Iron Butterfly - In-A-Gadda-Da-Vida

The monster psychedelic hit of 1968 and possibly the entire 60's decade, the long version of this song became far more famous than the radio edit single version. Recorded in May 1968, both the album and the single were released in June. Although not recorded until that year, the band was already playing the song live in 1967. Despite the fact that the song's title is an obvious mistransliteration of "in the Garden of Eden," few have pursued a visual interpretation of the Adamic story, possibly because they may have thought it a bit sparse an account to spread over a period of over 17 minutes. But there is a lot there and it is all to be found in the music rather than the lyrics.  From: https://www.youtube.com/watch?v=LqIJfGQI5us

Seryn - Stage On Sixth 2011

Tori: You guys recently relocated from Denton, Texas to Nashville. What’s the biggest difference you’ve noticed between the two music scenes?

Trenton Wheeler: The Nashville scene is much more professional-focused, as you would suspect. Denton is more free-formed. There’s a jazz school there. The ideology behind the music is more about the art and there’s a lot of business involved with the music scene in Nashville. I find for myself – the one thing that I’m wrestling with now – is not getting too swept up within the business of music, but still remembering that it’s a form of art, and remembering that it’s the way I express myself and not just a way to make money.

Tori: That makes sense. With the four-year gap between This Is Where We Are and Shadow Shows along with a new sound, were you nervous about how fans would respond to the newer sound?

TW: Honestly, not really. Not that we were worried that some people would dislike it, but more so we just knew that’s where our music had taken us and that’s where we were supposed to be, and if people didn’t like it, then that was their own prerogative. The thing we don’t want to do is only write music to please what people expect out of you. Part of the whole thing is making something that’s honest to yourself, and if we’re no longer in a place where we make that same exact sound that we did on the first record, then I would be lying to you if the music did not reflect that.

Tori: What I’ve taken from your music over the years is it’s like a sonic tapestry with the way everything weaves together. Since there are multi-instrumentalists in the band, how do you decide which instruments to use for which songs, or do you just go with whatever sounds good to you?


TW: I think it’s a very organic process of just figuring out. This song, maybe we’re looking for this timbre to communicate this emotion, so sometimes that banjo is appropriate to get that brittle high end. For us, it’s more about timbre than it is genre. We don’t pick a banjo to be anything folk or otherwise. It’s just we love the way it sounded. Same with me picking to play ukulele. When I first picked it up, it gave me an alternative, and I tune it all funky, too. So I made it sound the way I wanted it to sound before I played it. It had nothing to do with any association with the kind of music that it’s made before people started picking it up all the time.

Tori: You worked with producer McKenzie Smith on Shadow Shows. What was that like?

TW: It was very fun. He has a brilliant mind when it comes to drums. He’s been doing that for a lot of his career, so it was really fun to see how he could influence and give his input as far as the drums and bass sounds.

Tori: What I’ve taken from Shadow Shows over repeated listens are themes of embracing life, wanting more out of life, and re-evaluating your place in the world. For you, what is the album about?

TW: For me, personally, the record is very much so a stamp of what that time looked like for me while we were writing and recording it. It was a lot about personal struggle within this world and reconciling our relationship with death, and also reconciling relationships in this life, and how even in this life, sometimes life comes through death, like giving yourself for a relationship. By giving a piece of yourself to someone and laying down a piece of your own heart, sometimes the reward that you get back is far more rewarding than if you were to keep it to yourself.

From: https://betweenthenotes.blog/2015/09/19/interview-with-trenton-wheeler-of-seryn/

Jerry Garcia - Garcia - Side 1

01 Deal
02 Bird Song
03 Sugaree
04 Loser

As a precocious youth, Jerry Garcia found escape through painting, studying the Bay Area figurative style of abstract art. Late in life, it was scuba diving, acquainting himself with the ocean floors of Hawaii, petting octopuses and eels, setting a world record for the longest time spent underwater. But when he was turning 30, all Jerry wanted to do was play pedal steel. You can hear the fruits of his exploration between the years of 1969 and 1974 all over live recordings from the Grateful Dead, on guest appearances on classics by friends like Jefferson Starship and CSNY, and throughout the early catalog of New Riders of the Purple Sage, a band started with the express purpose of honing his skill in collaboration.
But if you really want to hear what Jerry Garcia could do with the pedal steel, listen to “The Wheel.” It’s the closing track of 1972’s Garcia, among the most beautiful four minutes of music in his vast catalog. Bursting to life from a discordant jam, the cyclical folk song feels like adjusting to new visibility under the sea. Seesawing between buoyant major chords, with Garcia’s vocals layered in tight coils of harmony, his pedal steel guides the way, untrained but masterful, exuding a joy that radiates from the speakers, even 50-plus years later.
At the time of its release, Jerry distinguished his debut solo album from his previous work by being “completely self-indulgent.” Think about this for a second. This is an artist who made fine art of self-indulgence. He reshaped the modern rock concert in his own sprawling, unhurried image; he played guitar solos like nobody has, before or since, largely based on lyrical motifs that felt designed to drift effortlessly forever; he admitted to viewing studio albums—those old-school totems of discipline and meaning—as a “necessary evil” to function within an industry he loathed; he led a band who would develop a setlist staple composed entirely of drum solos and prolonged ambience.
So, what was different this time? For one thing, it happened in a flash. The bulk of the music—developed through improvisations between Garcia on acoustic guitar and his Dead bandmate Bill Kreutzmann on drums, with lyricist Robert Hunter scribbling away in a corner—happened in roughly the span of a week. After just 21 days, the whole record was sequenced, mixed, and handed over to the label. Soon, he’d be back on the road with the Dead, playing the legendary shows that would be documented on the extraordinary live album Europe ’72. Coming after the band’s twin peaks of Workingman’s Dead and American Beauty, both released in 1970 and both succeeding in pushing the group beyond cult fame into wider acceptance, Jerry’s solo music did little to embellish the winning streak he was already on.
If this makes Garcia sound like a blip—an itch he had to scratch, one small twinkling star in an ever-expanding galaxy—then it kind of was. “I don’t want anyone to think it’s me being serious or anything like that—it’s really me goofing around,” he told Rolling Stone. “I’m not trying to have my own career or anything like that.” And yet, Garcia goofing around for a week in the studio in 1972, among this company, also stands as one of the most captivating cosmic Americana records of all time—an album whose consistency, energy, and vision helped introduce some of the most enduring songs to the Dead’s live set for decades to come.
If Garcia was only a document of those great songs—the loping singalong “Sugaree,” the pulsing Janis Joplin elegy “Bird Song,” the spiritual ballad “To Lay Me Down”—it would simply be a critical moment in the bandmembers’ catalogs alongside Bob Weir’s Ace, released that same year. But where Ace was a solo album in name alone, Garcia was decidedly a showcase for Jerry himself, exhibiting things he could not and would not do in the Dead. Exploring the limits of a 16-track recorder, he played nearly every instrument himself. There’s the pedal steel, of course, but also bass, piano, organ, and, in the most novel moments, a sampler that he orchestrates to create a kind of avant-garde musique concrète he would never return to again.
Where the best Dead studio records feel like cozy, reined-in presentations of their best songs, Garcia is in its own class entirely. For one thing, Jerry clearly approached the record without thinking how it would hang together in a live set. Instead, each song is ornamented as its own set piece, building to a larger, heavenly atmosphere that owes more to art-rock than to the era’s post-hippie glow. Harkening back to the Dead’s playful beginnings as the house band at Ken Kesey’s Acid Tests in San Francisco, he incorporates sound collage and tape manipulation. There are false starts, recurring motifs, songs that segue into one another without pause. As it turns out, Garcia goofing around in the studio felt a lot like most other artists trying to craft their masterpiece.  From: https://pitchfork.com/reviews/albums/jerry-garcia-garcia/

Irfan - Salome

Irfan is a Bulgarian band founded in 2001 in Sofia. The band's name is taken from the Arabic/Persian word "Irfan", meaning "gnosis", "mystic knowledge" or "revelation". Though similar in style to established bands such as Dead Can Dance, Love Is Colder Than Death, Sarband, and Vas, Irfan is known for its extensive use of a choir of male singers in addition to the female vocals of Vladislava Todorova, and in in combination with an assortment of traditional mediaeval percussion, stringed, and wind instruments, including the darbouka, daf, bendir, oud, saz, santoor, ghaida, duduk ,and bass viol. Irfan's music and reliance on traditional instruments is based on a blend of the musical influences common to Bulgaria, and thus represents a blend of European medieval music, Balkan folk and Middle Eastern styles. The band was first signed by the French label Prikosnovénie and made its first appearance on their "Fairy World" compilation of various bands in 2003. Their first album "Irfan" was released in Europe that same year by Prikosnovénie, and released in North America by Noir Records.  From: https://www.last.fm/music/Irfan

Silly Wizard - The Parish of Dunkeld / The Curlew

There have already been thousands of words written about Silly Wizard during, and after, their remarkable 18-year career together (1970-1988). I was fortunate to see them perform several times during their heyday in the 1970’s and 1980’s and that was worth more to me than several volumes of narrative. Those nights still echo round my head, and in my mind’s eye, I can still see the fiendish, fluid, sometimes frantic, but always measured, fiddle playing of the boy genius that was Johnny Cunningham (fiddle, viola, mandolin), who was later joined by his equally talented brother Phil Cunningham, a brilliant accordion player. The solid foundation that “kept the ship on course” was provided by Gordon Jones, the rhythm engine room on guitar. His vocals and bodhran playing were also a major contribution to the band’s overall sound. His great friend, who was also there at the beginning, Bob Thomas, one of the finest acoustic guitarists of his generation, wove intricate patterns around Gordon’s solid rhythms, and had a lovely touch, and a great feel for the music. When Bob left the band (1978), Gordon‘s, “signature, percussive guitar playing” (brother Brian’s description), took on even more significance, although his bodhran playing continued to excel, and drive the band’s tune sets. Over the years, Gordon became one of the best exponents of this surprisingly difficult percussion instrument, and his playing, as with his guitar, certainly helped to drive the band along in many of their memorable instrumentals.
A heady mixture, with those already mentioned above, the final piece of the jigsaw came with their talismanic lead singer, Andy M. Stewart. Surely, one of the finest vocalists on the Scottish traditional music scene, Andy also turned out to be one of the best songwriters of his generation too. He had the incredible ability to write a new song and make it sound traditional. Who could ever forget, “Golden, Golden”, “The Ramblin ‘Rover”, “The Queen of Argyll” and “Lovers Heart”, among the many Stewart originals. In praising his writing talents, we must also not forget that he was an exceptional tenor banjo player, who also added tin whistles to the band’s already full sound, when required.
After all that build up, the song seems almost immaterial, but for those song and tune collectors among you, “The Parish of Dunkeld”, was first published in 1824 by James Maidment, and the tune that follows, “The Curlew”, was written by piper Donald McPherson, a former Boys Brigade musician, who died at the grand old age of 89 in 2012. In this instance, it is typical of, the band’s mischievous, tongue-in-cheek humour. “The Parish of Dunkeld” does not sound the most reverent of places but, like many of their songs, it provides the launch pad for those brilliant instrumental breaks.  From: https://openhousefolk.com/the-parish-of-dunkeld/

The Jellyman's Daughter - Wake-Up Call

The Jellyman’s Daughter are a unique duo from Edinburgh. Their interweaving vocal harmonies are complimented by an interesting mix of cello and acoustic guitar. One of the distinguishing features of The Jellyman’s Daughter is the innovative rhythmic style of cello playing providing a catchy percussive backbeat to some of their songs, contrasted by the intimacy of others. Emily and Graham started 2020 in front of a sold-out Celtic Connections crowd and had just set out on their most ambitious tour yet to promote their 2020 EP, Wake-Up Call which had them booked at festivals and shows across the world with dates in the UK, Australia, Europe and America before the pandemic pulled the plug. They were due to play such prestigious festivals as The National and Blue Mountains Music Festival but thankfully managed to squeeze in Port Fairy Folk Festival days before they had to return home. All was not lost for the year though as they were delighted to be made patrons of Music Venue Trust and worked to help raise money for struggling venues as well as working on songs for the next album.  From: https://www.widedays.com/the-jellymans-daughter

Cleopatrick - Family Van

Meet cleopatrick, the heavy alt-rock duo that’s changing the game (yup, the ‘c’ is lower case). Here’s a bit about them in their own, lower case, words. I assume that caps lock keys are hard to come by in the wilds of Ontario…

Simple things first – where are you guys from?

we are from the very small town of Cobourg, ON, Canada.

How did you meet?

we met on our first day of kindergarten at st. michael’s elementary school.

How long have you been playing as a band?

we have been playing music together for about 12 years total, and in this band for 3 years now.

Before you get sick of being asked… where does the band name come from?

when we were initially brainstorming ideas, luke kind of just came up with it. i didn’t really like it at first but over time it grew on me.

What are your influences?

i believe that everything we experience influences us. we try to take the world as it is and depict it in our own words and views through our music. music wise, our biggest influences would be highly suspect, ready the prince, and brockhampton.

Describe your music. What makes you unique?

our music is honest. a lot of rock music (like all genres of music) these days tend to glorify and exaggerate lifestyle. we write about how or what we feel. we like our music to be heavy and have weight, whether that is referring to the instrumentation or not.

Do you have any particular lyrical themes?

we have both had relatively “normal” lives – growing up no matter where you are or what your circumstances may be, you feel things. so we just make honest music about things we’ve lived through or seen.

What’s your live show like? How many shows have you played?

we like to keep the live show as high energy as possible. if we are having fun, then the crowd is having fun and if the crowd is having fun we have an even better time. we’ve played at least 150 shows.

What’s the wildest thing you’ve seen or done at a live show?

luke has crowd surfed while playing guitar and successfully made it down for the last chorus of “city kids” twice now. i don’t think it gets much better than that honestly.

From: https://www.moshville.co.uk/feature/botd/2018/05/band-of-the-day-cleopatrick/

Saint Agnes - Diablo, Take Me Home

East London-based rage-propelled quartet Saint Agnes have just unleashed Bloodsuckers, their ferociously therapeutic Spinefarm debut. A largely self-produced record, it combines metal fury with punk attitude, industrial intensity and raw emotion – in particular This Is Not The End, an extraordinarily powerful piece recorded in the wake of the sudden, unexpected passing of vocalist/multi-instrumentalist Kitty A Austen’s mother. We caught up with Austen and Jon James Tufnell (guitar, vocals, bass) recently to discuss the on-going passion of Saint Agnes. A matter of life and death? It’s way more important than that.
Saint Agnes’s creative core came together as a direct reaction to the sonic complacency of the prevailing rock scene. “We were two lost souls,” says Tufnell. “In different bands, looking for a musical match. We got chatting and discovered a shared passion for bands with real intensity.”
“It was ten years ago now,” Austen adds. “It was all psychedelia and shoegaze back then, and while there’s a place for that, we both wanted to be in a bombastic, balls-out rock band.”
“It felt really rebellious to do that in London back then,” Tufnell says, smiling. “We had to tell people we were a psychedelic band to get gigs.”
Austen has no doubt what feeds her scream: “A lot of anger. I’m an angry person, and there’s a lot in the world to be angry about. I’ve had a difficult time, particularly over the last couple of years. I’ve had some mental health problems, and my mum passed away unexpectedly. All that stuff channels into a rage that’s all over the new album.” While Bloodsuckers is a very angry record, it’s also very joyous. “When you’re facing the worst times,” Austen continues, “you enter a headspace where you’re also experiencing strange euphoric highs. So while the record is really, really angry it’s also full of hope.”
Austen the performer and Austen the interviewee might appear to be polar opposites, but the transformation that takes place at the microphone is more instinctive than deliberate. “I never adopt a persona, that’s just the part of me that comes to the fore when I perform. As soon as I hit the stage, the cocky, arrogant, angry and powerful part of me comes out. I’m always the best version of myself in that kind of do-or-die situation.”
“I see this happen up-close,” says Tufnell, “And it’s an instinctual part of entering the mind-set necessary to delivering this music. The music and the band matters so much to us that it is do-or-die. You simply have no choice but to run in all guns blazing.”  From: https://www.loudersound.com/features/saint-agnes-six-things

Queen (Brian May) - Long Away / She Makes Me / Some Day One Day

Maybe the most famous piece of trivia about Queen guitarist Brian May is that he built the electric guitar he has used for most of his musical career. It's called the Red Special, and it was constructed with his father when May was 16. So, it's ironic that the only Queen single in which May sang lead vocals, "Long Away," he mainly plays a Burns 12-string guitar. This choice, as much as the song itself, serves as a reminder of May's and the band's relentless creativity.
"Long Away" is the third track on the band's fifth album, A Day at the Races, which was the follow-up to their 1975 masterpiece A Night at the Opera. That album had catapulted Queen to international superstardom on the back of the single "Bohemian Rhapsody." With A Day at the Races, the band opted for a pure more-of-the-same approach, making the album almost an extension as much as a sequel. Both featured the same style of artwork (one in black, the other in white), both took their names from Marx Brothers movies and the pairing of day and night in the titles suggested an almost cyclical link between them.
This linkage extends through May's songwriting and lead-vocal contributions to the albums. His folk-influenced song "'39" appeared as the fifth track on A Night at the Opera, serving as a kind of palate cleanser between the more aggressive, high-concept and baroque compositions that make up much of the rest of that record. May's "Long Away" serves much the same purpose on A Day at the Races.
Opening with a shimmering 12-string riff on one stereo channel, the song sounds far different than the others that precede it on the album. After several bars, May lays down another 12-string track and the rest of the band comes in behind him, operating not in their more traditional, early metal or glam/prog mode, but almost like a holdover from the heyday of the '60s Laurel Canyon sound.
May's 12-string playing has echoes of Roger McGuinn's work with the Byrds, and the vocals that the band develops over this bring to mind the harmonies of the Beach Boys and the melodic sensitivity of the Beatles. May sings the lead, with Freddie Mercury and drummer Roger Taylor backing him on the high end, and the whole thing dances along as effortlessly as dandelion pips in the wind.  From: https://ultimateclassicrock.com/queen-long-away/

Erykah Badu - Booty

Track 7 on Mama’s Gun, “Booty” deals with infidelity. In the song, Erykah addresses another woman, reminding her of all the ways she could take her man with relative ease – but she doesn’t want to, because she’s not interested in a man who would cheat on his partner. She hopes the other woman would have the same respect for Erykah’s relationship if put in her position – seemingly implying that the reverse situation has already occured, and the woman didn’t have the same regard for Erykah. Questlove on drums and J Dilla on bass contribute a funky rhythm section to the song, which interpolates elements from Johnny Hammond’s “Gambler’s Life”.  From: https://genius.com/Erykah-badu-booty-lyrics

Leon Russell - Delta Lady

The "Delta Lady" is Rita Coolidge, who was born in Tennessee and moved to Memphis in 1967, where she met Leon Russell. They started dating, and in 1969 Russell wrote this song about her. He was doing arrangements and playing keyboards on Joe Cocker's second album at the time, so he contributed this song, which Cocker released as the first single from the set. Russell included the song on his first solo album the following year.
This song's muse Rita Coolidge is one of the backing vocalists on the track. In her autobiography, she recalls Cocker recording the song at Russell's studio on Skyhill Drive in Los Angeles, where she served tea to the musicians and crew. She didn't know at the time that the song would become her calling card: She named that autobiography Delta Lady.
Leon Russell and Rita Coolidge joined Joe Cocker on his Mad Dogs and Englishmen tour, where she would sing "Superstar," a song written by Russell and Bonnie Bramlett. "Here she is, our own Delta Lady," Cocker would announce when introducing her, imprinting that appellation.
Russell wrote another song about Rita Coolidge, "A Song For You," which also appeared on his debut album. The couple split soon after, just as their careers started taking off.  From: https://www.songfacts.com/facts/joe-cocker/delta-lady

Colouring Rainbows - Theorem

Started as modern metal, nowadays genre-bending somewhere between jazz, prog, electro, art pop and post-rock. Composed, arranged, played, sung, mixed and mastered by Jessica Müller a.k.a. Colouring Rainbows.  From: https://colouringrainbows.bandcamp.com/community  

Atom Juice - Dead Hookers

There’s something about hearing a band record straight from their rehearsal space that either exposes the cracks or lights the fuse. Atom Juice chose the fuse. You can hear the four walls breathing in the room – that wood-panel warmth, the hiss of amps pushed past polite conversation, cymbals that bloom out into the ether like sun halos. It’s messy in all the right ways, a record that doesn’t hide behind polish because it doesn’t need to.
Warsaw’s Atom Juice – alumni of Weedpecker, Makiwara, Clockmaid – aren’t reinventing the cosmic wheel, but they’ve managed to spin it in a way that feels both familiar and oddly intimate. You catch shards of Floyd’s Meddle era dreamscapes, Allman-esque twin guitar sunrises, even a bit of that kaleidoscopic whimsy The Beatles accidentally left behind when they packed away the sitars. But it never slouches into costume rock. The band siphons the past through their own bloodstream – the result is velvet-edged, sprawling psychedelic rock that feels lived in, not borrowed.
There’s a looseness here, but also intent. You can almost imagine the quintet playing in a circle, tossing ideas back and forth, seeing who will grab the comet tail first. One moment you’re wrapped in a lull of drifting harmonies and organ mist, the next you’re slammed into a riff that opens like a trap door beneath you. It’s that interplay – dreamy patience and sudden propulsion – that gives the album its addictive quality.
If the psych underground has been flooded lately with too many bands confusing delay pedals for transcendence, Atom Juice remind us it’s about texture, space, and timing. They know when to hang in the groove, when to fracture it, when to let silence and shimmer do the work. There’s craft here, and there’s heart, and those two don’t always meet.
The self-titled debut is less a collection of songs than a weather system. Put it on headphones and you’re drifting downriver through technicolor fog; crank it in a room and the walls flex with it. It’s not a record that demands attention by force – it seduces you, minute by minute, until you realize you’ve already slipped out of the room you started in.  From: https://www.witchingbuzz.ovh/witching-chronicles-exploring-the-atom-juices-atom-juice/

Asynje - Skáll

It is night. In Denmark's National Museum, in the middle of old Copenhagen, the over two hundred year-old entrance hall is full of people listening to the Danish band Asynje, playing their debut concert on Copenhagen's Night of Culture. Asynje play a fascinating array of acoustic medieval instruments and modern electronic sound and rhythm apparatus, overlaid by a female voice singing alluring ballads about Vikings and their gods, from the period between the years 600 and 1050 A.D.
The band comprises four musicians who play all over Denmark and Europe, at music venues, festivals and Viking markets. They are: Nana Barslev (vocal, percussion), Martin Seeberg (violin, flute, lyre), Søren Hammarlund (hurdy-gurdy, keyed fiddle, electronics) and Troels Dueholm Nørgaard (whistles, hurdy-gurdy and octave mandolin).
Asynje are in close contact with a wide and noticeably youthful audience who are fascinated by ancient Nordic mythology and its universe of the gods and goddesses. I asked Søren Hammerlund how much we actually know about the music the Vikings played. “Nothing. Nothing whatsoever! But we have some instruments from that time, and we have various sources that describe the music, so we can build up a picture of how it may have sounded. But Asynje does not play the music the way it may have sounded back then, that is not our aim at all. It is more about connecting with our own culture and being inspired by it.”
Asynje started as a duo, but then the concept expanded when the National Museum in Copenhagen propose a special concert experience for the Museum's visitors. The Museum want a musical setting for Nordic history, in particular a modern take on the Viking era, in order to appeal to a broader audience. Since the concert at the National Museum, momentum has been gathering, with concerts in Denmark, Germany, Holland and Belgium.
Wherever the band play, critics and audience alike remark on Asynje's ability to give the Nordic scenery and mythology a setting in sound and pictures. “You are seized by the urge to grab crayons and draw waves, the sea, and steep mountainsides,” as one Belgian journalist writes, and that proves to be one of the aspects that makes Asynje's music special: their knack of letting the music paint pictures in their listeners' minds.
“What we are investigating with our music is the beautiful and dramatic Scandinavian countryside as a setting for new and ancient Nordic legends,” says Søren Hammerlund, and continues: “I think we find about half of our material in old books and manuscripts in the dustiest corners of old libraries, for instance Poetic Edda (Den Ældre Edda), and then we put it to music. The rest we write ourselves.”
The Poetic Edda Søren is talking about is a collection of poetry from Nordic mythology and the Nordic sagas. Written in Iceland in medieval times, the poems are several hundred years older, and were handed down since Viking times in an oral tradition. That is one of the texts that have inspired Asynje, and it influenced the band's first album, from 2012.
On Asynje's debut album we find songs and tunes like The Giants of Dovre Mountain, Viking Party Polka, Njord & Skade (two Nordic goddesses), and The Knife Polska. I asked Hammarlund how the band works with the songs.  “Any of us can propose a new number in Asynje, but when I am working on a new song, I might start with an old book, perhaps a fragment of song, and a scrap of a tune. But it is not complete yet, because there is no story, maybe just a picture or an idea. The bits of tunes have to be assembled, I have to see how I can develop them. Sometimes I compose something, or research old contemporary sources to find a piece I can add on to what I already have. It is the same with the words. I check on the historical period, to see what images I can use while converting the poem into a song. That is one method we use. Another is to begin with an electronic beat that Nanna sings to. That way, we find inspiration by using ancient frames from the Danish or Nordic traditions.  From: http://www.folkworld.eu/51/e/asynje.html

Amnesty - Free Your Mind

Fans of the exquisite, often never-before-released funk championed by Now Again Records are no stranger to Amnesty. Based in Indianapolis in the early 1970s, the group released only two obscure 45s in their recording career. Birthed from the same scene as the Ebony Rhythm Band, Amnesty had a poltical edge similar to LA Carnival and the hardest brass section since The Kashmere Stage Band.
In 1973 Amnesty recorded five hard, vocal funk numbers alongside some ballads and a handful of demos based around nothing more than guitar accompaniment. Only two songs were ever released; Amnesty’s biting, difficult-to-categorize prog/rock/soul/funk stretched far beyond Indianpolis’s bounds and the band didn’t have a label to take them to the next level. Finally made available thirty three years after they were recorded, these songs are funk arranged with dangerous complexity and performed with precision – arguably the most unique funk to originate from Naptown, and some of the best music of its kind.  From: https://amnestyfunk.bandcamp.com/album/free-your-mind-the-700-west-sessions

The Marshall Tucker Band / Poco - The Midnight Special 1975

 The Marshall Tucker Band / Poco - The Midnight Special 1975 - Part 1

 

 The Marshall Tucker Band / Poco - The Midnight Special 1975 - Part 2

 

The Marshall Tucker Band headlined The Midnight Special on January 24, 1975, delivering a standout performance that showcased their signature blend of Southern rock, country, and blues. The episode featured guest appearances by The Charlie Daniels Band, Olivia Newton-John, Poco, and Wolfman Jack. During their set, The Marshall Tucker Band performed "This Ol' Cowboy" and "24 Hours At A Time", highlighting their instrumental prowess and improvisational style. The band also took time to introduce its members, giving audiences a glimpse into their camaraderie and musical chemistry. This appearance was a defining moment for the band, helping to solidify their reputation as one of the leading acts in Southern rock during the 1970s.  From: https://www.facebook.com/americanamusicsociety/posts/the-marshall-tucker-band-headlined-the-midnight-special-on-january-24-1975-deliv/1007673191542122/

I really don't know what Richie Furay was looking for when he left Poco. Perhaps it was the commercial success that had eluded him with the band. Perhaps he wanted critical acclaim. Well, he had some of that with Poco, but maybe he wanted to be on the A list of musicians. If it can be said that he was burned out then how do you explain Rusty Young's desire to continue? After all, Rusty had been with Poco as long as Richie and was probably experiencing some of the same feelings of frustration, especially after the relative failure of the Good Feelin' To Know album.
And then there's Paul Cotton, who had been a working musician as long as Richie. Timothy B. Schmitt had been with Poco since their 2nd album, and was probably puzzled by the band's failure to get a big hit or a gold album. Concert attendance was always good, but that big hit was just out of reach. Then you have to consider George Grantham, the drummer who also sang and added so much to the Poco sound. Anyway, Furay quit and left Poco to the other four, and it can truly be said they carried on in an outstanding fashion. If anything, they got even tighter without him.
If you look at Poco's history, you'll see that they had their greatest commercial success without Furay, Grantham, or Schmitt with 1978's Legend album and the hit singles that album contained. But, getting back to Cantamos. It's an excellent album, with or without Richie Furay. The songs are overall consistently good. The album is more satisfying than Poco 7, the first album without Furay. Cantamos is where the four man Poco really began to shine. I suppose you can think of 7 as the foundation for this album. Anyhow, get Cantamos, give it a good listen, and watch the image of Richie Furay fade out of your mind. Richie was off trying to be a STAR when this album was released and was getting lost along the way. Poco stuck together and produced some really good albums and Cantamos is one of the best.  From: https://www.amazon.com/Cantamos-Poco/dp/B000093FKR

The Marshall Tucker Band arrived at a crossroads on it’s third album, Where We All Belong. With two successful LPs already under their belt, the Spartanburg, SC sextet was on the verge of even greater popularity. Marshall Tucker’’s eclectic brand of musical Americana had won them a fervent following as a touring act. Now, thanks to lead guitarist Toy Caldwell’’s knack for hook-laden songwriting, they were edging closer to breaking into Top 40 radio. Where We All Belong gives a taste of both ends of the Marshall Tucker spectrum: the expansive jam band and the more tightly-focused recording act. Released in 1974 as a two-record LP, the album found the band refining its own distinctive brand of country-rock on the studio cuts.
Anticipating the mass appeal of cowboy culture a few years later, Toy and his band adopted a bit of a Wild West attitude in their music. For all the prominence of pedal steel guitar and down-home lyric imagery in its tracks, though, Where We All Belong was far more adventuresome than most mainstream country music of its time. Balancing the well-honed studio cuts were the in-concert recordings that round out the album. The genre-spanning versatility and instrumental excellence of Marshall Tucker’’s membership is caught here in all its unfettered glory. As a live act, the band had the power to drive audiences delirious with their soaring jams, as these recordings demonstrate.  From: https://www.amazon.com/Where-Belong-Marshall-Tucker-Band/dp/B000139TGC

 

 

Sheryl Crow & Joan Osborne - Everyday is a Winding Road - Live Atlanta, GA 1998

Sheryl Crow demonstrated what a talent she is at Newcastle Arena here tonight. Her performance along with that of the rest of the band was excellent. I particularly liked her rendition of “Home” where Sheryl played the keyboard at the front of the stage and presented a haunting version of one of her more recent releases in England. Sheryl showed her versatility by not only playing the guitar but also the keyboard, accordion and harmonica. This, together with her obvious talent for song writing, once again proved my theory that the really good bands write and play their own music. The show lasted for about an hour and forty minutes and among the many songs played I was most impressed with “Leaving Las Vegas”, “If It Makes You Happy” and “Every Day Is A Winding Road”. Appropriately, whilst Sheryl was playing the accordion, the group included the Who’s “Squeeze Box” which went down very well. As you can tell, I was very impressed and would recommend any one to go see Sheryl and the rest of the band if they get the chance.  From: https://thecrowarchives.wordpress.com/category/1997-live-reviews/

Sheryl Crow, Joan Osborne, Fiona Apple, Sarah McLachlan

The Orange Drop - Julia Dream (Pink Floyd cover)

Forming in 2007 in the City of Brotherly Love, neo-psych band The Orange Drop has been releasing their special blend of mind altering music on Bandcamp since 2011. On November 4, 2016, Mega Dodo Records releases The Orange Drop’s fourth album, Stoned in Love, as both a CD and a limited edition lysergic orange vinyl LP of 250 copies. The Orange Drop is not exactly a retro band, instead they have re-invented 60s/70s psychedelia, slipping in 21st century ideas. Picture, if you will, taking a bit of Julee Cruise (Twin Peaks), The Doors, early Pink Floyd, The Byrds, and a dash of Wooden Shjips, swirling them into a kaleidoscopic aural experience and you may get an idea of Stoned in Love. Searing drone guitar, tons of reverb, melodic vocals, and experimentation abound. The Orange Drop is definitely not a party band. Instead they lock you into a groove, while you sit and sway, as they take you on a magical journey, ultimately having to scrape you off the floor. They also deliver an impeccable cover of Pink Floyd’s “Julia Dream,” rivaling Dave Gilmour’s vocals. But caveat emptor — the abstract and experimental 1:16 instrumental “Substance D” can be very disturbing if you are under the influence.  From: http://expose.org/index.php/articles/display/the-orange-drop-stoned-in-love-6.html

Lola Colt - At War

Adored by fellow musicians, critics and music fans alike, London six-piece Lola Colt have a rare ratio of male to female members. It's a balance which could explain why their sound is so spellbinding and seductive. With roots in psych, influences in vintage film and cinematic sound, and the use of unusual instrumentation such as Shahi-Baaja, Darbuka and Harmonium, there’s a depth and atmosphere in their music akin to a film noir soundtrack. Frontwoman Gun Overbye’s lyrics add another spiritual dimension, formed as standalone pieces of poetry on themes of hypnotism and heartache and merged later with the band’s enveloping soundscapes.  From: https://www.hannahgould.co.uk/?q=roster/lola-colt

Lola Colt don't hold back. Live, the band are all poise and precision, channeling their energy towards a joint cause with expert care. On record, Lola Colt knew when to strike hard. The band's songwriting melded post-punk influences to the rather more deranged side of Nick Cave and the Bad Seeds, resulting in a potent, black-as-hell, blend. New album 'Twist Through The Fire' will be released on July 1st, and it's a coruscating, inspired return. Perhaps the band's broadest statement yet, it moves from bad trip psychedelia to lush sonics, punk attitude, and Israeli folk songs.
At War: A railway runs along the arches at the back of my house, and at night the heavy goods trains rumble past slowly as they creep into the city. I wrote the riff to what would become In War late one night to the rhythm and sound they made. To me it’s therapeutic, but Gun must have found it somehow deeply unnerving because she went on to write one of the most raw and emotional/personal songs on the album from it. I love the contrast she created by doing that.  From: https://www.clashmusic.com/features/album-track-by-track-lola-colt/

Himmelrum - Sølvflod

On their new album, Vand, Død & Ensomhed (in English Water, Death & Solitude), the Danish experimental dream pop band Himmelrum create a narrative of exquisite isolation, punctuated by the enveloping forces of the natural environment. The album carries the listener from the endlessness of the ether in songs like Sølvflod and Kære Blå, Sender Sonar!, down onto the shifting earth in Blodbøg I, II, and III, and finally to an ephemeral interiority in Nerve, as Eigil Pock-Steen Jørgensen’s vocals function like a lonely instrument humming out to an empty, silent night.
Himmelrum is a quartet with Casper Ørum Munns (vocals, guitar, bass, and BAHA), Eigil Pock-Steen Jørgensen (vocals, drums, synthesizer, and percussion), Carlo Janusz Becker Lauritsen (vocals, trumpet, flugel horn, and organ), and Mathias Uttenthal Milling (vocals, guitar, synthesizer, rhodes, and fidget spinner). Vand, død & ensomhed is their third album. Although the band have been playing together for six years, Vand, Død & Ensomhed is their first collection of lyric-based songs. I had a chance to chat with Eigil, Carlo, and Mathias about the release of the new album. Carlo described their use of lyrics as a method of “coming closer to something like human sound, a directly relatable human emotion.” As the band conceived the lyrics, they “improvised with the voice and used it as an instrument,” with “some lyrics written to the sounds of Caspar singing melodies, mumbling.”
The band’s improvisational roots speak through the synth and horn sounds engaged in a beautifully strange call-and-response dialogue across the album. As the band told me, “Our history is one of improvisation—that’s where it all started.” On their new album, electronic sounds conjure Kraftwerk and Neu! while guitar distortion reveals influences like My Bloody Valentine and Ride. Yet Himmelrum’s third album is also distinctively the band’s own. It was created almost entirely on the island of Sejerø, where the band spent days under skyglow making music. The island is just 11km long, 2km wide, Carlo told me, “so you’re always so close to the ocean.” The band’s time on Sejerø took place largely in winter, although they stayed in a summer house on an island that’s populated only during warmer months. On Sejerø, the band explains, “we manage to switch between day and night when we’re there . . . That’s why the music sounds like it sounds.” The songs that arise out of their oceanside isolation are strikingly unnerving works that sound like the image of a salted night sky, interrupted by streaks of indigo light. (“Before Covid, of course, isolation meant something very different,” the band recall.) The synesthetic elements of Himmelrum’s music shouldn’t come as a surprise given their process for writing songs that appear on Vand, død & ensomhed:
“We all sat down and wrote letters to the color blue. Out of that session, we thought about what the color blue means to us – in terms of water and sky. Then we had a huge bank of sentences we all wrote together, and we let it go. We picked up the song again one year later, and by that time, the lyrics were from all of us.“  From: https://louderthanwar.com/himmelrum-vand-dod-ensomhed-album-review/#:~:text=On%20their%20new%20album%2C%20Vand%2C%20D%C3%B8d%20&,experimental%20dream%20pop%20band%20Himmelrum%20create%20a