Banned Record Covers: The Beatles "Butcher Block LP"

May of 1966 found Capitol Records (the Beatles American label) with no project for the summer that was near.

Only six tracks were completed by the Beatles for their next record. Capitol had six American single sides (including the hit "Yesterday"), plus two songs that were left out of the American "Rubber Soul" release. (Back in 60s, European and American releases did not include the same tracks, and also not in the same order, as each market supposed that met different interests.)

Capitol records asked EMI (Capitol's British parent company), for three additional tracks. George Martin made mono mixes (deadlines reasons), of three newly recorded songs by the band, "I'm Only Sleeping," "And Your Bird Can Sing" and "Dr. Robert".

In March of 1966 the Beatles did a shoot with Whitaker that included sausages, raw beef, a hammer, nails, false teeth, butcher smocks and most notoriously, dismembered baby dolls. Whitaker's approach was to show that the Beatles were flesh and blood humans like everyone else by posing them amongst the un-glamorous props while being pop-art satirical at the same time.

One photo chosen from the session was used in Britain for a trade ad promoting their new "Paperback Writer" single. The shot showed the Beatles dressed in butcher smocks covered with raw meat, while holding the pieces of the baby dolls.

Despite Beatle manager Brian Epstein reservations Beatles insisted and the photo printed.

Alan Livingston, then president of Capitol, had his own reservations so he suggested the production department only press a few hundred advance copies. A release date of June 15th had been set. Capitol's production department pressed and packaged 750,000 copies of the new album with the "Butcher" cover.

Capitol immediately received complaints from distributors and store mangers so Livingston was forced to pull the cover from production.

Capitol put into effect a recall plan they called "Operation Retrieve."

Capitol prepared a much less eye-brow raising cover that simply featured a shot of the band in casual dress, set in front of a plain white background. This would become the standard cover that most people would become familiar with. This cover is often referred to as the "Trunk" cover as the band ids posed around a steamer trunk. Capitol's distribution centers were instructed to separate the records and their inner sleeves from the covers and return them to the manufacturing plants.

After receiving the records, Capitol's Jacksonville, Illinois plant butchered their "Butcher" covers and sent them off to a land fill. Before the other plants followed suit, someone at Capitol had the more economical idea to simply paste the new cover art over the existing covers. Capitol's Los Angeles and Scranton plants had these new cover pasted over their salvaged "Butcher" covers.

A week after starting Operation Retrieve, Capitol had the new version of the album on the store shelves. Among these copies, just underneath the thin layer of artwork, many "Butcher" covers were hidden.

Collectors have come up with terms to describe each state of an original "Yesterday…And Today" cover. A "Butcher" cover unaltered, as initially produced, is called a "First State" copy. These are the rarest and most desirable.

A "Butcher" with the new "Trunk" cover art pasted over it is called a "Second State" copy. These were once the most common of the "butchers" but there have become much fewer, as many have continued to be "peeled" over the years.

A copy that has had the "Trunk" cover removed to expose the "Butcher" art underneath is called a "Third State" copy. These exist in various conditions from nearly ruined to nice, depending on how successful the removal of the top layer was.

More than forty years later the banned cover remains the crown jewel of Beatles collectibles.

By chris73 at http://www.bukisa.com

Classic Rock Videos

The Outlaws - Green Grass & High Tides Part Two

Clinging to the relics of recording

By Lee Landenberger


The moment for music fans is clear - there are those who like to download their music, keep it on a hard drive and never touch it, only listen to it.

Then there are those for whom just listening is not enough. They need to have something to go with the sound. A disc. Its jewel box. Some liner notes on a sleeve. Then it's filed on a shelf with other discs.

Venerable Music and Dust-to-Digital are two Georgia businesses with feet simultaneously in the past and present. It's a tough crossroads to be standing at, deciding which of these markets to cater to - downloaders or collectors.

For Malcolm Vidrine, owner of Venerable Music in Monroe, a huge part of the music experience is not just aural, it's tactile. He wants a package with his music that gives context to the listener, and that's what he's selling.

On the side, he collects rare 78-rpm records. It makes for a great listening experience, he says.

"There's a physical sensation that goes along with it," he says. "If you've got a collection and another person who owns a collection, and they're pulling records as you're listening to records, there's this flowing thing. But it's very physical. It's so different, and I don't know why, than listening to a compilation CD."

Venerable dedicates itself to preserving and promoting music from the 78-rpm era. It's an online service where collectors and the curious go when they, for instance, are looking for the complete early recordings of Kid Ory or the Mississippi Sheiks. The music comes on a compact disc with sleeve notes, not just an MP3 download.

Dust-to-Digital is a label that's garnered plenty of attention the past few years.

It's been nominated for five Grammy Awards and won the best historical album category this year for "The Art of Field Recording, Vol. 1." The label is run from Lance and April Ledbetter's Atlanta home.

The experience of music is more than just sound for Lance. The world of the single download is a world away from him.

"The whole interaction you have with the music is important, like when you put on a CD for 75 minutes, this thing can just wash over you," he says.

"Goodbye, Babylon," Dust-to-Digital's first release, is a case in point. You can't just download it and store the music on a hard drive.

Lance and April won't have it that way.

You have to buy the entire package - cedar box, the book of artists' bios and song lyrics, six discs and some cotton to complete the experience of old-time Southern religion.

"It's not like we're just churning stuff out," April says. "Lance meditates on it, what it's going to be like, how it's going to come together. He gets inspiration from different things."

The newest release from Dust-to-Digital takes a similar tack. "Take Me to the Water: Immersion Baptism in Vintage Music and Photography 1890-1950" is one disc of hard-to-find historic, sacred recordings that comes inside a 96-page book of photos of baptisms taken from 1890 to 1940.

It's a far cry from the iTunes top download list.

"When you put the music on and look at the pictures, what you're witnessing in some cases is the happiest moment of an individual's life, the moment they got saved, the moment they got their sins washed away," Lance says. "You're getting to peer into these people's most important life experiences, and to me, that's powerful. There's no way you can replicate that on a computer screen. Printing on paper is still the best way to experience that."

Lance says he has thought about making his collections of historic roots recordings available as downloads, but he thinks that would hurt the overall ideology upon which he founded his label. It could be a revenue stream, but he's turned his back on the idea. In the label's future is another look at the past - issuing vinyl.

"There is demand for it. A lot of people ask us about it," he says. "To me, we're not big enough to move backwards. I love to move forwards, and then maybe when April and I are in old age, we'll say it's time to put the Dust-to-Digital catalogue into vinyl."

Venerable and Dust-to-Digital are making music available to a world that sees fewer and fewer compact discs sold as each day goes by. Major music retailers like Tower Records are gone. Space on the floor at Borders for music sales is shrinking.

Even the markets for what they specialize in are getting smaller, while the rest of the music-listening market often expects to get music in a decidedly nontraditional way: online and free, which makes what these two Georgia businesses do even harder.

"People who do this do it because they love it, and it's not about money," Vidrine says. "And regular music is about money."

• This commentary was provided to the Banner-Herald through Georgia Online News Service. For more information on Venerable Music, see the Web at www.venerablemusic.com; visit Dust-to-Digital at dust-digital.com, and learn about "Take Me to the Water" at dust-digital.com/water.htm.


Source: http://www.onlineathens.com/

Afro-Punk Festival Announces Line-Up For 2009

This summer Afro-Punk, BAMcinematek and Toyota will present the 5th annual Afro-Punk Festival, taking place July 3rd - July 8th, 2009, in the heart of Brooklyn, NY. The festival is the definitive destination for the global Afro-Punk community and audiences yearning to experience true AP culture! Detailed schedule of the music program, film festival, and skate park events below.

Afro-Punk Festival 2009
Free and open to the public, Afro-Punk Festival 2009 will spotlight some of the most exciting young artists and bands from the US and abroad, presenting live music and films every night throughout the festival, along with several other key events including:

4th July

•Pure Hell
•Whole Wheat Bread
•American Fangs
•Game Rebellion
•The Objex
•Joya Bravo
•& more

5th July

•Living Colour
•Earl Grey Hound
•Tamar Kali
•The London Souls
•Apollo Heights
•Sabatta
•& more

6th July

•Saul Williams
•Janelle Monae
•The Dallas Austin Experience
•Elevator Fight
•Chewing Pic's
•Peekaboo Theory
•Blackie
•& more

The AP Film Series

Afro-Punk Festival film program is co-curated by BAMcinématek with Matthew Morgan and James Spooner, and the outdoor concerts and events are produced by Matthew Morgan. Outside BAM's Peter Jay Sharp Building, as well as at additional venues throughout Brooklyn, there will be free live musical performances, a skate park, and an Afro-Punk Block Party with DIY vendors.

27th June

PREMIERE: What's On Your Plate?

You've read Omnivore's Dilemma and Fast Food Nation and you try to buy local and organic produce at your neighborhood farmer's market. But do you really know how what you're eating ended up on your table? Through the eyes of two intelligent and inquisitive eleven-year-old girls from New York City, we follow the many paths, the conflicting economics, and the disparate decision makers who all play a part in what we eat. Ideal for families to watch together, the film presents a variety of perspectives on how food reaches our urban community and its associated challenges.

3rd July

•Adjust Your Color: Petey Greene
•Faubourg Treme: The Untold Story Of Black New Orleans
•A Man Named Pearl
•Eventual Salvation
•Favela Rising
•Hoods To Woods

4th July

•The Anderson Platoon
•Fred Hampton: Black Panthers In Chicago
•Afro-Saxons
•Attica

5th July: an all-day Spike Lee program

•Joe's Bed-Stuy Barbershop: We Cut Heads
•Making of Do The Right Thing
•A Huey P. Newton Story
•Do The Right Thing

6th July

•A Man Named Pearl
•Revolution ‘67
•Afro-Punk
•White Lies Black Sheep

7th July

•When We Were Kings
•What's On Your Plate?
•The Night James Brown Saved Boston

8th July

•Adjust Your Color: Petey Greene
•Faubourg Treme: The Untold Story Of Black New Orleans
•The Two Towns Of Jasper
•Medicine For Melancholy

The AP Skate Park

The Afro-Punk Skate Park will be erected in GGMC parking lot adjacent to BAM at Lafayette Avenue and Ashland Place. The skate park is open for three days of the festival. Staffed by BMX and pro skaters who will give demonstrations, the skate park will provide free instruction for youth of all ages along with boards, pads, and helmets. Rounding out the skate park will be a music stage hosting a high-energy series of DJ sets and musical performances, and various contests including:

5th July

BMX Bulldog Bikes / Afro-Punk presents:
Urbanx - Battle For The Streets-Best Box Jump Contest
$5000 IN PRIZES include all expenses paid trip to the XGAMES Courtesy Of ESPN

6th July

Afro-Punk presents:
Urbanx - Battle for the Streets - Best Trick Contest
$5000 IN PRIZES including all expenses paid trip to the XGAMES Courtesy Of ESPN

NIKE SP SPONSORED SKATE CLINIC Run by Billy Rohan of OPEN ROAD

Open Road leads skateboarding programs in schools, after school, in city-wide events, and builds parks that are open to the public for free skating. We create free skateboarding physical education programs in response to several interrelated needs and opportunities. Open Road offers skateboarding sessions for all ages. Our sessions are lead by male and female instructors trained by Billy Rohan. We offer beginner, intermediate and advanced levels. Beginner and Intermediate sessions begin with warm up stretches in a sequence developed by Billy. Safety/equipment care is covered in every session.

THE BLOCK PARTY

12th June

On Clinton Avenue between Myrtle and Willoughby, July heats up with the second annual Afro-Punk Block Party featuring live music, DJs, and DIY fashion, food, and craft vendors. Not the usual street fair, the block party features the best underground and local artists and artisans.

What is Afro-punk?

When Matthew Morgan and James Spooner joined forces in 2002, their focus was giving a voice to thousands of multi-cultural kids fiercely identifying with a lifestyle path-less-traveled. The result was 2003's Afro-Punk, the seminal cult classic film spotlighting Black Punks in America.

Since then Afro-Punk has become a cultural movement strongly reminiscent of the early days of Hip-Hop, and a touchstone for tens of thousands of Alternative urban kids across the nation (and the globe) who, tired of feeling like outsiders, have joined the Afro-Punk (AP) community.

Ground Zero for this movement is the annual Afro-Punk Music and Art Festival, launched in Brooklyn in 2005. Co-curated by Morgan and Spooner, the festival celebrates and unified the cultural cornerstones of Afro-Punk: music, film, skate, and most importantly, the fiercely independent and influential individuals that are the lifeblood of the AP community. Afro-punk has featured an intensely diverse group of artists over the years, including The Noisettes (London), The Dirtbombs (Detroit), Saul Williams (Los Angeles), and The Apes (Washington DC), as well as trend-spotting recent Grammy nominees Janelle Monae and Little Jackie at last year's festival. AP has also garnered praise from a wide range of media outlets ranging from Pitchfork, URB, Vibe, and Nylon to Variety, Entertainment Weekly, and The Los Angeles Times, and was the subject of an "Urban Eye" video feature by Melena Ryzik in the New York Times last year.

This Date In Music History-June 7

Birthdays:

David Navarro - Jane's Addiction, Red Hot Chili Peppers (1993-1998) (1967)

Eric Kretz - Stone Temple Pilots (1966)

The mighty purple one, Prince (Prince Roger Nelson), was born in Minneapolis, MN in 1958.

Paddy McAloon - Prefab Sprout (1957)

Thomas Woodward, (Tom Jones) (1940) His biggest hit (in the US) was the 1971 #2 "She's a Lady."

Gordon Gano- Violent Femmes (1963)


They are Missed:

Born on this day in 1917, Dean Martin (1956 US & UK #1 single “Memories Are Made Of This”) He died December 25, 1995.

Songwriter Wally Gold died in a New Jersey hospital in 1998 (age 70). He wrote “It's My Party” for Lesley Gore and “It's Now or Never,” for Elvis Presley. Member of late 50's group The Four Esquires, and produced Kansas & Gene Pitney.

The funeral of guitarist, singer Bo Diddley took place in Gainesville, Florida in 2007. Many in attendance chanted "Hey Bo Diddley" shortly after family members had passed by his coffin as a gospel band played Bo Diddley's music. At the service, they presented a floral tribute in form of his trademark square guitar.


History:

Bill Haley & His Comets recorded a cover of Big Joe Turner’s "Shake, Rattle And Roll." The song went to #7 on the pop chart in 1954.

In England in 1963, the Rolling Stones released their first single - a cover of Chuck Berry's "Come On" backed with Willie Dixon's "I Wanna Be Loved." The band had to change Berry's line "some stupid jerk" to "some stupid guy" in order to get the song played on the radio.

During their first ever US tour in 1964, the Rolling Stones were booed off stage at a gig in San Antonio, Texas. Some performing monkeys, who had been opening act before the Stones, were brought back on stage for another performance.

In 1969, Keith Richards and his partner Anita Pallenburg were involved in a car crash near their home in Sussex. Richards escaped serious injury but Pallenburg was taken to hospital with a broken collarbone and the car was a write-off.

Johnny Cash debuted his own network show on CBS-TV in 1969.

In 1975, Elton John's "Captain Fantastic And The Brown Dirt Cowboy" album LP became the first album to debut at #1 on the Billboard chart.

Don McLean recorded "Vincent" in 1971.

The ground breaking ceremony was held for the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio in 1993.

Prince changed his name to an unpronounceable symbol in 1993. Yeah and I am $%#$@ on my bad days...

John Denver went to #1 on the singles chart in 1975 with “Thank God I'm A Country Boy,” his third #1 hit.

Supergroup Blind Faith, featuring Eric Clapton, Ginger Baker and Steve Winwood made their live debut in 1969 at a free concert in London's Hyde Park.

The Who performed “Tommy” at New York’s Metropolitan Opera House in 1970. The show was the first time The Who played this venue and the last time they performed “Tommy” in its entirety for nearly two decades.

In 2007, Paul McCartney played a surprise concert at a club in London to celebrate the release of "Memory Almost Full." He performed new stuff, old stuff and even Beatles tunes. Jeff Beck and Pink Floyd's David Gilmour were in the audience.

The Ohio Players hit #1 with "Love Rollercoaster" in 1976.

The Police released “Synchronicity” in 1983.

“Rock ‘N’ Roll Music,” a compilation of The Beatles' rockers, was released in 1976.

Roy Orbison's wife, Claudette was killed in a motorcycle accident near Nashville in 1966.

Billy J. Kramer & the Dakotas made their American TV debut on the "Ed Sullivan Show" on CBS in 1964.

Classic Rock Videos

The Outlaws - Green Grass & High Tides - Part One

Bringing Back the Old School just in time for the 21st Century

By: Alex Young

For children growing up in a digital age, it’s wild to think that some kids’ entire music collection will be a collection of digital memories on their computer. In the current climate of unrest within the music industry because of Internet piracy, there’s a revolution that’s coming back to shine in the spotlight once again – the return of the vinyl record. December 2008’s issue of Rolling Stone revealed vinyl sales are up 60 per cent from 2007 in the United States alone. With the re-release of essential rock albums like LA Woman by the Doors and Pet Sounds by the Beach Boys, all kinds of classics are getting a brand new life on vinyl. Whatever your taste may be, there’s an album waiting for you to rediscover it in a way you’ve never heard before and it’s like listening to your favorite albums for the first time all over again. For all of you that have been keeping their loyalty to vinyl strong throughout the years, now you too no longer have to feel like the only analogue dude in a digital world. The influence of the vinyl is anything but forgotten and there are a few characters that have stuck around including like the old school sound technicians, the record storeowners and the collectors. Today you’ll get to hear from each of them and their take on vinyl getting another spin.

There are a lot of differences between vinyl and any other medium but the biggest one is the quality of the recordings themselves. No one can make this any clearer than someone who has been drowning themselves in sound on a daily basis for most of their lives as they know it. This crafty character in the vinyl revolution is like a sergeant sending his troops into battle by telling them what they’re fighting for. This is what the sergeant had to offer the troops to explain to rally the troops in today’s music market. When you are listening to vinyl you are getting a much more intimate experience with the music itself because there’s literally nothing else on the album beyond the musicians.

Analog recording captures a live musician on their own as well as capturing the natural distance and depth within the room. When artists record digitally, the files themselves are already programmed to sound like analog recordings with effects but are actually of a lower fidelity. Mike Trimmer, head of the PA and Live Sound Department at Toronto’s infamous shop Steve’s Music, has worked on the road as a sound and recording engineer for over 20 years. Trimmer took some time to discuss the difference between vinyl and digital sound recordings by pointing out “If you’re working with high end of analog equipment there’s a high fidelity difference. Meaning digital recordings are programmed to sound like live recordings but the quality is a lot thinner which makes some recordings sound more harsh or hollow.” The difference between the quality of vinyl and digital recordings also lies in how the music itself is recorded. Trimmer also said “When you use digital processing, it uses high end modeling equipment that is meant to simulate an analog recording. But when you listen to an analog recording it is just a recording of a live musician and there’s nothing coming between that. The difference is in the detail of the harmonics and textures. Digital recordings are upgraded into a resolution into the 96 range, which is what makes it popular on a recording level. But a CD is still 44.1, which makes it harsher to listen to at high volumes.”

Anyone comparing vinyl to any other medium for music has to keep in mind that vinyl provides a personal experience for its listener. Another character in the audio army breathing new air into the lungs of vinyl is the record storeowner that can speak with technical prowess of someone like the sergeant and the elite lingo of music geeks alike. This character is the record storeowner, who has both a stake in the business and an undying passion that can challenge even the most elite music geeks. Of all the time spent cleaning out your garage rooting through all your parents’ old records from high school it’s only natural to see a flush of memories come back to them all at once. One of vinyl’s biggest appeals is that it provides a truly unique connection between the listener and the music because even there might be 7 trillion copies of Led Zeppelin IV and Sticky Fingers floating around the world, that the copy in your collection was printed just for you.

The grandiose artwork that accompanies every record could be big enough to become a poster and the liner notes could be a novel; these recognizable characteristics allow listeners to identify with their favourite albums in a way that is unheard of anywhere else. Roozbeh Showoeh is the manager of Slinky’s Music in Toronto that sells CD’s, vinyl, and DJ Equipment. Showoeh discussed the personal experience vinyl has to offer anyone that’s willing to listen by saying “It’s interesting to see what an attractive product they’ve become. They’re almost like a fashion statement. Obviously you buy a record for the music but it’s interesting to see people get vinyl for the artwork. I’ve seen all kinds of people frame vinyl, hang it on their walls, use it like a poster and it’s like them using everything that came with the record itself to show their love for the music.”

With vinyl breaking its way back into the mainstream after spending decades in dusty attics and burnt out basements, not everything is perfect for the vintage revival. These are the people who do strive for a more mature quality from their music collection and the people at the heart of vinyl’s survival: the foot soldier that keeps their affection flowing from the heart of music into their inner fanatic. Justin Chard is a first-year Humber College Radio student that interns at Toronto’s heartbeat for modern rock, 102.1 the Edge, and is an absolute vinyl fanatic. Chard owns over three hundred vinyl discs and loves all of them to death, claiming he doesn’t “have the heart” to throw out his albums that are beyond repair. It’s for that reason that Chard finds himself at a crossroads as a modern vinyl collector. “The real bitch is that when you love an album on vinyl to death, it actually dies.” Chard says with a chuckle. “Because of the actual physical contact with the needle, if you’re spinning an album for years on end, it’s obviously not going to last forever. If you break a CD you can just burn another copy, if you lose a tape or hear something on the radio, you can just download it. If you carve one of your vinyl’s to death, it’s great to see how much you can love something like music, but you have to go out and buy a brand new disc.”

It’s interesting to see records get another spin after they were presumed dead for decades. After hearing so many classic cuts such as “Straight to Hell” by the Clash become morphed into MIA’s hit single “Paper Planes” last year, artists that got their start in the vinyl era are clearly not going anywhere. Although vinyl doesn’t have the same pull in the music industry it’s amazing to see that it still has a place in the hearts of music lovers in the twenty-first century even in an age when anyone can practically pull mp3’s out of thin air on the internet. The timeless qualities that come with a vinyl resurrect a connection between a fan and their favorite tunes that the world once thought was extinct with the emergence of tapes and CD’s. It was Bob Dylan that said “the times they are a-changing” but it’s nice to know that the world didn’t forget that, some things will stay golden for a little bit longer.

Source: http://kakonged.wordpress.com

Music News & Notes

Green Day Reveal New Single

Green Day release their new single ‘21 Guns’ next month.

Taken from their number one album, ‘21st Century Breakdown’, Green Day release this new single on July 13th on Reprise Records. ‘21st Century Breakdown’ has already topped the charts in 22 countries including USA, Germany, France, Japan and Canada and in support of its release Green Day return to the UK this October for their first full tour since early 2005.

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AHAB: New Album Samples Available


AHAB, the German funeral doom metal band featuring MIDNATTSOL guitarist Daniel Droste on guitar/vocals and ex-MIDNATTSOL guitarist Christian Hector, has posted a four-minute teaser audio file containing clips of five songs from the group's sophomore album, "The Divinity Of Oceans".

"The Divinity Of Oceans" will be released via Napalm Records on the following dates:

July 22 - Finland, Spain
July 24 - Germany, Austria, Switzerland, France, Italy, Sweden
July 27 - Rest of Europe
July 28 - Canada, U.S.

The CD cover, which is a painting by Théodore Géricault called "Le Radeau De La Méduse", can be viewed below.

According to the band, the guitar parts for AHAB's new album, which were mostly written by Daniel Droste this time, are "a bit more complex, yet in a funeral doom and death doom style." Hector says, "It sounds a bit like a mixture of the 'good ole' AHAB style mixed with very atmospheric tunes. So the description of AHAB as it's posted on Doom-Metal.com as a 'riffing funeral doom band' still is valid. You may say there are riffs, that sound a bit like Devin Townsend going funeral doom, CARCASS in slomo or MORBID ANGEL going beyond the slowness of 'Blessed Are The Sick'. Still to some extent the influence of our colleague of Tyranny can still be heard in some few riffs. So most of the music stays the same as you know it, although there are some hints to postcore and classical doom as well. It also maybe said, the songs are much more epic and vast. I think the new riffs fit perfectly to tell the story of the wreckage of the Essex! So Daniel made it quite easy for me to fit the lyrics to the music!"

AHAB is named after Captain Ahab, a character in the novel "Moby Dick" by Herman Melville. Along with its name, the band also draws thematic and lyrical inspiration from "Moby Dick" — some songs even feature direct quotations from the book.

AHAB is:

Daniel Droste: Guitar, Voices, Synths
Christian Hector: Guitar
Stephan Wandernoth: Bass
Cornelius Althammer: Drums

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Spookey Ruben Releases New Album

Hi-Hat Recordings artist Spookey Ruben returns to delight us once again with his knack for colouring outside current musical trends: June 2nd marked the release of Mechanical Royalty (via Sonic Unyon), an album that skips merrily through the garden of musical genres, playing tribute to everything from Yacht Rock to death metal.

At the heart of the album lies the seven chapter prog rock epic 16min title track where Spookey Ruben tackles a genre forever riddled with ridicule. With its 12-keyboards-and-a-robe-with-a-30-ft-dragon-on-stage guise, Spookey, historically attracted to projects that absolutely don't fit in the hipster category, manages to tantalize once again with his latest pièce de résistance.

Mechanical Royalty (a pun, alluding not only to the album cover and storyline of the title track, but also to a music business term) is an intense 70s/80s rollercoaster ride, but its Spookey's point of view that makes it feel inviting and brand new, consistently dishing up his excitement for music in his own special heartfelt way.

In addition to his musical prowess, Spookey is the mastermind behind 'Spookey Ruben's Dizzy Playground' (AUX.tv/Exclaim.ca), an ongoing series of short films guest starring notable musicians like Brendan Canning (Broken Social Scene), John McEntire (Tortoise/The Sea and Cake), Melissa Auf Der Maur (Hole, Smashing Pumpkins). Upcoming episodes will include Owen Pallett (Final Fantasy), Brian Borcherdt (Holy F*ck) and Leslie Feist (Feist).

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Who Set Releasesd

Geffen Records has released a deluxe 2-CD edition of "The Who Sell Out," one of the group's most important and eclectic albums and the precursor to Tommy.

Released in 1967, it was also Pete Townshend's first attempt at a concept record. Although not a totally successful experiment, it remains a critical hit from a music perspective along with a curiosity in some of the "extras" on the album. The idea behind the set was a broadcast from a pirate radio station, Radio London with jingles and fake commercials included between songs.

The album was a moderate success, reaching #48 on the album charts #13 in the UK) and producing the top ten single "I Can See For Miles."

This new release contains 27 additional tracks, including alternate versions and five that have never before been released. Included are both the mono mix, which has not been available in the U.S. or the U.K. since 1967, plus the standard stereo version. A must have for any fan of the Who- or for rock and roll for that matter.

Hail Vinyl!

Bird & Animal Names In Rock And Roll History- part sixteen

As we continue our series about “bird” and “animal” group names and people in rock and roll history, let’s explore some of the newer bands that have made a name for themselves.

Before Chicago native, singer/songwriter Andrew Bird made a splash in the pop music arena with his 2007 release “Armchair Apocrypha” and more recently 2009’s Noble Beast,” he honed his musical skills in a dizzying array of musical endeavors.

Birds’ musical talents include competency in violin, whistling, guitar, mandolin and glockenspiel. Classically trained, he graduated from Northwestern University with a Bachelor’s Degree in violin performance in 1996. He cut his first solo effort that same year with the cut “Music Of Hair,” which showcases his immense talent and violin skills as well as his fascination with both American and European folk traditions.

Bird has also played with the big band-influenced Squirrel Nut Zippers, appearing on three of their albums (“Hot” “Sold Out” “Perennial Favorites) between 1996-1998. Assuming the role as a band leader, Bird formed Andrew Bird’s Bowl Of Fire, a group that relied heavily on traditional folk, pre-war jazz and swing and released the albums “Thrills On Rykodisc” (1997) and “Oh! The Grandeur” (1998). In 2001, the group’s third LP, “The Swimming Hour” changed gears and saw the band lean more towards more of a rock and roll approach and although the album received critical acclaim, the band failed to attain commercial success. The band ultimately broke up in 2003 and Bird reinvented himself as a solo artist, progressing to a more eclectic indie/folk sound. Early 2003 brought the release of the LP, “Weather Systems,” and Bird debuted on Ani DiFranco's Righteous Babe imprint in 2005 with “Andrew Bird & the Mysterious Production of Eggs.”

Bird continues to impress his fans and critics alike with his ever-changing improvisational skills during live performances and is adapting well to his new found fame.



A group gaining considerable amounts of attention is the indie rock band, the Brooklyn-based group called Grizzly Bear. They have captured the ears of music lovers with an eclectic mix of acoustics and superbly blended harmonies.

The group initially began as a home recording project of Edward Droste and the music took on a new life with the help of multi-instrumentalist Christopher Bear (a Chicago native), whose diverse talents added substance to the homemade recording; resulting in the debut release for the band with 2004’s “Horn Of Plenty.”

Originally released with little fanfare, the album quickly gained attention in New York’s underground music scene by word of mouth and by the band’s relentless touring.

Soon, Chris Taylor joined the band (reeds and electronics) and Daniel Rossen provided expert guitar and vocals to the mix. In 2006, the indie quartet released their first album “Yellow House” (named for Droste’s mother’s house where it was recorded) and the LP was named one of the top albums of the year by the New York Times and Pitchfork Media. The band has also released “Friend,” an EP that features outtakes, alternative versions of songs. Their newest release Veckatimest (May 2009) is receiving rave reviews and expect to hear more from this up and coming indie band in the future.

Deerhunter is an American band from Atlanta, Georgia and are now comprised of members Bradford Cox, Moses Archuleta, Josh Fauver and Lockett Pundt (the group’s first bass player, Justin Bosworth died from head injuries in a skateboarding accident). They describe their music as “ambient punk” but incorporate a wide variety of musical genres into the mix including noise rock, art rock and post-punk.

Their first LP, “Turn It Up Faggot” was influenced by the death of their friend and bandmate Bosworth (the liner notes dedicate the album to him) and was very difficult to make for all the band members. Cox soon enlisted his high school friend Lockett Pundt to join the group.

Deerhunter recorded their second album “Cryptograms” in November of 2005 which was released in January of 2007. It was more of a subdued effort than the debut. In May of the same year, the band released an EP called “Fluorescent Grey,” which had been recorded in July of 2006) and in the same month released a 7” single called “Whirlyball,” which was available only at Criminal Records and the single also doubled as a ticket to one of their shows.

The band lost guitarist Colin Mee in August of 2007 because of conflicting scheduling problems, but he rejoined for their autumn tour.

The group’s third album “Microcastle” was released in October of 2008 and was co-released with “Weird Era Cont;” a bonus album. Colin Mee left the band again and was replaced by Whitney Petty (who consequently left in February 2009).

The band, whose influences include David Bowie, Brian Eno and Echo and the Bunnymen (among others) are well-known for their fiercely provocative live shows (Cox has worn sundresses and has performed with fake blood smeared over his face and hands) and they have toured with Nine Inch Nails, TV on the Radio, Liars and the Smashing Pumpkins, among others. Look for great things from the band, their music and spirit have just begun to capture listener’s ears.


Andrew Bird Tidbits:

Andrew Bird was born in Chicago on July 11, 1973. Growing up, Bird was surrounded by classical music and as a child; he was interested in Irish tunes and bluegrass. Bird has stated that, at 22, he found a lot of indie rock and pop music repetitive and boring, but now understands it better. He currently splits his time between Chicago and a farm near the town of Elizabeth in northwest Illinois.

Andrew Bird is famous for improvising and reworking his songs during live performance, as can be seen in his series of self-released live compilations entitled Fingerlings, Fingerlings 2, and Fingerlings 3, the first of which was released in 2002.

Five of his songs — "Banking on a Myth" from The Mysterious Production of Eggs, a medley of "I" from Weather Systems and "Imitosis" from Armchair Apocrypha, and "Skin" and "Weather Systems" from Weather Systems — have all been licensed for use by Marriott Residence Inn.

Buy Andrew Bird Music


Grizzly Bear Tidbits:

Grizzly Bear is:

Daniel Rossen (songwriting/guitar/vocals/keyboards), Ed Droste (songwriting/guitar/vocals/keyboards), Chris Taylor (bass/woodwinds/electronics/vocals) and Christopher Bear (drums/vocals)

In summer 2008, Grizzly Bear opened for Radiohead on the second leg of their US tour. In Toronto, on their last date of the tour together, Radiohead guitarist Jonny Greenwood spoke of his love for Grizzly Bear, on stage, calling them his favorite band.

An album of Droste's early demo recordings, Sorry for the Delay, was released in 2006 as the band finished up recording Yellow House

On March 1, 2008, Grizzly Bear performed with the Los Angeles Philharmonic Orchestra

Also in 2007, the band released Friend, an EP which features outtakes, alternate versions of songs, and covers of Grizzly Bear material done by Cansei de Ser Sexy (CSS), Band of Horses, and Atlas Sound.

Buy Grizzly Bear Music



Deerhunter Tidbits:

As with their first album, “Cryptograms” also had a dedication inside the album's liner notes, this time to a friend of Cox's, Bradley Ira Harris, a heroin addict who died in 2005.

While touring the Microcastle album in the UK, Cox booked an evening in a studio and recorded what would become the On Platts Eyott cassette. This was released in two batches of 100 copies each; an edition of pink cassettes was given out to competition winners by his record label and orange cassettes were sold at a special Halloween concert in Atlanta on the 31st of October 2008.

On Friday, April 17 2009, popular indie music website Pitchfork Media announced that Deerhunter would be releasing a new EP, entitled Rainwater Cassette Exchange, due out on May 18th, 2009 digitally and June 8th, 2009 on CD.

Buy Deerhunter Music

Classic Sinatra II

Released in 2000, Capitol/EMI’s Classic Sinatra has sold over two million copies in the U.S. alone and has been certified double platinum by the RIAA.

To mark this achievement, on June 2, Capitol/EMI, in conjunction with Frank Sinatra Enterprises (FSE), will release a brand-new companion collection, Classic Sinatra II.

Featuring 21 additional signature tracks, including 15 from the legendary concept albums Sinatra recorded for Capitol between 1954 and 1961, various singles, and a previously unreleased recording, Classic Sinatra II will be available on CD, at all major digital service providers, and www.sinatra.com.

Classic Sinatra II showcases a selection of Ol’ Blue Eyes’ most loved recordings from his Capitol concept albums, including “Moonlight In Vermont,” “Pennies From Heaven,” “Something’s Gotta Give,” and “All Of Me.” In addition, the set features four 1950s singles: “Love And Marriage,” “(Love Is) The Tender Trap,” “Learnin’ The Blues,” and “High Hopes.” Plus a 1956 recording of “Memories Of You” and a previously unreleased recording, “This Can’t Be Love.”

During his lifetime, Sinatra won 10 Grammy Awards. When awarded the Grammy Legend Award in 1994, he was introduced by U2 singer Bono, who said, "His songs are his home and he lets you in, but you know that to sing like that you've got to have lost a couple of fights. To know tenderness and romance you've got to have had your heart broken."

Sinatra appeared in 58 films and won three Academy Awards, including an honorary Oscar for The House I Live In. He performed thousands of tour dates around the world, starred in his own television show and numerous specials, earning Emmys and a Peabody Award. Sinatra was saluted by The Kennedy Center Honors (1983) as a cultural icon, and was awarded the Presidential Medal Of Honor (1985) and the Congressional Gold Medal (1995), Congress’ highest civilian award.

Born Francis Albert Sinatra on December 12, 1915, Frank Sinatra was a titan of 20th Century entertainment, with record-breaking successes in both music and film. With a legendary career spanning more than six decades, Sinatra was truly “The Entertainer of the 20th Century.” Also known as “Ol’ Blue Eyes,” “The Chairman of the Board” and “The Voice,” Sinatra has sold more than more than 150 million albums around the world, and racked up 31 gold and nine platinum albums (including three that went multi-platinum), one gold single, and two gold and platinum videos in the United States alone. He is the only artist to chart in Billboard’s Top Ten for seven consecutive decades.

Frank Sinatra: Classic Sinatra II
1. Something's Gotta Give
2. Too Marvelous For Words
3. Love And Marriage
4. From This Moment On
5. (Love Is) The Tender Trap
6. I Get Along Without You Very Well
7. All Of Me
8. I Thought About You
9. Moonlight In Vermont
10. High Hopes
11. Learnin' The Blues
12. Here's That Rainy Day
13. Pennies From Heaven
14. I've Got A Crush On You
15. Guess I'll Hang My Tears Out To Dry
16. Memories Of You
17. Love Is Here To Stay
18. When The World Was Young
19. Just One Of Those Things
20. Angel Eyes

Bonus Track
21. This Can’t Be Love (Previously unreleased recording)


“This Can’t be Love” Audio Stream


“Pennies from Heaven” Audio Stream


“High Hopes” Audio Stream


“All of Me” Audio Stream


Official Site Link:
http://www.sinatra.com

Classic Rock Videos

FOGHAT: STONE BLUE Live 1993

Michael Fremer Review

I am very proud to continue our new feature (look for this every Friday), music reviews that are written by the senior contributing editor of Stereophile magazine- Michael Fremer. It has been a pleasure to speak with Michael and learn more about audio sound and equipment. In fact, his new DVD, "It's A Vinyl World, After All" has hit the shelves and is selling out very quickly. This is a must have for anybody who loves vinyl, it is a true masterpiece.


Additionally, make sure to stop by his site, www.musicangle.com and bookmark it for further exploration. I certainly want to thank Michael for the exclusive rights to reprint his fantastic material.






Marshall Crenshaw (reissue)
Marshall Crenshaw

Warner Brothers/Mobile Fidelity MFSL 1-294 180g LP

Produced by: Richard Gottehrer and Marshall Crenshaw
Engineered by: Thom Panunzio
Mixed by: N/A
Mastered by: Shawn R. Britton at Mobile Fidelity Sound Labs








Review by: Michael Fremer
2009-06-01

Only in retrospect does the “high concept” of Marshall Crenshaw’s remarkable 1982 debut assert itself: marry infectious ‘50s and ‘60’s-like rock’n’roll tunes with the then modern chorus guitar effects popularized by The Police’s Andy Summers. Maybe that wasn’t the plan, but that’s sure what it sounds like! That, or what a vintage Seeburg or Wurlitzer juke box would sound like heard from outside of the malt shop teen hang out.

Back then, in the wake of the sensitive ‘70s and in the midst of a post-punk, new-wave musical malaise, Crenshaw’s unerring tunefulness and clean-cut boy-girl lyrics provided a refreshing blast of what made rock attractive in the first place. Crenshaw managed to pay homage to Buddy Holly, rock-a-billy and various other rock conventions of a bygone era and make them sound fresh and vital.

For older fans it was reaffirmation while younger ones exulted in the conservative Reagan-ness of it. Even the post-hippies dug it. Crenshaw captures them all and the rock critics too. An amazing move for a guy whose previous achievement was playing John Lennon in Beatlemania.

The colorized cover art, showing an impossibly clean-cut college-y Crenshaw seated at a ‘50s formica kitchen table struck all the right retro-notes too, while being ultra-hip at the same time. Even the dark John Lennon-ish glasses hit the right note. Over a button down shirt, Crenshaw wore what looked like an impossibly wide-lapelled Zoot suit!

But forget the image, as Berry Gordy famously said “It’s what’s in the grooves that counts,” and there’s not a bad tune among the twelve short, hook-filled ones that make up Marshall Crenshaw&#almost all of which were Crenshaw penned.

From the wistful, haunting opener “There She Goes Again,” to the e qually wistful haunting “Someday, Some Way,” to the optimistic “Rockin’ Around in N.Y.C.” to the sunny rock-a-billy closer “The Usual Thing,” side one moves along at a crisp clip, melding new wave with old school, Crenshaw on guitars and vocals, his brother Robert on appropriately basic drums and vocals and Chris Donato on bass and back up vocals. If you don’t end up refreshed and buoyed when the stylus hits the lead out grooves, you probably need Abilify.

Side two is equally tuneful and crisply rendered, especially the jingle-jangled “Cynical Girl,” though the early Beatle-esque/Shirelles inflected “Soldier of Love” (once covered by The Beatles and later by Pearl Jam) is equally impressive. Even when Crenshaw’s quoting and being derivative he pulls it off. In retrospect, what makes this record succeed is the sprinkle of sunset sadness and regret Crenshaw adds to the mix. It’s a nostalgic cover for an album that could be accused of trading in nostalgia but doesn’t. Marshall Crenshaw is as tuneful and pleasing today as it was when first released.

As for the sound, well that’s a bit more complicated. This is a purposeful production, helmed by Richard Gottehrer who wrote some of the most enduring ‘60s classics like “My Boyfriend’s Back” and “I Want Candy.” He knew what he was doing on this Record Plant production and what he was doing was producing a record that sounds as if you’re hearing it in your mind from a past memory.

Therefore, it’s bathed in echo, is bass-shy and nothing from the instruments to the vocals asserts itself too prominently or clearly. That was the game plan, so don’t complain to Mobile Fidelity if it doesn’t sound sufficiently “audiophile” for you. That said, while the original mastering by Greg Calbi was very good, this reissue brings you much closer to what’s on the tape, without destroying the desired effect.

The re-issue keeps its distance while greatly improving overall transparency and transient clarity. The bottom end remains intentionally weak but somewhat better defined. In other words, you’ll still think you’re hearing this from outside the malt shop or inside your mind from a previous listen in another place and time and that’s as it should be.

This is everything a great reissue should be: it clarifies the original without trying to re-invent it.

Copyright © 2008 MusicAngle.com & Michael Fremer - All rights reserved


SOURCE: http://www.musicangle.com Reprinted By Permission


Pick up Michael's DVD's Here:

This Date In Music History-June 5

Birthdays:

Kenny G. (1956)

Peter Lewis Kingston Wentz III - Fall Out Boy (1979)

Freddie Stone - Sly and The Family Stone (1940)

Laurie Anderson (1947)

Nicko McBrain - Iron Maiden (1954)

Richard Butler - Psychedelic Furs (1956)

Brian McKnight (1969)


They Are Missed:

Born today in 1941, Floyd Butler, vocalist with The Friends Of Distinction. Died of a heart attack on April 29, 1990.

Tom Evans of Badfinger was born in 1947. Evans committed suicide November 23, 1983.

Animals’ keyboardist Dave Rowberry died in London in 2003 (age 62). Rowberry joined The Animals after the group had a falling out with founder/leader Alan Price.

In 1999, Jazz singer and songwriter Mel Torme died at the age of 73. His Christmas song' “Chestnuts Roasting On An Open Fire” has been recorded more than 1,700 times.

Ronnie Lane (Faces) died in 1997 (age 51) after a 20-year battle with multiple sclerosis.

Country singer Conway Twitty died from an abdominal aortic aneurysm in 1993. Until 2000, he held the record for the most #1 singles of any country act, with 45 #1's.


Dee Dee Ramone died of an apparent overdose in 2002.









History:

In 1971, Grand Funk Railroad smashed the record held by The Beatles when they sold out New York's Shea Stadium in 72 hours.

The classic cut "Susie Q" was released by Dale Hawkins in 1957.

Roy Orbison went to #1 in 1961 with “Running Scared” (#9 in the UK).

James Taylor's epic song "You've Got A Friend" was released in 1971.

In 2007, Lucy O’Donnell, a former schoolmate of John Lennon’s son Julian, claimed that she was the subject of a painting by Julian that inspired The Beatles song "Lucy In The Sky With Diamonds." Oh, and I am the walrus.

In 1975, former Pink Floyd singer Syd Barrett turned up in the studio and was present while the band mixed “Wish You Were Here,” the majority of whose tracks referred to Barrett's increasing dementia.

In 1956, Elvis Presley appeared on ABC-TV's “Milton Berle Show,” and while singing “Hound Dog” performed the suggestive 'gyrating' movements.

In 1977, Alice Cooper's boa constrictor, a co-star of his live act, suffered a fatal bite from a rat it was being fed for breakfast. Cooper held auditions for a replacement and a snake named “Angel” got the gig. No word on what happened to the rat.

In 1979, "Love You Inside Out" became the Bee Gees' ninth #1 single, sixth consecutive #1 single (tying the Beatles), and fifth to sell over two million copies. It is also, to date, their last #1 single.

Sir Paul McCartney released his 21st solo album, “Memory Almost Full” in 2007 on the new Hear Music Starbucks label.

In reaction to the slaying of Presidential candidate Senator Robert Kennedy in LA in 1968, David Crosby composed “Long Time Gone.”

The Rolling Stones begin recording "Sympathy For The Devil" at London's Olympic Sound Studios in 1968. Also responding to Senator Kennedy's assassination, Mick Jagger added the line "who killed the Kennedys?" The Stones finished the track in less than a week.

In 1971, a memorable two-night stand by the Mothers, featuring Frank Zappa, results in the popular live album “Fillmore East, June 1971.”

New York Dolls released their eponymous first album in 1973 (it peaked at #116). It was produced by Todd Rundgren.

Gene Vincent released the smoldering rocker “Be-Bop-A-Lula” in 1956. It sells over a million copies.

During a 48-date North American tour in 1983, U2 played at Red Rocks Amphitheater near Denver. The show was recorded and released as “U2 Live At Red Rocks: Under A Blood Red Sky.”

Pop memorabilia strikes a chord with investors

Experts predict that just as The Beatles and The Rolling Stones are the Holy Grail for collectors now, Oasis, Blur and The Stone Roses will be in the future.

By Emma Wall

"The Sixties was the start of a cultural revolution. It's where it all started, when the most iconic bands existed. Every generation is interested- from the ones who were young in the sixties and watched these bands, who aspire to recreate their youth and everyone since that date has been influenced by The Beatles, The Stones, by Elvis."

That's the view of Neil Roberts, head of the department for Popular Culture for auction house Christie's and it's why sixties pop memorabilia hasn't felt the effects of the recession. He expects just as many bidders as ever at the house's Rock and Pop sale on July 1 and puts this down to the unique nature of music culture collectables.

While the art world in general may have suffered losses, with reserve prices not being met and dwindled sales, this area of alternative investment continues to grow. This is because, although pop culture collectables may offer a healthy return on sale, profit is not the driving force behind the investment.

The Sixties is the most popular and prevalent decade for music memorabilia. Within this sub sector, The Beatles are the most popular group. There are thousands of Beatles fan-sites on the internet, and hundreds are devoted to the buying, selling and trading of the so-called fab four's memorabilia.

Pop and rock memorabilia became sought after as collectables in the Eighties and the value of items have generally increased dramatically over this time. The most expensive and probably well-known sale in this sector was John Lennon's piano on which he composed 'Imagine'. It was bought in October 2000 by the singer George Michael for a hammer price of £1.45m, with an extra 15pc commission bringing the total sale price to £1.67m.

Though this sector generates some high end items, music memorabilia is a good starting sector for the budding collector or investor.

Mr Roberts points out tickets and flyers as an undervalued area- one that he predicts will do well in the future.

He said: "Tickets and flyers for old concerts have almost fallen under the radar. I think they are an interesting area and certainly more accessible. They have the band name, time and date- they represent a time in culture and I think that area will evolve and become more sought after."

These are easier to source for new collectors with the internet opening up a world wide trading forum, though Mr Roberts warns to check for authenticity.

He also recommends going direct to the source for these type of collectables, try to buy off people who collected themselves through experience, scour car boot sales and older family members lofts and garages.

Another area which Mr Roberts thinks is up and coming is original artwork. As CDs and digital downloads have taken over the music industry, LP sleeves and the original artwork on them become rarer and more sought after.

He said: "Album sleeves played such an important role in the past, you went and picked up your vinyl every Saturday and what was on the LP sleeve was important. I think that's an area that's going to be more in demand in the future."

Old LPs can currently be picked up in charity shops and traditional record stores for £5-£20 and with correct storage may be worth considerably more in twenty years time.

As with all art work, correct storage is important to protect against damage. Mr Roberts recommends keeping posters, vinyl and tickets on display so they can be enjoyed but in specially frames out of the dangers of damp and direct sunlight.

Though a bit of damage does not degrade the items' worth too much, as he says, "You expect all records to have a bit of damage just because down the years they do get slight tears or a bit scuffed. The only time it really matters is when there's a tear over the signature or there's a bit missing. Sometimes people like a little bit of damage as it adds to the authentic look."

Photos should be looked after similarly. The Christie's sale includes a 21 print archive of the 1997 photographic exhibition 'Was There Then' featuring the members of Brit-Pop band Oasis.

The lot includes a signed copy of the exhibition book by all four members and carries an estimate of £18,000 to £20,000. Mr Roberts predicts that just as The Beatles and The Rolling Stones are the holy grail for collectors now, Oasis, Blur and The Stone Roses will be in the future.

He said: "Pop memorabilia is and always will be very popular. The only problem being that through time things become more mass produced and the rarity side of it will disappear. But then again maybe it won't as things become more throwaway, you just don't know."

"The good thing about items like these is you can enjoy them while they grow in value, hang them like pictures on the wall. As for instruments, they're meant really for display, but if you had a Jimi Hendrix guitar I'd be tempted to pick it up and give it a quick strum!"

SOURCE: http://www.telegraph.co.uk