The Weeknd has never had a problem telling women what it takes to sleep with him. On this new song, entitled “Kiss Land” presumably off his upcoming sophomore album, the subdued vocalists takes listeners through his usual maze of dark beats and darker love. [Source]
Twilley’s first two albums were fascinating because of how obsessively he synthesized the Southern and British pop-rock traditions–like a cool Alex Chilton, or (only we didn’t know this yet) a Nick Lowe who worked too hard–and because so few bands were bothering with the kind of catchy ’60s-AM songs that Twilley turned out by the half dozen. Well, scratch the catchy part–both the Records and the Knack, to stick to the lightweights, have songs on the radio that cut anything on Sincerely, which is a lot catchier than this. And while you’re at it, scratch Phil Seymour, Twilley’s former rhythm section and harmony group. And add Jimmy Haskell doing Paul Buckmaster imitations. And think dark thoughts about the Raspberries and Eric Carmen. [Source]
Having previously teamed with Isobel Campbell and Greg Dulli on separate projects, grunge survivor, Mark Lanegan is no stranger to the collaborative album. His latest effort, however, an album recorded with English bluesman, Duke Garwood, may have you heading for google as you hit play. Garwood’s name doesn’t come with much recognition on this side of the Atlantic. Fret not. Lanegan is said to be a huge fan of Garwood’s and “Pentecostal,” the first cut released from Black Pudding (May 14th on Ipecac) finds Lanegan back on the well-tread road of American roots music. Garwood is no slouch, either. For those who had mixed feelings about The Mark Lanegan Band’s Blues Funeral and its reliance on more modern, electronic elements, both the direction and the accompaniment of Black Pudding are welcome developments. [Source]
Words and Music by Margo Guryan
It’s alright now
We talked the whole thing over
We understand each other
And we won’t be seen together anymore
It’s alright now
Be careful not to touch me
Don’t tell me what you’re thinkin’
And don’t ask me what I feel
Ev’rything will be okay tomorrow
When love is gone
No one seems to love forever
Why should ours go on
And on
And on
It’s alright now
It’s time that we were leaving
I’ve other things to think of
And you shouldn’t see me cryin’ anyhow
And anyhow it’s alright now
© 1971 (renewed) Dartmoor Music
Used by permision. All rights reserved.
Hearts of Stone has been called “the best album Bruce Springsteen never recorded”, which is not quite accurate. Springsteen did pen the title track and the radio-friendly “Talk To Me”, and is credited along with Southside Johnny Lyon and Steve Van Zandt on “Trapped Again”, but Van Zandt takes solo credit for the remaining six tracks. More to the point, this record pointed the way to the kind of music the reincarnated “Little Steven” would begin making in the early 1980s. Van Zandt tapped photographer Frank Stefanko to shoot the album cover art, after meeting Stefanko when they worked together with Springsteen on Darkness on the Edge of Town.
Southside Johnny Promo from 1976 Pt 1 from Four Decades on Vimeo.
Southside Johnny Promo from 1976 Pt 2 from Four Decades on Vimeo.
‘Dream Machines’ is the second single from Big Deal’s forthcoming album June Gloom released on June 3, 2013.
After the demise of the Dwight Twilley Band, Twilley continued as a solo act, keeping Bill Pitcock IV on lead guitar and adding Susan Cowsill on harmony vocals. This lineup released the album Twilley for Shelter/Arista in 1979, although the album’s most successful song, “Darlin’”, featured backing vocals by Phil Seymour. His next album, Blueprint, co-produced by Jack Nitzsche, was rejected by Arista after the failure of the 1979 single “Somebody to Love” although it was assigned an Arista release number. Blueprint ultimately was never released, keeping Twilley out of circulation until his Shelter contract expired at the end of 1981.
Sincerely is the debut album from the Dwight Twilley Band, released in 1976 on Shelter Records. The band consisted solely of Dwight Twilley (guitar, piano, lead and harmony vocals) and Phil Seymour (drums, bass, percussion, lead and harmony vocals), although touring band member Bill Pitcock IV played lead guitar on every song except for “Sincerely” itself. The album credited production to Oister, which was the original name of the Dwight Twilley Band; later reissues have credited production directly to Twilley and Seymour.
Jackson Scott has developed out of a weird audacity; bending spoons with apocalyptic melodies, sugared with solipsistic textures. How did the world conceive this young cosmonaut? A college dropout with a 4-track and a one-track mind. A listened and a conceiver. His voice, whether pitched up or androgynous, speaks of a still life. But painting is meaningless, songs irrelevant, aura outdated if you are a revivalist. Jackson is not. The upcoming debut Melbourne shows we’re all alone together, sharing the same tragedies, ecstasies and phenomenon. He conspired it out of isolation, deprivation and hunger…you can’t survived on candy. Jackson’s transmutative live act is to that of the occultist – achieving eternal perfection. A trio that is liquidating the senses, seeking the perfect elixir, channeling kraut, punk, surf and pop as one psych rock solvent. [Source]
Asheville, NC’s Jackson Scott is currently preparing his debut LP, Melbourne, for release on Fat Possum later this Summer. He recently spoke with Pitchfork about dropping out of college, Syd Barrett and getting confused with a porn star who shares his name.
