi’s Dead” at Beck Studios in Wellingborough a mere six weeks after forming the group.”Bela” was just the beginning and soon Bauhaus found fame and an early fan in the late John Peel who kept the band in heavy rotation on his legendary Radio 1 program. By 1980, the band released their groundbreaking debut LP In The Flat Field to mixed reviews further solidifying their status as post-punk icons with their dark fusion of glam, punk, jazz, dub, and disco and gained a rabid cult following among the cool kids in black on both sides of the pond.

  [embedyt] https://www.youtube.com/watch?v=K0bLCILyVRk%5B/embedyt%5D

  Shortly after Bauhaus called it quits in 1983, Kevin and Daniel continued a fruitful collaboration in the short-lived and lightyears ahead of its time, Tones On Tail with bassist and former Bauhaus roadie, Glenn Campling. TOT scored a dancefloor hit in the US with their 1984 “Lions” b-side “Go!”.

[embedyt] https://www.youtube.com/watch?v=3TJC48BRBn8%5B/embedyt%5D

  Two years later, Kevin and Daniel reunited with David J. to form Love And Rockets, who found success with early singles “Ball of Confusion” and “No New Tale To Tell” before scoring a breakout hit with their ubiquitous 1989 single “So Alive” which spent 20 weeks at #3 on Billboard’s Hot 100 chart.

  [embedyt] https://www.youtube.com/watch?v=-L41MhFPU9s%5B/embedyt%5D

  After 40 years of forward motion with not one but two highly influential post-Bauhaus bands, Kevin takes us back to his Bauhaus roots with his new coffee table book, Bauhaus – Undead “The Visual History and Legacy of Bauhaus” and The Bela Session EP which features four previously unreleased tracks along with the iconic 9:37 opus that started it all.

Photo: Jenna Putnam

50thirdand3rd: So, can we talk about Bauhaus Undead?

Kevin Haskins: A good friend of mine who works at Cleopatra, Matt Green, suggested the idea. He knew that I had this big container full of memorabilia. I was the guy who collected everything, kept everything. So, he says, “Why don’t you make a coffee table book?” “Matt, that’s a great idea.” And then he made me an offer to put it out on Cleopatra and I just felt that I would like to self-publish it. So he said, “Of course, that’s your decision. Go ahead and good luck. Wish you all the best.” And so, I went off on my merry way and so along into the process, I ran into this guy, Jeff Anderson, at gigs. And it seemed like fate kind of brought us together. On the third meeting, I said, “What do you do?” And he said, “I make box sets and re-releases for bands and so, I went to his house and I saw these amazing box sets from Sigur Rós and Roger Waters and Beck, Nine Inch Nails, The Pixies – beautiful ones! I thought “This was a no-brainer, let’s do the book together!” He was really excited working with me on that. He brought in a great design team and off we went. And I just sat down and started writing stories which I’ve never done, before.

  [embedyt] https://www.youtube.com/watch?v=8aOk0A4pnN8%5B/embedyt%5D

  So, it all took about two years and we designed this huge book with a slipcase and it was this huge, crazy size book! Basically, we really didn’t figure out how much it was gonna cost to make and how much it was gonna cost to ship and Jeff really wanted to use his regular printers in LA. Anyway, a month before, we put on a pre-sale to raise money to have it made. A month before the pre-sale ended, I found out how much it was gonna cost to have it made and it was ridiculous, it was like over $100 to make, in the end! (laughs) I spoke to publishers after the fact, who were very impressed with how many I sold, because it was like $180 or something. But I didn’t raise enough money to get it made, so I had to refund all of the money. Then I went to a bunch of publishers and got a lot of interest from boutique publishers, but they really didn’t have the means to do what I wanted to do, but I did decide to make this book a regular size book, so that we could sell it at a decent price and make it cheap for people.

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And basically, about two years or three years after Matt gave me the idea, I went around his house and he showed me a book that Cleopatra had just put out. I think it was Hanoi Rocks or something and he said it was a great deal for this band it was really great deal and I said, “Oh Matt, could you do the same deal for me, please!” Because I was back at square one, I had nothing, but I did have a book already made, all the layout was all done, all the stories were written, it was proofread. It was just ready to print. So, I was kinda handing him a gift, really, on a plate and he said, “Kevin, I think we can do your good deal.” Which they did and it ended up coming out on Cleopatra, so I did this complete circle, so, now I know everything about printing and shipping and fulfillment companies.

50thirdand3rd: You got a real education on the process.

Kevin Haskins: Yeah, it was a mixture of extreme pain and pleasure. (laughs) I’m really proud of it, it’s over 300 pages and it has some great content. We were all very art inclined so we do a lot of drawings and doodles and I kept all those and I think that’s the stuff that’s very interesting for people. Very personal stuff like that and handwritten lyrics. And when we went to shop “Bela Lugosi’s Dead”, Daniel wrote out all the names of all the companies we went to, EMI and Polydor, all the huge companies and what they said. They all rejected us, so he wrote a kind of note to them, it’s very scruffy, very Daniel and all over the place and there’s drawings of Bubble men all over it. It ended up the last piece that went into the book. I was kind of done and he had just come back from England and raided his mum’s attic and said, “Look what I found!” I’m like, “Oh my god, I’ve gotta get that in the book, it’s so cool!” So, it’s got a lot of funny stories and great memorabilia.

50thirdand3rd: Awesome! I understand you did a book signing at Rough Trade in Brooklyn, this past summer, was it? How did that go?

Kevin Haskins: It went great! We were on tour with Poptone and I set up an In-store for my daughter’s band, Automatic, they were supporting us. 

50thirdand3rd: And that’s your daughter, Lola’s band, right?

Kevin Haskins: Yes, Lola (Dompé), Izzy (Glaudini), and Halle (Saxon Gaines). And then after they played, I did a signing and it was nice, you know, it was my first time in Brooklyn if you can believe that.

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We’re playing rough trade tn bbs come through

A post shared by Automatic (@automatic_band) on Jun 29, 2018 at 1:15pm PDT

    50thirdand3rd: Wow, how’d you like it?

Kevin Haskins: We loved it. My wife came out and we rented a really nice Airbnb and got to really walk around, check it out.

Photo: Jenna Putnam

50thirdand3rd: Very cool! How’s the response been with the book?

Kevin Haskins: Really good. Yeah, it’s been great, people love it! I don’t wanna boast but I’m very proud of it and people respond really well to it. There’s a lot of good content in it and I was really happy with the quality and the printing and everything.

50thirdand3rd: It sounds awesome and you had some of the other Bauhaus historians kind of help out, too, with the timeline, did I read that right?

Kevin Haskins: Oh yeah, a guy called Andrew Brooksbank and also I should mention Vincent Forrest and they were very helpful. Andrew is kind of the Bauhaus historian and when our old label, Beggars Banquet, put out re-releases, he always writes the sleeve notes. He’s an extremely organized guy and he’s a good writer and he created this timeline of every show and every radio, like interviews, TV appearances, that type of thing. So, that was really so valuable to me because I can’t remember what I was doing.

  [embedyt] https://www.youtube.com/watch?v=h5UFgXuz1Gc%5B/embedyt%5D

  50thirdand3rd: Right, because you were like in the center of the storm.

Kevin Haskins: Yeah, I was. And he was a great resource and I think he gave me a few items. A few scans of this and that and also helped out in that way. So, it was nice to have fans included, there were people whose names, sorry, I can’t remember, right now, who sent me some great pieces to put in, so it was nice to include people, as well, like that.

50thirdand3rd: That’s really exciting! Seeing it all together in the context of a timeline, how was that? I imagine that would have to be a little awe-inspiring, like “Wow, I did all this!” Like, looking back on it?

Kevin Haskins: Yeah, I’m surprised at how many shows we played because I didn’t think we played that many, but, we did. We really worked! We started from nowhere and the only really then to get known was to play, you know, to get the ball rolling. So, there was a two year period where we were just slogging away. Just trying to get shows when we started, we played in the weirdest places. (laughs) Like, I got a gig, there’s a little village called Ilchester and it was a Sunday lunchtime community center and it was bright sunshine. It was in a modern kind of bland hall with big glass windows, very bright, and there were kids running around playing, parents just eating, and Bauhaus were playing to these people. It was completely ridiculous! And then Peter got us a similar thing but in a working men’s club on a lunchtime.

  [embedyt] https://www.youtube.com/watch?v=G5DUQuY1mf4%5B/embedyt%5D

  50thirdand3rd: Oh, wow! How was that?

Kevin Haskins: After our first number, this old character, this old guy who worked there came up to us and he said, “What are you trying to do? Blow the bloody roof off? Play something that people know! You know, something we can tap our foot to!” (Laughs)

50thirdand3rd: Character building, I imagine!

Kevin Haskins: Yeah, blow the bloody roof off! So, we would play anywhere we could. Actually, and I wrote about this in the book. Really, our first show, I think went kind of undocumented. Daniel got us this rehearsal room at a teacher training college in Northampton and we were in a kind of portacabin, this kind of a prefabricated classroom, you know, it was kind of like a trailer. 

50thirdand3rd: Oh, okay.

Kevin Haskins: It was outside the main building, just adjacent. And it was adjacent to the student union room where they would have bands play and they had a bar. It was winter and it was snowing, I remember, and The Pretenders were playing that night. So, we were rehearsing late afternoon and we kind of finished and we were like, “Is anybody going to see The Pretenders?” “Yeah, I am.” Kinda fancied that and then one of us had this idea that why don’t we just follow them? “What do you mean?” So, the next minute, we open the door, dragging up our gear up this, it was like an incline, covered in snow, dragging all our gear, and there was the French door, like this big glass door that opened up and we just opened the door and we just set up really fast in the corner of the room and by this time it was like 7:00. People were just coming in and The Pretenders had just done their soundcheck and we just set up and started playing. So, a crowd appeared around us, and we got about two or three songs out of the way, we didn’t have many songs, we had just started, and the student union came up and he was like, “Wait a minute, stop, what are you guys doing?” We’re like, “Oh, we’re the support band.” And he’s like, “Really?” And we’re like, “Yeah, we’re the support band.” And he was like scratching his head and like looking at us very suspiciously and he turned away and he walked away and he was kind of looking over his shoulder. And we sold it and then we’re like, “Get into the next song!” And we managed to get two more songs done and then he brought everyone from the student union and they shut us down. They said, “Hey, you’re not the support band!” So, we supported The Pretenders, punk rock Guerrilla style. (Laughs)

50thirdand3rd: That’s awesome!

Kevin Haskins: I’m sure Chrissie Hynde would’ve appreciated that. I don’t know if she heard that we did that.

50thirdand3rd: I hope she finds out!

Kevin Haskins: We were dying to play, all we wanted to do was play.

50thirdand3rd: That’s really cool! So, The Bela Session EP you recently put out, could we talk a little bit about that? I understand it was the first time you guys worked with Derek Tompkins. Like, he was really important to like Bauhaus and he produced Love And Rockets, too, right? Like he was Engineer/Producer at Beck Studios for you guys, can you tell me a little bit about that?

Kevin Haskins: Sure, we’ll start with Derek. I think we went to Beck before Bauhaus, we were in other bands, like The Craze, Jack Plug and The Sockettes, these kinds of new wave bands, but it was Peter’s first time in the studio when we went with Bauhaus. And Derek was this amazing character. I always kind of viewed Derek as our George Martin. Mainly because he was older than us and he really didn’t know anything about fads or fashions which was good because he just approached it from what sounds exciting and what sounds good. He just instinctively knew how to produce bands and also he was a bit of a rogue, he was a really funny guy, very smart, very opinionated, a bit of a rebel. And he had a great stutter, he stuttered and just consumed endless cups of coffee and cigarettes. Like really unhealthy, but he kind of like built the desk. He built of a lot of the equipment in the studios. 

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So, anyway, The Bela Session was the idea of Andrew Brooksbank. He emailed me one day and he said, “What do you think about this idea? Why don’t you release the entire recording from the day you recorded ‘Bela Lugosi’s Dead’?” Three of the songs had never been released and I just said, “This is a brilliant idea! I can’t believe no one had thought about it, before!” And he said, “Yeah, it would be the holy grail of the band’s fans.” And I said, “Marvelous idea!” And for some reason, he had the original 1/4” tape and box. I don’t know how these guys get hold of these things, you know, I know they’re in good hands. And so, his idea was to use a scan of the tape box and it’s to the cover and I later thought, it would be great for the inner sleeve. So, that’s what the inner sleeve is and you can actually see the front and back of the original tape box. It’s marvelous, it’s got the aged patina and the picks, crossing things out and notes, so it’s a wonderful thing just to view.    

50thirdand3rd: That’s really cool!

Kevin Haskins: Yeah, and just for the cover we came up with the idea of just doing a negative of the original cover, so, it’s white on black and yeah, so it has three unreleased songs and they’re interesting to hear because, you know, some of them, one of them, in particular, I think “Some Faces” doesn’t sound like Bauhaus, at all. It’s kind of a chirpy, bright sort of a new wave song, but it’s interesting to listen because you can kind of see a bit of an evolution. Right, like this is us. We had only formed about six weeks before, I think. So, it captures the band in a period of its formative period. 

  [embedyt] https://www.youtube.com/watch?v=vV772Ht1Sys%5B/embedyt%5D

  And we ended up going with Leaving Records which are an imprint of Stones Throw and they did a marvelous job, I think. They really chose a great kind of engineer and they’ve really been wonderful, I’m so happy with the product and also Bela hasn’t been available on vinyl for, I don’t know, twenty years or something crazy. It’s really nice to have it in record racks, again. And I just remembered another story from that day. So, “Bela” is about nine minutes long, but we actually laid down eleven or twelve minutes.

50thirdand3rd: Oh wow!

Kevin Haskins: And we kind of listened back and we thought, “This is a little bit too long.” And we could kind of imagine if we cut three minutes out of this, we’d probably be good. And Derek said, “I..I can do that!” And we were kind of naive and it was probably only our second or third time, Peter’s first time in the studio. And he (Derek) disappeared and he came back with a little razor blade and he got the tape and he laid it down and we were like looking at him like, “What’s he doing?” And then he began bringing the blade down towards the tape and we all knew we had recorded something really special and he was gonna cut the tape and we were like, “No! Stop!” “What are you doing?”

50thirdand3rd: Gasp!

Kevin Haskins: Then he like turned around and he’s like saying, “What’s your problem?” And he explained that he’s done this many times, before and not to worry, you know, you can always put it back together, again. And he did a great edit, you can’t hear the edit if you really listen out for it, though. He did a very good job.

    50thirdand3rd: That’s awesome! So, if I can nerd out on you, for a sec, I know John Peel was like one of the first people to really play “Bela Lugosi’s Dead” on his show. Could you tell me a little bit about getting to go to John Peel’s studio?

Kevin Haskins: Sure, yeah. I actually devoted a story to John in my book. I cannot stress how important he was to bands such as us and I guess, after us. I mean, the airwaves were really, this was pre-internet, of course. The airwaves were really controlled just by the BBC. There were a couple of pirate stations, Radio Powerline and Radio Luxembourg that you could tune into and that was free radio but the BBC really controlled everything. They had John Peel on at 10 o’clock at night and they probably weren’t really listening to what he was doing. (Laughs) And his taste was just remarkable and I remembered he kept devoting his two-hour show to punk rock and in ’76, I think “New Rose” by The Damned had just come out and you know, there weren’t many punk records, back then, right at the beginning. So, he did this whole show and put bands that like influenced this new movement. So, there’s The Stooges and the MC5, bands like that and then he played every punk single that was out and it was a wonderful show. And he got a lot of hate mail, apparently, from hippies of the old guard saying, “How can you be playing this rubbish?” But he went on undeterred, he wouldn’t listen to anybody, he just played what he liked. So, he was invaluable to getting bands known. And it really helped us and a load of other bands.

  [embedyt] https://www.youtube.com/watch?v=YMuB2PjjRic%5B/embedyt%5D

  So, anyway, we heard “Bela Lugosi” and I think we just drove down to London, which I think was like an hour and a half’s drive and we went to the BBC Studio building and went to reception and we said, ”We want to see John Peel” and the receptionist looked at us like, “Who…Are you kidding me?” And she said, “Oh, well, I’ll call up.” And she did and his producer said, “Oh, show them up. It’s fine” which was remarkable, really. He was in the middle of a show, so, they let us come up and to us, we were in awe. It was amazing, we were actually in his studio with John and he offered us some red wine and we had a little red wine in BBC paper cups and gave him the record and he kind of sent us on our way pretty fast. He told us he’d play it and I remember, you know, when he played it for the first time, we knew that this night was gonna do it! We all lived in this house 37 Adams Avenue, it was like a little terraced house in town and you know, we would cook these awful meals with like vegetables because we were on the dole and we didn’t have much money. And it was freezing cold in this place and it was kind of haunted, it was kind of in a slum (laughs) but we were kids, it didn’t matter. But I remember we were all huddled around this transistor radio, listening to the show when he played our song. That moment is just imprinted in my mind because it was just remarkable to hear your music coming out of a radio, you know, it was just so exciting and it was like a benchmark moment. So, now, I remember that really clearly and yeah, I paid homage to him in my book and wrote a nice piece about him.

  [embedyt] https://www.youtube.com/watch?v=FMLNwT4v5Rc%5B/embedyt%5D

  50thirdand3rd: So, I’ve gotten really hooked on Poptone, recently and I was watching the tour livestreams you guys were doing on Facebook from last year. It looks like you guys were having fun, especially with the fans. Can you tell me a little more about how those tours have been going?

Kevin Haskins: Well, it was great but we kind of wrapped it up, over the summer. Basically, we kind of exhausted where everywhere people wanted us to play. It was great, it was so much fun! You know, Daniel’s still a very close friend of mine and we always have a laugh hanging out, we got on really well and then I was so glad to have my daughter involved (Diva Dompé). She plays bass and keyboards and backup vocals and she was amazing, she really brought so much to that project, I felt.

Photo: Paul Rae

50thirdand3rd: Yeah, she’s rad!

Kevin Haskins: She had big shoes to fill, she was playing my brother’s bass lines, Glenn Campling’s amazing bass lines, I mean I can’t say enough great things about Glenn’s playing in terms of what he brought to Tones On Tail. Like, those bass lines are just remarkable, there’s just so simple but so powerful, you know, kind of like riffs and so it was it was a great pleasure to play that music. Yeah, I knew that would be an attractive thing for fans just because we only played one little tour over a year and that was in the UK, so you know, it was fun for us to play those songs, again.

  [embedyt] https://www.youtube.com/watch?v=GwYq2FfsBKo%5B/embedyt%5D

  And I think people really love to hear them, we had a great crew, just like a small family, and we had a marvelous time. I was really taken aback in a marvelous way with the audiences who came out to see us. They were so appreciative and towards the end, I would out after the show to the merch table and sell my book, Bauhaus Undead by Kevin Haskins, *plug*. And then I’d get to meet all these wonderful people and they were so happy and appreciative that we were doing it, so it was like a whole celebration. 

It was marvelous but it’s kind of on the back burner, now. I mean it is something that we could pick up, again. We did record an album, you know, it was kind of a retrospective project, just for people who were unaware, we were playing the music from Bauhaus, Love And Rockets, and Tones On Tail and we recorded an album. We did it as a Part-Time Punks session, Part-Time Punks radio station (KXLU) in LA and then Michael Stock he also puts a club night on and he’s a wonderful guy. So, we just kind of played pretty much live and put the songs down and that’s been released out on Cleopatra Records and so, you can go to Bandcamp and buy that or listen to it.

Poptone poster by Paul Rae

  50thirdand3rd: Can we talk a little about the FOXES TV show you’ve got coming up and how you got involved in that?

Kevin Haskins: Sure, yeah! So, I met Tina and Julian (de la Celle), they are the creators of the show. I met them at one of their events. They put on events around Los Angeles, they get local musicians, they’ve done kind of thematic events where they portrayed Andy Warhol’s Factory, they had a bunch of young bands get together and play Velvet Underground songs. They did the same with CBGB’s and the Bat Cave, they’re really nice people, they love music and fashion, it’s such a strong passion for them. They have a magazine called FOXES and it’s a beautiful magazine, comes out twice a year, and they get really great photographers to shoot for them and they do interviews, so, I did an interview about my book, Bauhaus Undead, my coffee table book, plug! plug!  

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50thirdand3rd: Right, yeah!

Kevin Haskins: There’s a singer from the New York Dolls who goes under the name, Buster Poindexter, now, and does kind of a lounge act, he was in the issue. I think Duff from Guns ’n’ Roses and they have these great fashion spreads. It’s shot very beautifully, kind of cinematic and stylish, stylized. So, they decide to turn the magazine into a TV show because there’s nothing really to watch like that, you know. So, anyway, they approached me around September time, last year and asked me if I wanted to be a producer and music supervise and I thought it was an exciting new challenge. So, we just kind of went on from there and the three of us kind of learned how to navigate the industry and what you have to do to get a TV show made. So, it’s taken us this long to really figure that and so we made like a great concept sizzle reel where we’ve taken slotage from other shows like The Tube and fashion show footage and just still photography and it really sort of represents the aesthetic of the show. And then we worked together a treatment which is kind of PDF, you do a similar thing, just for people who don’t know what treatments are, you explain what you’re going to do, you’ll explain what the episode will look like, and the sequence of events during that episode. You put bios from everyone who’s attached to the project. Your dream hosts, presenters, so there you go! So, when Richard submitted that to the network to my agency and we’re now waiting to hear back.     

  [embedyt] https://www.youtube.com/watch?v=5cd1LlXP_pk%5B/embedyt%5D

  50thirdand3rd: This sounds really cool! Can you tell me a little bit about what views can expect to hear and maybe see?

Kevin Haskins: Well, the original feel for the show is very rock and roll. Basically, Tina, Julian, and I, we love glam, punk, post-punk rock and roll, you know, that area of things. But what we’d really like to do is we’d really like to broaden it more, now. Hmm, I don’t know who would be on the first show, I know Tina loves Duran Duran, so our dream show would include them, maybe for an interview or performance. And the project has to depend on who’s available for the team.

50thirdand3rd: Of course.    

Kevin Haskins: And we want to give space for unheard of bands that we really like. Actually, we did shoot my daughter’s band, Automatic.

50thirdand3rd: Oh, cool!

Kevin Haskins: They’re worth checking out. Also, there’s a band called POW! I would definitely have them on. Other LA bands, Froth, Numb.er, and then, I’d love to get Nick Cave on, for instance. You know, it’s really wide open but they’re the artists that come to mind, right now.

Photo: Jenna Putnam

50thirdand3rd: Cool, I can’t wait to check that out! So, do you have any other music projects coming up for this year?

Kevin Haskins: Well, I’ve actually been invited to kind of produce, also, I’ve been kind of involved in writing on another tv show and I can’t say much about it for obvious reasons, but it’s a comedy set in Los Angeles. One of my close friends has created it and helped me write it, now, which is something I’ve never ever done, before and it was challenging and it was fun, so, I’m excited about that. I feel that it could really work out well, so, a completely new thing, once again, like the FOXES TV thing. And I have a new musical project that I’m very excited about. I don’t know if I can say much about that, but, I’ll give you some cryptic hints. There’s primarily three of us and we’re looking for a vocalist, right now. We’ve put word out to who we really want. We’re going to be recreating music from the bands we were in and also creating new music, but the instrumentation is very particular and different from what you might expect. (Laughs) And I think I’m going to leave it at that, but it’s a teaser and you’re really the first person I’ve told about.

50thirdand3rd: Thank you very much! An Exclusive!

Kevin Haskins: And the way things are going, we’ve got quite a ways to go, there. We’re just starting out and we haven’t got a full band, yet, so it might be the fall until we play or release something but we are going to work on a release and I’m really excited about it. It’s got great potential.

50thirdand3rd: Very cool!

Pick up a copy of Kevin Haskins’ Bauhaus Undead from Cleopatra, Rough Trade, and Amazon. Pick up Poptone’s self-titled LP and follow Kevin Haskins Official Facebook and Instagram for the latest on FOXES TV, updates on his next series, and more on his upcoming music project —You read it first, here at 50thirdand3rd!

Follow Kevin Haskins:

https://twitter.com/kevinmhaskins

https://www.instagram.com/bauhausundeadbook/

https://www.youtube.com/channel/UCNKf_DvhGkidQFDmnoxyO3g

http://poptone.bandcamp.com

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50THIRDAND3RD INTERVIEW: Kevin Haskins Writer, producer, Poptone drummer, and co-founding member of Tones On Tail and Love And Rockets takes us back to his Bauhaus roots with…

[prehistoricsounds]

This week's arrivals!

Again a bit light on the new releases, but should be something here for everyone!

ABBA - Gold [2LP] Amy Shark - Love Monster [LP] Amy Winehouse - Amy OST [2LP] Angus & Julia Stone - Snow (Clear) [2LP] Arctic Monkeys - AM [LP] Aretha Franklin - Amazing Grace [LP] Asomvel - Knuckle Duster [LP] Bathory - Under The Sign Of The Black Mark [LP] Beastie Boys - Check Your Head [2LP] Beck - Mutations [LP] Bolt Thrower - ...For Victory [LP] (sold) Bolt Thrower - The Earache Peel Sessions [LP] (sold) Bolt Thrower - War Master [LP] (sold) Bon Jovi - Slippery When Wet [LP] C.W. Stoneking - Jungle Blues [LP] Carcass - Heartwork [LP] Chaos In The CBD - Midnight In Peckham [12"] Childish Gambino - Because The Internet [2LP/Book] Chris Cornell - Chris Cornell [2LP] (sold) Chris Cornell - Higher Truth [2LP] Def Leppard - Vault [2LP] Derek & The Dominos - Layla & Other Assorted Love Songs [2LP] Detroit Cobras - Baby [LP] Detroit Cobras - Tied & True [LP] Dire Straits - Brothers In Arms [2LP] Earl Sweatshirt - Doris [LP] Electric Wizard - Witchcult [2LP] Elton John - Diamonds [2LP] Elvis Presley - 30 #1 Hits (Gold) [2LP] Fleetwood Mac - Rumours [LP] Frank Zappa - Cruising With Ruben & The Jets [LP] Frank Zappa - Lumpy Gravy [LP] Funkadelic - Funkadelic [LP] (sold) Funkadelic - Maggot Brain [LP] Gang Of Youths - Go Farther In Lightness [2LP] George Harrison - Living In The Material World [LP] George Harrison - Thirty Three And A 1/3 [LP] Gorillaz - Plastic Beach [2LP] (sold) Grinderman - Grinderman 2 [2LP] Hole - Live Through This [LP] Hoodoo Gurus - Kinky [LP] Iggy & The Stooges - Raw Power [2LP] Jimi Hendrix - Live At Woodstock [3LP] Jimi Hendrix Experience - Are You Experienced (Expanded) [2LP] Joy Division / New Order - Total: From Joy Division To New Order [2LP] Kendrick Lamar - Good Kid, M.A.A.D. City [2LP] (sold) Lady Gaga - A Star Is Born OST [2LP] Led Zeppelin - Coda [LP] Led Zeppelin - In Through The Out Door [LP] Led Zeppelin - IV [LP] Magazine - Correct Use Of Soap [LP] Magazine - Real Life [LP] Mastodon - The Hunter [LP] MC5 - Kick Out The Jams [LP] Metallica - Reload [2LP] Metallica - The 5.98 EP: Garage Days Re-Revisited [LP] Middle Kids - Lost Friends [LP] Midnight Oil - Armistice Day: Live At The Domain [CD/DVD] Ministry - Psalm 69 [LP] Motley Crue - Greatest Hits [LP] Motörhead - Aftershock [LP] Mudhoney - The Lucky Ones [LP] (sold) Mumford & Sons - Babel [LP] Mumford & Sons - Sigh No More [LP] Muse - Origin Of Symmetry [2LP] Nashville Pussy - 10 Years Of Pussy [2LP] Nathaniel Rateliff - Tearing At The Seams [2LP] (sold) Neu! - Neu! [LP] Neu! - Neu! 2 [LP] New Order - Movement [LP] (sold) New Order - Power, Corruption & Lies [LP] (sold) Nirvana - Nevermind [LP] Obituary - Back From The Dead [LP] (sold) Ocean Alley - Chiaroscuro (Blue/Yellow) [2LP] Orange Goblin - Coup De Grace [2LP] Orange Goblin - The Big Black [2LP] Paul Kelly - Nothing But A Dream [LP] Paul McCartney - Egypt Station [LP] Pink Floyd - Animals [LP] Pink Floyd - Atom Heart Mother [LP] Pink Floyd - Dark Side Of The Moon [LP] (sold) Pink Floyd - Relics [LP] (sold) Pink Floyd - Wish You Were [LP] Post Malone - Beerbongs And Bentleys [2LP] Powderfinger - Double Allergic [LP] Powderfinger - Internationalist (Deluxe) [2LP] Public Enemy - Fear Of A Black Planet [LP] Pungent Stench - Dirty Rhymes & Psychotronic Beats [LP] Queen - Greatest Hits [2LP] Queen - Greatest Hits II [2LP] Queen - News Of The World [LP] Queen - Sheer Heart Attack [LP] Radiohead - OK Computer OKNOTOK 1997—2017 [3LP] (sold) Rage Against The Machine - Rage Against The Machine [LP] Red Hot Chili Peppers - Blood Sugar Sex Magik [2LP] Red Hot Chili Peppers - Californication [2LP] Rolling Stones - Hot Rocks (1964—1971) [2LP] Rolling Stones - Let It Bleed [LP] Rolling Stones - Sticky Fingers [LP] Rufus Du Sol - Solace [LP] Sonic Youth - Goo [LP] Sweet Apple - Sing The Night In Sorrow [LP] (sold) System Of A Down - System Of A Down [LP] System Of A Down - Toxicity [LP] Talking Heads - Talking Heads: 77 [LP] Talking Heads - The Name Of This Band Is Talking Heads [LP] Tame Impala - Currents [2LP] Tame Impala - Lonerism [2LP] Teenage Fanclub - Bandwagonesque [2LP] Television - Marquee Moon [LP] The Beatles - Abbey Road [LP] The Beatles - Let It Be [LP] The Beatles - Love [2LP] The Beatles - Revolver [LP] The Beatles - Sgt. Pepper's Lonely Hearts Club Band [LP] The Beatles - The Beatles "White Album" (2018 Stereo Remaster) [4LP Box] The Doors - Morrison Hotel [LP] The Mission - God's Own Medicine [LP] The Sisters Of Mercy - Floodland [LP] The Stooges - Fun House [2LP] The Stooges - The Stooges [2LP] The Who - Hits 50 [2LP] Tom Waits - Swordfishtrombones [LP] Twisted Sister - A Twisted Christmas [LP] (sold) Uncle Acid & The Deadbeats - Vol. 1 [LP] Union Carbide Productions - Financially Dissatisfied [LP] Various - Boogie Nights OST [LP] Various - Guardians Of The Galaxy: Awesome Mix Vol. 1 [LP] Velvet Underground - 1969 [2LP] Velvet Underground - Velvet Underground [LP] Velvet Underground - White Light / White Heat (Expanded) [2LP] Velvet Underground & Nico - Velvet Underground & Nico [LP] Venom - Japanese Assault [LP] Violent Femmes - We Can Do Anything [LP] Volbeat - Guitar Gangsters & Cadillac Blood [LP] Volbeat - Rock The Rebel, Metal The Devil [LP] (sold) With The Dead - Love From With The Dead [2LP]

[brn1029]

Time for your Rock Report

Rock & Roll Hall of Famer Jeff Beck has announced dates for an upcoming tour of North America.

The fall tour will kick off on September 23 in Del Valle, Texas, and conclude on November 12 in Reno, Nevada. Beck will be joined onstage for his first six shows by his longtime friends and rock icons ZZ Top. Tickets for general public will go on sale Friday, August 19, via Ticketmaster. The tour will be in support of Beck and Johnny Depp's new collaboration album 18 and will also feature songs from through Beck's career. The trek will feature Beck's current band: bassist Rhonda Smith, drummer Anika Nilles and keyboardist Robert Stevenson.

During a recent concert in Kansas, Grammy and Academy Award-winning rocker/songwriter Melissa Etheridge announced that she will perform a solo show, titled "Melissa Etheridge Off Broadway: My Window — A Journey Through Life." "Melissa Etheridge: My Window - A Journey Through Life" will play 12 performances only starting October 13 at the midtown multi-stage venue New World Stages.

Billy Idol has announced a new EP, The Cage, an upcoming documentary, and a world tour.

The Cage EP is set for release on September 23 via Dark Horse Records. The new music follows the release of Idol's 2021 The Roadside EP. Idol is joined on the new project by his longtime collaborator, co-writer and guitarist Steve Stevens. The four-track The Cage will be available on CD, vinyl LP, and limited edition red vinyl LP. A limited supply of signed copies are available while they last. Idol told Variety that a documentary on his life and career is being directed by Grammy-winning Swedish music director Jonas Akerlund. The documentary will be produced by Live Nation Productions based on the British-American rock singer and songwriter's biography and his own audiobook narrative

[triste-guillotine]

MASSACRA “Signs of the Decline”, LP 1992 (”Violence... Massacra ! Torments... Massacra ! Doomsday... Massacra ! The day of Massacra !”)

“Feeling no remorse when bombs land on target You feel the satisfaction of a job well done Devoid of feeling You’re a war machine Devotion to duty, no sense of regret It’s the result of treatments you’ve undergone Drafted to this air armada Because you’re at their beck and call Filled full of propaganda They’ve got your mind under control Brainwashing program Fire and forget instruction Conditioned reflex No human factor Blind subordination Dropping a thousand bombs without hesitation No consideration for the people you kill, devoid of feeling You’re a war machine They’ve erased your scruples about slaughtering You obey orders on your own free will You’ve followed a special training Molding your sensibility They’ve broken you, no thinking for yourself Changing your personality Mental enslavement Fire and forget instruction Conditioned reflex No human factor Blind subordination Now you live the life of an automation And they obtain your entire submission Using this program of indoctrination They’ve neutralized your conscience You’re a mere shadow of your former self Unquestioning obedience It’s their way of appeasing your conscience Psychological cleaning You’ve been brainwashed”