There’s a new album coming from The Hold Steady called Teeth Dreams due March 25, 2014.
Here’s the first music from it, a song called “I Hope This Whole Thing Didn’t Frighten You.”
Thanks Stereogum!
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
In June 1970, Miles Davis and his band played Bill Graham’s Fillmore East in New York, opening for Laura Nyro.
Recordings from the shows Davis did at the Fillmore East were released on the double album, Miles Davis at the Fillmore.
Now all the music is being released on Miles at the Fillmore: Miles Davis 1970: The Bootleg Series Vol. 3 will be released on March 25, 2014.
Rolling Stone reports that “more than 100 minutes of previously unreleased music and bonus tracks from the group’s appearance at the San Francisco Fillmore that April [will be on the four-disc set]. In a rare interview after hearing the Fillmore East recordings, Davis suggested he wanted “every note” of the sessions made available to listeners. More than 20 years after his death in 1991, he’s finally getting his wish.”
Check out a track from the album, “Spanish Key.”
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
The next Neil Young album, A Letter Home, will feature “rediscovered songs from the past recorded on ancient electro mechanical technology,” according to posts that appeared today on both the “Coming Soon From Third Man Records” area of Jack White’s Third Man Records website and the Neil Young website.
Here’s the text from both sites:
A LETTER HOME
January 22, 2014
Third Man Records unearths Neil Young’s “A Letter Home.”
An unheard collection of rediscovered songs from the past recorded on ancient electro mechanical technology captures and unleashes the essence of something that could have been gone forever…… Homer Grosvenor
Young spoke briefly to Rolling Stone last night about recording the album, saying, “it’s one of the lowest-tech experiences I’ve ever had.”
When Young spoke at the 56th GRAMMY Awards Producers & Engineers Wing the night of January 21, 2014, he said something that would appear to relate to A Letter Home: “There’s something that happens with one mic. When everyone sings into one mic, when everybody plays into the same mic: I’ve just never been able to do that, with some rare instances like when I record in a recording booth from a 1940s state fair. I got that sound by closing myself into a telephone booth. And I notice, it sounds just like an old record. And I like the sound of old records! I’ve always loved that.”
The album is set for a March release according to Rolling Stone.
This info now officially confirms the news I broke about the album last week.
–– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
Neil Young’s next album will be called A Letter Home, and will be released in March, according to Rolling Stone’s Gavin Edwards.
Last week I reported that Young and Jack White recorded an album together, according to a source associated with the project, and I stand by that report. I didn’t say in my post anything about the two “doing a record of duets,” which was denied this morning on Neil Young’s Facebook page.
I also wrote in my post last week: “In December 2013, the Neil Young website Thrasher’s Wheat had these quotes from a source: ‘It is an album of covers. In it, as anticipated, he pays tribute to other renowned singer-songwriters. There are 12 tracks on it. There are no Neil Young originals…'”
Again, nothing about any duets.
As Consequence Of Sound wrote today:
This morning, though, Young’s Facebook page dismissed these “false rumors,” writing, “Neil Young and Jack White are not doing a record of duets as has been erroneously posted on various outlets. We are certain those rumours have no basis in truth.”
Now, if you’d allow me to pick apart that statement for a moment. Journalist Michael Goldberg’s initial report never mentioned a duet album. I think most people just assumed White had been recruited to produce the project, and that statement doesn’t indicate otherwise.
And here’s an interesting theory for you to chew on: Speaking with Rolling Stone, Young said the album is “one of the lowest-tech experiences I’ve ever had,” but didn’t elaborate beyond that. Could it be that Young recorded the entire project inside White’s Third Man Recording Booth? If you recall, Young recorded a cover of Bert Jansch’s “Needle of Death” inside the booth during Record Store Day 2013.
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
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This is my first exposure to Florida’s Roadkill Ghost Choir and this song is cool.
Very much a folk-rock deal. Here they are on “The Late Show with David Letterman” last Friday night (January 17, 2014) playing “Beggars’ Guild.”
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
Sixteen years ago, in January of 1997, the official sessions for 1997’s Time Out Of Mind began at Criteria Studios in Miami, Florida with Daniel Lanois co-producing with Bob Dylan.
Time Out Of Mind followed the return to ‘folk’ albums, Good As I Been To You and World Gone Wrong that were the start of a new phase for Bob Dylan, one that has been a creative rejuvenation that continues to this day.
Musicians who took part in the sessions included Lanois, Augie Meyers (organ, accordion), Tony Garnier (bass). Jim Dickenson (keyboards), Jim Keltner (drums), Brian Blade (drums Winston Watson (drums), Tony Mangurian (percussion),Cindy Cashdollar (slide guitar), Bucky Baxter (acoustic guitar, pedal steel guitar), Robert Britt (electric guitar), Duke Robillard (electric guitar), David Kemper (drums) and John Jackson (guitar).
Ten outtakes and alternative versions of songs on Time Out Of Mind were released on 2008’s The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006. I’ve posted them below.
Greil Marcus reviewing Tell Tale Signs:
The old songs that sprung to such cryptic life on Good as I Been to You and World Gone Wrong took a new form in 1997 with Time Out of Mind. There the likes of Blind Willie McTell’s “Ragged and Dirty” and the mists-of-time British ballad “Love Henry” shed their skins and grew new ones, turning into “Dirt Road Blues,” “Standing in the Doorway,” “Not Dark Yet,” “Tryin’ to Get to Heaven,” “Cold Irons Bound.” Onstage the songs changed shape yet again, as if they were less made than found, daring their putative composer to keep up with them. On numerous real bootlegs — as opposed to Dylan’s own official bootlegs — it was plain that “Cold Irons Bound” grew faster and bigger than anything else, but I have never heard anything like the Tell Tale Signs performance, from the Bonnaroo Festival in Manchester, Tennessee, in 2004.
Marcus ended his review:
…there is little point in saying that “Red River Shore,” despite the tragedy of its story, is as open as the Plains, the only limit to what it can say a matter whether you can see from one end of its Kansas to the other. After a few listenings, it might seem too sweet, not the tragedy it means to be at all. As you listen it might be replaced at the top of this set’s chart by “Most of the Time,” a song so carefully composed you can imagine that had Dean Martin or Fred Astaire had the chance to record it their versions would have been better than Dylan’s — and as Dylan performs it, solo on the first disc, with quiet, retreating accompaniment on the third, can make you lose track of time, to the point that the fact that Tell Tale Signs has dropped its clues over nearly two decades need mean nothing at all.
Daniel Lanois spoke to Alastair McKay of Uncut magazine when the outtakes and demos for the Time Out Of Mind sessions were released on the Bootleg Series album Tell Tale Signs:
Jeff Rosen [DYlan’s manager] called me a couple of months ago and said he was thinking or releasing the demo version of “I Can’t Wait”. That was my demo, which was done at my theatre. I was renting a theatre at the time in a place called Oxnard [California]. I had my shop set up there for a while. So Bob Dylan would roll down to the teatro, cos it was a Spanish town. That’s where we did the demos for Time Out Of Mind, and out of that demo session came some lovely things, including that version of “I Can’t Wait”, which I feel has a lot of thunder in it. It’s very stripped down ’cause it’s piano – Bob on my lovely turn of the century Steinway, which has a roaring bass in it; me on my goldtop 1956 Les Paul, through a Vox, and Pretty Tony on the drums, who was a friend of mine who stopped by the help with the demos. I was sad to abandon that version, ’cause I think it has lot of rock’n’roll in it.
I did a lot of preparation [for the album] with Pretty Tony in New York City. I listened to a lot of old records that Bob recommended I fish out. Some of them I knew already – some Charley Patton records, dusty old rock’n’roll records really, blues records. And Tony and I played along to those records, and then I built some loops of what Tony and I did, and then abandoned these sources; which is a hip-hop technique. And then I brought those loops to Bob at the teatro. And we built a lot of demos around them, and he loved the fact that there was a good vibe on those. Some of the ultimate productions ended up having those loops in them. Songs like “Million Miles” and, uh, is it “Heartland”? [We think he means “Highlands” – ed] – those long blues numbers have those preparations in their spine.
I wanted people to respond to the vocal and not play across the vocal, so when the singer sings, you keep quiet. And if you want to respond to the singing, then you should have a signature or a melody and not ramblings. The rambling thing belongs to an old Nashville sound, where people pick a lot. I didn’t want ramblings. Just like I don’t like Dixieland playing for that reason – it becomes like a mosquito in the room, like “Would you just stop playing for a minute?” I want to hear the singer. I wanted to make sure that we didn’t fall into the clichés of Nashville ramblings. I think that was OK for the past, but not for now. [Drummer] David Kemper said I told him that the players shouldn’t play pedestrian – they had to play strange? He might have been referring to that particular rant where I felt that people were on autopilot, and I didn’t want autopilot. I wanted Bob’s vocal and lyrics, and then if we had something to say musically aside from that, then let’s say it loud and proud, no meanderings.
Read the rest of Lanois’ comments here.
“Cold Irons Bound” – 5:57 (Live at Bonnaroo, 2004)
“Mississippi” – 6:04 (Unreleased, Time Out of Mind)
“Red River Shore” – 7:36 (Unreleased, Time Out of Mind)
“Can’t Wait” – 5:45 (Alternate version, Time Out of Mind)
“Marchin’ to the City” – 6:36 (Unreleased, Time Out of Mind)
“Mississippi” – 6:24 (Alternate version #2, Time Out of Mind)
“Mississippi” – 6:24 (Alternate version #3, Time Out of Mind)
“Red River Shore” – 7:08 (Unreleased version #2, Time Out of Mind)
“Marchin’ to the City” – 3:39 (Unreleased version #2, Time Out of Mind)
“Can’t Wait” – 7:24 (Alternate version #2, Time Out of Mind)
“Dreamin’ of You” – 3:34 (Single Edit) (Unreleased, Time Out Of Mind)
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
On February 7 a new Thurston Moore 7-inch record will be released with “Detonation” and “Germs Burn.”
The single is for the Blank Editions’ Solo Series.
Check out “Detonation” below:
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
I previously posted about this cover, but now we get to hear Phosphorescent do Bob Dylan’s “Tomorrow Is A Long Time.”
The track will appear on the Starbucks Valentine’s Day comp Sweethearts 2014 due February 4, 2014.
Here’s one of Dylan’s versions of the song:
Thanks Consequence of Sound!
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
Here comes an unusual Bob Dylan tribute album, Bob Dylan In The 80s: Volume One, which will be released March 25, 2014.
Today we get a taste from Built To Spill, who cover “Jokerman.” In exchange for your email (which goes to ATO Records) you get to download the track. I’ve listened to the track and it’s very cool. Sounds nothing like Dylan, which I think Dylan himself would really appreciate.
“Jokerman” appeared on Dylan’s 1983 album Infidels.
Here’s Dylan’s version:
Bob Dylan In The 80s:
1. Langhorne Slim & The Law – “Got My Mind Made Up”
2. Built to Spill – “Jokerman”
3. Reggie Watts – “Brownsville Girl (Reprise)”
4. Craig Finn – “Sweetheart Like You”
5. Ivan & Alyosha – “You Changed My Life”
6. Deer Tick – “Night After Night”
7. Dawn Landes & Bonnie “Prince” Billy – “Dark Eyes”
8. Tea Leaf Green – “Waiting To Get Beat”
9. Aaron Freeman & Slash – “Wiggle Wiggle”
10. Elvis Perkins – “Congratulations”
11. Hannah Cohen – “Covenant Woman”
12. Marco Benevento – “Every Grain Of Sand”
13. Yellowbirds – “Series Of Dreams”
14. Blitzen Trapper – “Unbelievable”
15. Lucius – “When The Night Comes Falling From The Sky”
16. Glen Hansard – “Pressing On”
17. Carl Broemel – “Death Is Not The End
Thanks for hipping me to this Consequence Of Sound!
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
Wasted Years, the fourth album from the punk supergroup Off, will be released on April 8, 2014.
The group is comprised of Keith Morris (Black Flag/Circle Jerks), Dimitri Coats (Burning Brides), Mario Rubalcaba (Hot Snakes/Rocket From the Crypt/Earthless), and Steven McDonald (Redd Kross).
What’s equally cool is that their cover art (for this and other releases) is by the great Raymond Pettibon, who first came to my attention with his art for Black Flag flyers and records in the late ’70s.
Pettibon is now a highly regarded ‘fine’ artist, but he’s still in touch with his punk roots.
Below you can stream “Void You Out,” a track from Wasted Years.
“Void you Out” “pulls its anger from misleading historical revisionism,” according to Rolling Stone. Morris is quoted as saying:
“Who was here first? A bunch of uptight, always-right Caucasians with their heads buried up each other’s asses, trying to tell the rest of us how North American history went down and is going to be changed because of their intelligence or lack thereof. Thus: ‘Void You Out!'”
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-