#dualtone records

[krispyweiss]

Song Review: Houndmouth - “A Whiter Shade of Pale”

The piano plays the melody softly and slowly, infusing “A Whiter Shade of Pale” with hushed melancholy that serves a modern version of Procol Harum’s signature track well.

This is Houndmouth’s contribution to the forthcoming, various-artists’ compilation Discovered & Covered from Dualtone Records. And while it would’ve made for a lovely instrumental, Matt Myers’ simultaneously subdued yet overwrought vocals don’t work.

In Myers’ defense, singing Gary Brooker’s parts is a thankless undertaking. But being a singer himself, Myers probably should’ve known better.

Grade card: Houndmouth - “A Whiter Shade of Pale” - D

9/18/23

[listening-through-the-lens]

Gregory Alan Isakov's 'Appaloosa Bones' - A Sublime, Eloquent Masterclass + Australian Tour 2024

Gregory Alan Isakov Reviewed Gregory Alan Isakov – photo LTTL ‘Appaloosa Bones’ by Gregory Alan Isakov Out Now Another Triumph Continue reading Untitled

[itsumohaveheart]

Morning Song - The Lumineers

10th Anniversary Dualtone Music Group Limited Edition Vinyl Record

2xLP Grape and Black Galaxy Wax

[sycamorality]

can you show how you did the drawings with text in ms paint? i know you copied and dragged, but what letters n stuff did you use (and how did you get the dualtone around it?)

OH HI ARTIST I RECOGNISE UM.

the dualtone is natural! the text just kind of does that when you shift + drag it with transparent selection enabled [and color 2 set to your background color]

.... i tried to record a full gif of a dragon made with text, but its about... eight times over the size limit for a gif on tumblr, so.. but here's a link to the gif, and here's the resulting dragon :]

'twas a bit quick so it doesn't look that good...

as for all the text i used -

uppercase and lower case O (O/o), comma (,), period (.), ampersand(&). O/o for body, comma for limbs, period for tip of tail and claws

for this little guy though ^ i used < and > for the tail tuft and horns and / for the little body mane. i like to drag < left and > right, to match the way the arrow is pointing

... though i definently recommend experimenting! i have no idea what i'm doing, i did not expect that post to blow up as much as it did [5.5k last time i checked earlier today...], and all in all it was pretty simple to make ^^;

and the font is comic sans i suppose. i like how it looks

[musiconanironingboard]

26 March 2023: Songs of Pain, Daniel Johnston. (2023 Eternal Yip Eye/BMG expanded reissue of 1981 self-released cassette)

Troubled and complex songwriter and artist Daniel Johnston already had a bit of a cottage industry run by family members before his 2019 death, but since that there has been a somewhat steady stream of products appearing, though when it’s quality reissues of his more important works I can’t complain. His debut album, first distributed by hand on homemade copies in his town of Austin, Texas, has never been on vinyl until now. It got a noteworthy and welcome CD issue in 2003  by Dualtone Records as a twofer with his 1983 fourth album More Songs of Pain, the first time either release got any sort of proper, wide distribution, but now people demand vinyl of everything and here we are with that. This expands the 20-track Songs of Pain to include eight bonus tracks (the cover art provides no indication of where the proper album ends and the bonuses begin; you have to read the enclosed booklet for that). Above we see the front cover, hype sticker, and back cover. All the drawings throughout the package were done, of course, by Johnston.

Below is the opened gatefold, which includes entertaining reminiscings about the songs by Johnston’s friend and sometimes band member Tom Gruda, Sr.

Next we see the front and back of the fairly substantial lyric book, which has more Johnston artwork and ephemera throughout.

Last, each of the four labels has a photo of a young Johnston, and for those familiar with the dramas and anguishes of his life they are somewhat haunting.

Here are some photos of that 2003 CD issue of Songs of Pain and its companion album More Songs of Pain.

Last, I would have liked to show my cassette copy of Songs of Pain, but it’s in a box in the closet and it would take me long into the wee hours to find it. I didn’t have one of Johnston’s original self-made copies, but rather a copy from Stress Records, an only slightly more put-together arrangement run by Austin’s Jeff Tartakov that started issuing professionally duplicated but still hand-assembled copies of Johnston’s early catalog. These photos are from Discogs, but this is what mine looks like. I’ve no idea why the first photo is tiny and the second enormous; this is how they came.

These Stress releases came in cheap, opaque-plastic cases with hand-glued labels that inevitably started to peel off after some time. The cassettes themselves had handwritten labels by Tartakov. In the first half of the ’90s I spent a fair amount of time in Austin, and I remember seeing baskets of these cassettes on the counter at places like ice-cream parlors, Johnston and Tartakov continuing to spread the word of Johnston’s singular talent. This music is jarringly unpolished, raw, and sometimes unnerving, and I’m sure plenty of people find it beyond the pale, but I think Songs of Pain is an excellent album and I’m glad to have this new expanded reissue.

[theindyreview]

Check This: Wilder Woods - Maestro (Tears Don't Lie)

Check This: @iamwilderwoods - Maestro (Tears Don't Lie) First single from roots-rock singer's sophomore album is a soulful, rocking rave-up @AllEyesMedia @DualtoneRecords #newmusic #rock #soul #classicrock #RnB #WilderWoods #Maestro

Artist: Wilder Woods Song: “Maestro (Tears Don’t Lie)” Album: Fever/Sky (March 24, 2023) Label: Dualtone Records Genre: Rock, Soul Better known as the frontman for alt pop rock band NEEDTOBREATHE, Bear Rinehart uses his side project Wilder Woods (named after two of his sons) as a way to experiment with different sounds. After releasing his debut album in 2019, Rinehart spent the pandemic…

[lastchancevillagegreen]

Tuesday, 2 January 2023:

The Darden Smith bundle.

In 1989 I bought my first, and last, Darden Smith album. It was Evidence and actually it was by Darden Smith and Boo Hewerdine. It was fantastic, but I never investigated either artists any further and I was fine with that. Sometimes it just happens, one album by an artist is sufficient enough to carry you through for the rest of your days.

But these days I tend to explore the entirety of an artist's catalog, buying everything by them and listening to them chronologically so I can hear growth, change, whatever over the course of that person or band's career.

This stack of ten CDs you see in the photo above is not the entirety of Darden Smith's catalog. This stack essentially covers his discography from 2002 to 2022 (roughly, I'll break it down at the end of this entry). That excludes his work from his debut in 1986 up to 1993 when he released six albums. I would always rather hear an artist's earlier years than their later years if I have to do an abbreviated catalog study. Quite frankly, I'd rather not even study Smith's career, no offense to him.

Here's how it happened. My brother, the original Mr Catalog Study has been doing one on Smith since last year. He will occasionally post a Darden Smith song on God's Jukebox and it is generally good. But honestly, I'm a hundred years old and I've heard Americana music to death and I'd rather not engage with a new artist (to me) in that genre at this moment in time. I have a dozen other full catalogs to explore that I've not yet heard, so an Americana artist is way down low on my list of catalog studies. Still, my brother's enthusiasm bled over into my mind. And then he told me on Smith's website he is selling ten of his albums on CD for $50. What a deal! In my greedy mind ten albums for $50 is such a bargain why would you ignore it?

I almost hit the buy it now button on Smith's site but then I came to my senses. The last thing I wanted was ten late career albums by an artist who never intrigued me beyond the aforementioned Evidence, which is so good, I pulled it out and began playing last September when my brother bought his Darden Smith bundle.

Well, I was playing Evidence a lot, late at night. Mrs Echo was gone again for a week at a time and I'll often sit upstairs late, playing albums, having a couple of Shiners and evidently, after a few beers from Brew Works, I went home and played Evidence and had a couple more drinks and then...

...I awoke in the morning to a Pay Pal receipt in my email telling me I authorized $50 to Smith. I was so unhappy with myself that I ignored the fact I did this. That was September. Quite frankly I forgot about doing that foolish act until Christmas when my brother came to town and he told me he had to write Smith because it has been four months and nothing has ever shown in his mailbox. Smith himself responded that he has had distributor problems or something, I've already forgotten because I didn't want to be reminded of my failing will power. Long story short, Smith assured my brother his package will arrive shortly. I knew that must hold true for myself, even if I no longer wanted the damn things.

I am so angry with myself, my lack of will power, my greed and my enjoyment of Brew Works/ Shiner Bock. Oh well, now I'm stuck, I'm not buying more Smith, his catalog study will include this stack of ten and then I'm done. I don't need 18 Darden Smith albums crowding my CD shelf. Ten is bad enough.

Starting at the bottom of that stack in the photo above, here are the ten albums:

Deep Fantastic Blue (Plump Records) (released in 1996)

Sunflower (Dualtone) (released in 2002)

Circo (Dualtone) (released in 2004)

Field of Crows (Dualtone) (released in 2005)

Ojo (not on label) (released in 2006)

After All This Time: The Best of Darden Smith (Darden Music) (released in 2009)

Marathon (Darden Music) (released in 2010)

Love Calling (Compass Records) (released in 2013)

Everything (Compass) (released in 2017)

Western Skies (not on label) (released in 2022)

[sha666y]

 

SATURDAY REWIND

MUSIC NEWS YOU  MIGHT HAVE MISSED THIS WEEK

1. Escuela Grind featured in 'Hardcore Punk Is Looking (and Sounding) Different Now' over at New York Times. 

2. Filth Is Eternal has signed to MNRK Heavy.

3. Underoath released 'Let Go (Acoustic)' - listen here.

4. Rolo Tomassi released 'Mutual Ruin (Instrumental) and just started their West Coast tour with The Callous Daoboys - get ticket info here! 

5. The new Creeping Death album 'Boundless Domain' comes out next Friday - pre-order your copy today. 

6. Toxic Holocaust and I AM hit will be on the road with Havok next month at this time - see tour dates here. 

7. Texas Hippie Coalition going back on tour. 

8. Bodysnatcher is playing Aura Fest today in Savannah, GA. 

9. Somnuri is out on tour with Telekinetic Yeti - listen to new track 'Death Is The Beginning' and get tickets here. 

10. Enterprise Earth says there's a drum solo on the new album.

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About MNRK Music Group MNRK Music Group is one of the largest independent music companies in the world, with recording, music publishing, and management divisions operating in every major music market. MNRK is committed to discovering and guiding top music creators and artists and works with some of the greatest musical talent including The Lumineers and Pitbull, the music publishing catalog of Chuck Berry, plus premier music companies Dualtone Music Group and Last Gang. The company’s music department services Academy Award and Emmy Award-winning producers. Its catalog across divisions consists of 54,000 music tracks, including multiple GRAMMY winners and platinum-selling hits. To learn more visit mnrk.com.

Copyright © 2023 MNRK Heavy, All rights reserved. You are receiving this email because you purchased music from the MNRK Heavy (formerly the eOne Heavy) store.

SHOP: NEW ARRIVALS | VINYL | CDS | SHIRTS

 

[therecordchanger62279]

THE WISH LIST

I was reading Record Collector this morning, perusing a column called The Vinyl List, and I noticed that a lot of the forthcoming releases on vinyl are expensive boxed sets with multiple LP's by particular artists - and not any of them especially interesting. That's because these boxes are not "art." They're "product." It's something to throw at the market to see what sticks. How much thought goes into a vinyl boxed set of an artist's first, say, eight albums. You repress those first eight titles, and put them in a box, and slap a $250- $300 price tag on it, and collectors reach for their wallets. No thanks.

How about being a little more inventive? For instance, I was wondering if there was a vinyl boxed set I could be persuaded to buy that contained records I already owned? Turns out, there is. And that's why this piece is titled The Wish List.

Chuck Berry, as far as I'm concerned, invented Rock & Roll. He's one of the genre's true greats. His best records are foundation pieces for any serious collection. Chuck made a lot of records. But his is a history, and a catalog that can be distilled into a 10 record, boxed set edition that would be the best first purchase you could make if you decided to build a collection of Rock 'n' Roll vinyl records.

If I owned a record company, I would license, and press the following Chuck Berry records for my box:

Chuck Berry's Golden Decade - a superb 2 record collection of Chuck's early hit singles.

Chuck Berry's Golden Decade Vol. 2 - a deeper dive into Chuck's multitude of hit singles. That's also a 2 record set.

Chuck Berry's Golden Decade Vol. 3 - a final 2 record collection that rounds up the rest of the best of Chuck's 45 rpm radio fare.

Chuck Berry's London Sessions. The 1972 comeback record, half studio, half live, and featuring the #1 hit, My Ding-A-Ling.

Rock It. A 1979 return to recording after a four year break. One of Chuck's overlooked gems. Robert Christgau's Consumer Guide graded it a B+.

Hail! Hail! Rock 'n' Roll. The 1987 soundtrack album of a live concert filmed as a finale for the documentary on Chuck's life. Lots of special guests including Etta James, Linda Ronstadt and Keith Richards. And Chuck is in fine form.

Chuck. Berry's final album released in 2017, six months after his death. It's a terrific last will and testament to his enduring legacy.

I own all 7 of these titles (10 records) already on vinyl. Why would I shell out for new pressings of records I already own? Because the first four titles above were all on Chess Records, and the editions I own were pressed after owner Leonard Chess died, and the label was sold to GRT. GRT used low grade vinyl to press their records, and consequently, all of the Chuck Berry records I own under the GRT imprint could use a 21st century upgrade. I would happily pay for new pressings. And even though the remaining three titles (released on Atco, MCA, and Dualtone respectively) sound just fine, I like the idea of having a definitive, career-spanning Chuck Berry collection all in one place in a nice looking box with a well written, nicely illustrated 12X12 booklet to go with it. That's number one on my wish list. If there's an enterprising record label owner out there reading this, please get on it right away. If you do, I can have it before my next birthday.

[coghive]

[Download] Trusting God - James Fortune Ft. Monica

Stellar Award Winner, James Fortune  releases a new single in collaboration with R&B songstress Monica, titled, "Trusting God." The song is a new inspirtational and motivational record to keep God's people focused on his promise. The collaboration comes over a decade after their Grammy-nominated song “Hold On” alongside Fred Hammond. The melodic track can be downloaded and streamed anywhere music is sold. James Fortune’s latest album My Life was nominated for Outstanding Gospel/Christian Album at the 54th annual NAACP Image Awards. Trusting God - James Fortune Ft. Monica Stream & Download Below https://youtu.be/Wx7U0C8HuL8 https://coghive.com/wp-content/uploads/2023/03/Trusting-God-1.mp3 ABOUT MNRK MUSIC GROUP MNRK Music Group is one of the largest independent music companies in the world, with recording, music publishing and management divisions operating in every major music market around the world. MNRK is committed to discovering and guiding top music creators and artists, and is home to some of the greatest music talent in the world, including The Lumineers and Ricky Martin as well as the iconic Death Row Records and the music publishing catalogue of Chuck Berry, plus premier music companies Dualtone Music Group and Last Gang. Its catalogue across divisions consists of 54,000 music tracks, including multiple GRAMMY winners and platinum-selling hits.  Read the full article

[loudieapp]

On their Dualtone Records debut Sticking With It, Seattle-based seven piece The Dip deliver the kind of unbridled rhythm-and-blues that hits on every emotional level live at Brooklyn Steel on Saturday February 25!

[ubun-t-u]

The Lumineers - Sleep on the floor

Pack yourself a toothbrush dear Pack yourself a favorite blouse Take a withdrawal slip Take all of your savings out 'Cause if we don't leave this town We might never make it out I was not born to drown Baby come on

Forget what Father Brennan said We were not born in sin Leave a note on your bed Let your mother know you're safe And by the time she wakes We'll have driven through the state We'll have driven through the night Baby come on

If the sun don't shine on me today And if the subways flood and bridges break Will you lay yourself down and dig your grave Or will you rail against your dying day

And when we looked outside Couldn't even see the sky How do you pay the rent Is it your parents Or is hard work dear Holding the atmosphere I don't wanna live like that, yeah

If the sun don't shine on me today If the subways flood and bridges break

Jesus Christ can't save me tonight Put on your dress, yes wear something nice Decide on me, yea decide on us Oh, oh, oh, Illinois, Illinois

Pack yourself a toothbrush dear Pack yourself a favorite blouse Take a withdrawal slip Take all of your savings out 'Cause if we don't leave this town We might never make it out

[sinceileftyoublog]

Patti Smith & Gregory Alan Isakov Live Show Review: 8/6, Canal Shores, Evanston

Patti Smith

BY JORDAN MAINZER

“The microphone stand has developed a mind of its own,” quipped Patti Smith on Friday night at Canal Shores, having trouble getting it to an appropriate height. For her first full band show since the world went into lockdown, it was one of a few adjustments she needed to make. Entering the stage with a mask as her band launched into Horses’ reggae highlight “Redondo Beach”, Smith seemed otherwise her usual self. Bouncing along to the song’s beat, she theatrically delivered the nostalgic, yet tragic song. This time around, though, her plea to the crowd came calmly and early after the opener, instead of in an impassioned, mid-song speech like many concerts before. “I know you’re all vaccinated,” she said before warning us about the prevalence of breakthrough cases of the Delta variant in her personal life. “Please be prudent.”

Smith clearly designed her set to ease into the inspired socially conscious singalongs for which she’s known. The band performed the lilting “Grateful”, live favorite “My Bleakean Year”, and Easter’s folk chant “Ghost Dance” before giving us “Dancing Barefoot”, the first sign Smith was testing the waters of turning things up. “Oh God, I fell for you,” she repeated, pointing to areas of the crowd as if she was singing to specific people. After all, such is the power of a Patti Smith show, at once communal and individually spirit-raising. The one-two Bob Dylan punch that followed was the perfect encapsulation of that duality. A stark version of “One Too Many Mornings”--during which Smith forgot multiple lines and had to make one up--preceded an anthemic, crowd-involved rendition of “A Hard Rain’s A-Gonna Fall”. (“I’m not taking any chances,” Smith said as she grabbed a lyrics sheet and her reading glasses.) At once, though, almost perfectly in sync with the final chorus, a sudden gust of wind blew through the lawn. Smith and then an employee working the show let us know we’d have to evacuate and that the show was over. I joked that Smith herself summoned a storm, but whether you believe in divine intervention or the Church of Patti, one thing this past year and a half has taught us is to be thankful for whatever live music we can get. It was hard to be too disappointed.

Gregory Alan Isakov

Opening was Colorado-based folk singer-songwriter Gregory Alan Isakov in tow with two other band members, all multi-instrumentalists. They started off with acoustic guitar, banjo, and double bass but extended into electric guitars and synthesizer, too. The result was a lush, atmospheric Americana sound, emphasizing Isakov’s most recent album Evening Machines (Dualtone). While he’s an evocative lyricist--especially on songs like “San Luis”, named after and about the Colorado town--his drawn-out singing style and the washy surrounding instrumentation don’t emphasize the words in a live setting. The sing-talk of “Liars” was dominated by the latter half’s instrumental dirge, while the quieter moments of the set were sometimes shadowed by the sounds of chirping cicadas in the trees. In a way, considering how Isakov’s songs are so centered in a sense of place, it was an appropriate way to take them in. And what do you know: Nature ended up ruling the night anyway. 

[musiconanironingboard]

1 February 2024: Mary Karlzen. (Y&T Music, 1992)

Singer-songwriter Mary Karlzen is a notorious artist in the record-collecting world of my brother and me. She appeared in our consciousness in 1995 with her major-label debut (and only major-label release) Yelling at Mary. My brother will tell you he learned of the album from a review in Musician magazine, and I'm sure that is correct, but I don't remember the review; I only remember buying the album, which I think I did because he told me it was good. Consulting my music logs for 1995, I see that it was my 48th most played album of that year. Yelling at Mary was a strange outlier for us; we never pursued any other of Karlzen's music, and she seemed to vanish into thin air thereafter. This by itself isn't peculiar, but what is peculiar is we have both managed to hold onto Yelling at Mary for nearly three decades after its release when it would seem a likely candidate for the many purges we have both done to our collection over the years. It's not that the album isn't good, it just had no staying power, and sometimes I think we held onto it totemically—as if some force, maybe just our own silliness, had decreed you cannot trade Yelling at Mary. (I have always, though, tried to avoid getting rid of anything that made my Top 50 year-end most played list.)

Of course if you're us, and you are able to stick around long enough, everything changes. So this of course means that in the year 2024 my brother and I both are suddenly embroiled in a Mary Karlzen kick. I don't even know how this happened, really. It seems that my brother desired out of absolute thin air to hear Yelling at Mary after umpteen thousand years; I think it might have been from him discovering that there's a 2003 reissue of the album featuring bonus tracks. Whatever the case, before I knew it he was playing the album and singing its praises and then he was going on eBay and snapping up all kinds of Karlzen items. When one of us does this, the other often follows suit, and before I could even find my copy of Yelling at Mary that I've got buried in storage I was on eBay buying Karlzen items myself. (And it seems others in the music world caught Karlzen fever over the years; following that 2003 reissue, on tiny south Florida label Y&T, corporate indie label Dualtone picked it up and reissued it again themselves in 2006.) I've not heard a note of Karlzen's music since 2000; my music logs confirm this, and I'm wagering I played Yelling at Mary that year in an effort to determine if I'd be placing it on my Top 125 Albums of the 1990s list (I did not). Still, as soon as my brother started talking about this album (and, apparently enthusiastically loving it again), I got "Time's Forgotten Crime" and "I'd Be Lying" in my head as though no years had elapsed. I look forward to jumping back into her music.

Some of Karlzen's things can be hard to find, so when I saw a copy of her 1992 debut on eBay I nabbed it. That is what we see here; above are the front and back covers.

Next we see the back of the booklet, which replicates the art from the back cover.

Last, here is the disc itself. It's hard to see here, but under her name on the label art it reads "LIMITED EDITION."

[ghostcultmagazine]

Hasbro Completes Their Acquisition of Entertainment One Records Ltd. (eOne)

Hasbro Completes Their Acquisition of Entertainment One Records Ltd. (eOne)

  In a story we reported several months ago, Hasbro has completed their acquisition of Entertainment One (eOne Records, eOne Heavy) and their properties. The move adds more global brands to Hasbro’s cadre of entertainment offerings. Originally founded as music distributor Records on Wheelsin 1970, but today has a plethora of well-known music, film, and television brands. eOne’s music offerings…

[thegreatuncovery]

Don’t pretend that the world has never been good to you/ Don’t suspend all your plans when you know you should follow through/ Don’t you dare play the victim when you have the power to choose/

The Wild Reeds