Originally posted by brennser:Yes, I think I was aware of it but hadn't heard too much, thanks for the links.
did you know he has a side project?
review here
site here [/QB]
Albums in 2004
Escovedo Tribute Album Keeps Growing
The lineup for the two-disc tribute to Texas
singer/songwriter Alejandro Escovedo continues to
grow. Lucinda Williams, the Cowboy Junkies, Rosie
Flores, Lenny Kaye and former Small Faces
keyboardist Ian McLagan are among those who have
contributed to "Por Vida," due July 13 via Or
Music.
Proceeds from the sale of the album will benefit
the Alejandro Escovedo Medical & Living Expense
Trust, set up to pay costs associated with the
artist's ongoing treatment for hepatitis C.
Escovedo was diagnosed with the ailment in April
2003.
Other recently confirmed contributors to the
project include the Minus 5 (featuring R.E.M.'s
Peter Buck and Young Fresh Fellows principal
Scott McCaughey), Son Volt, the Mekons' Jon
Langford and Sally Timms, dB's principal Chris
Stamey, singer/songwriter Bob Neuwirth, True
Believers singer/guitarist Jon Dee Graham, the
Section String Quartet, Nicholas Tremulis and
Tres Chicas.
Although the track list for "Por Vida" is not yet
complete, Billboard.com can reveal a handful of
the Escovedo songs that are being covered. Blues
great Charlie Musselwhite and Texas-based
guitarist Charlie Sexton (Bob Dylan, Arc Angels)
team up on "Everybody Loves Me," while M. Ward
and Vic Chesnutt are paired on "Way It Goes."
The Cowboy Junkies have turned in a rendition of
"Don't Need You," and the set will also feature
the Jayhawks' take on "Last To Know" and Velvet
Underground alum John Cale's cover of "She
Doesn't Live Here Anymore." The artist's niece,
Shelia E., and brother, Pete Escovedo, have
recorded "The Ballad of the Sun and Moon."
Others pitching in include Howe Gelb & Giant
Sand, Calexico, Chuck Prophet, Peter Case,
Whiskeytown, Joe Ely and the Flatlanders,
Jennifer Warnes and Los Lonely Boys.
Although he is still recovering, Escovedo made a
previously promised appearance last month at the
South by Southwest Music Festival in Austin,
Texas, playing a 90-minute set at the city's
Continental Club. It is unknown when he'll be
able to resume recording and touring.
Here is a partial "Por Vida" track list:
"She Doesn't Live Here Anymore," John Cale
"By Eleven," Caitlin Cary
"Don't Need You," Cowboy Junkies
"The Ballad of the Sun and Moon," Pete Escovedo
and Sheila E.
"Inside This Dance," Rosie Flores
"She Towers Above," Howe Gelb & Giant Sand
"One More Time," Ian Hunter
"Last To Know," Jayhawks
"Sacramento & Polk," Lenny Kaye
"Broken Bottle," Jon Langford & Sally Timms
"Castanets," Los Lonely Boys
"Wedding Day," Ian McLagan
"Everybody Loves Me," Charlie Musselwhite and
Charlie Sexton
"Rosalie," Bob Neuwirth
"Crooked Frame," Section String Quartet
"Velvet Guitar," Nicholas Tremulis
"Rhapsody," Tres Chicas
"Way It Goes," M. Ward & Vic Chesnutt
"Pissed Off 2AM," Jennifer Warnes
"The Rain Won't Help," Whiskeytown
The lineup for the two-disc tribute to Texas
singer/songwriter Alejandro Escovedo continues to
grow. Lucinda Williams, the Cowboy Junkies, Rosie
Flores, Lenny Kaye and former Small Faces
keyboardist Ian McLagan are among those who have
contributed to "Por Vida," due July 13 via Or
Music.
Proceeds from the sale of the album will benefit
the Alejandro Escovedo Medical & Living Expense
Trust, set up to pay costs associated with the
artist's ongoing treatment for hepatitis C.
Escovedo was diagnosed with the ailment in April
2003.
Other recently confirmed contributors to the
project include the Minus 5 (featuring R.E.M.'s
Peter Buck and Young Fresh Fellows principal
Scott McCaughey), Son Volt, the Mekons' Jon
Langford and Sally Timms, dB's principal Chris
Stamey, singer/songwriter Bob Neuwirth, True
Believers singer/guitarist Jon Dee Graham, the
Section String Quartet, Nicholas Tremulis and
Tres Chicas.
Although the track list for "Por Vida" is not yet
complete, Billboard.com can reveal a handful of
the Escovedo songs that are being covered. Blues
great Charlie Musselwhite and Texas-based
guitarist Charlie Sexton (Bob Dylan, Arc Angels)
team up on "Everybody Loves Me," while M. Ward
and Vic Chesnutt are paired on "Way It Goes."
The Cowboy Junkies have turned in a rendition of
"Don't Need You," and the set will also feature
the Jayhawks' take on "Last To Know" and Velvet
Underground alum John Cale's cover of "She
Doesn't Live Here Anymore." The artist's niece,
Shelia E., and brother, Pete Escovedo, have
recorded "The Ballad of the Sun and Moon."
Others pitching in include Howe Gelb & Giant
Sand, Calexico, Chuck Prophet, Peter Case,
Whiskeytown, Joe Ely and the Flatlanders,
Jennifer Warnes and Los Lonely Boys.
Although he is still recovering, Escovedo made a
previously promised appearance last month at the
South by Southwest Music Festival in Austin,
Texas, playing a 90-minute set at the city's
Continental Club. It is unknown when he'll be
able to resume recording and touring.
Here is a partial "Por Vida" track list:
"She Doesn't Live Here Anymore," John Cale
"By Eleven," Caitlin Cary
"Don't Need You," Cowboy Junkies
"The Ballad of the Sun and Moon," Pete Escovedo
and Sheila E.
"Inside This Dance," Rosie Flores
"She Towers Above," Howe Gelb & Giant Sand
"One More Time," Ian Hunter
"Last To Know," Jayhawks
"Sacramento & Polk," Lenny Kaye
"Broken Bottle," Jon Langford & Sally Timms
"Castanets," Los Lonely Boys
"Wedding Day," Ian McLagan
"Everybody Loves Me," Charlie Musselwhite and
Charlie Sexton
"Rosalie," Bob Neuwirth
"Crooked Frame," Section String Quartet
"Velvet Guitar," Nicholas Tremulis
"Rhapsody," Tres Chicas
"Way It Goes," M. Ward & Vic Chesnutt
"Pissed Off 2AM," Jennifer Warnes
"The Rain Won't Help," Whiskeytown
Originally posted by brennser:you can hear clips here
from thecharlatans.net
The Charlatans new album and single both titled 'Up At The Lake' will be released on the following dates:
3rd May - single
17th May - album
http://www.island.thedevelopmentline.co.uk/charlatans/
"the cure" self-titled new album on geffen records - usa release date: june 29th
produced by nu-metal wiz ross robinson (slipknot, korn, limp bizcut)…
<img src="http://images1.wireimage.com/images/thumbnail/2652890.jpg" alt=" - " />
the cure last night at coachella festival
…bound to be the highlight of HFStival, even if the rest of the line-up blows.
produced by nu-metal wiz ross robinson (slipknot, korn, limp bizcut)…
<img src="http://images1.wireimage.com/images/thumbnail/2652890.jpg" alt=" - " />
the cure last night at coachella festival
…bound to be the highlight of HFStival, even if the rest of the line-up blows.
Originally posted by filthypit:This is the cd I am waiting for as well..
"the cure" self-titled new album on geffen records - usa release date: june 29th
produced by nu-metal wiz ross robinson (slipknot, korn, limp bizcut)…
<img src="http://images1.wireimage.com/images/thumbnail/2652890.jpg" alt=" - " />
the cure last night at coachella festival
…bound to be the highlight of HFStival, even if the rest of the line-up blows.
been listening to the new sonic youth. pretty decent, it reminds me of one of their earlier albums, maybe goo. its been awhile since i listened to goo, though
You just gave me ample reason to avoid this album.
Originally posted by filthypit:
"the cure" self-titled new album on geffen records - usa release date: june 29th
produced by nu-metal wiz ross robinson (slipknot, korn, limp bizcut)…
<img src="http://images1.wireimage.com/images/thumbnail/2652890.jpg" alt=" - " />
the cure last night at coachella festival
…bound to be the highlight of HFStival, even if the rest of the line-up blows.
Dandy Warhols Release Black Album
by Rebekah J. Zietz | 04.29.2004
The Dandy Warhols have released a new two-disc CD entitled The Black Album/Come On Feel the Dandy Warhols. These two albums are a compilation of songs recorded over the past 10 years and include previously un-released material. Both albums were produced by lead vocalist/guitarist, Courtney Taylor-Taylor. The compilation is now being exclusively sold on the band's website (see below) for $30.
DISC ONE- THE BLACK ALBUM
1. Arpeggio Adaggio
2. Crack Cocaine Rager
3. Good Morning
4. Head
5. White Gold
6. Boys
7. Shiny Leather Boots
8. Earth To The Dandy Warhols
9. Minnesoter
10. Twist
11. The Wreck
DISC TWO - COME ON FEEL THE DANDY WARHOLS
1. Not If You Were the Last Junkie In Tony's Basement
2. Retarded
3. Free For All
4. Dub Song
5. Call Me
6. Relax
7. Head
8. Thanks For The Show
9. Lance
10. Ohio
11. One Saved Message
12. Hells Bells
13. The Jean Genie
14. Stars
15. Dick
16. One Ultra Lame White Boy
17. We Love You Dick
18. The Wreck Of The Edmund Fitzgerald
by Rebekah J. Zietz | 04.29.2004
The Dandy Warhols have released a new two-disc CD entitled The Black Album/Come On Feel the Dandy Warhols. These two albums are a compilation of songs recorded over the past 10 years and include previously un-released material. Both albums were produced by lead vocalist/guitarist, Courtney Taylor-Taylor. The compilation is now being exclusively sold on the band's website (see below) for $30.
DISC ONE- THE BLACK ALBUM
1. Arpeggio Adaggio
2. Crack Cocaine Rager
3. Good Morning
4. Head
5. White Gold
6. Boys
7. Shiny Leather Boots
8. Earth To The Dandy Warhols
9. Minnesoter
10. Twist
11. The Wreck
DISC TWO - COME ON FEEL THE DANDY WARHOLS
1. Not If You Were the Last Junkie In Tony's Basement
2. Retarded
3. Free For All
4. Dub Song
5. Call Me
6. Relax
7. Head
8. Thanks For The Show
9. Lance
10. Ohio
11. One Saved Message
12. Hells Bells
13. The Jean Genie
14. Stars
15. Dick
16. One Ultra Lame White Boy
17. We Love You Dick
18. The Wreck Of The Edmund Fitzgerald
Originally posted by brennser:In case anyone was wondering, those are the UK (European?) release dates. No US release date has been set yet, according to Amazon.com. It'll probably be months from now. :(
from thecharlatans.net
The Charlatans new album and single both titled 'Up At The Lake' will be released on the following dates:
3rd May - single
17th May - album
You can listen to tracks from the new Beta Band album at the Astralwerks site. I quite like the songs.
sorry for the length, Ken is a bit longwinded
Thursday, May 6 3:19 PM:
Old 97's Drag It Up
Release date: July 27, 2004
by Ken Bethea, lead guitarist
11 years in, I still can't quite believe what I've been doing with my life.
We just finished recording our sixth album, Drag It Up. It's the first for our new label, New West Records. After tinkering with our limits on the previous five releases, I think we've settled in with what we do best on Drag It Up - solid writing and performances, with enough bells and whistles to make things interesting. It reminds me of our earlier recordings, we mix bluegrass, surf, country, rock, folk and some good old-fashioned psychedelia.
We started the recording on a frozen February day in Woodstock, N.Y. at Dreamland Studios, a 19th century country church, full of stained glass and ghosts. We finished up in sunny San Diego at producer Mark Neill's vintage studio, four of us stomping, screaming and picking guitars into one microphone. Mark is a hard-core recording traditionalist, far removed from today's digital world. After working with modern technology on our previous three studio trips, we found old school 8-track recording both refreshing and challenging.
During the course of the project, we broke a $6000.00 microphone and my poor old classical guitar. We ate New York barbecue twice and would go back again. I played guitar with a pencil and both Rhett and I tried to play some bass (we failed). We stood in a giant echo-ey church and stared at each other. We stood in a tiny 8x8 room and stared at each other. We sang about satellites, stars, moonlight, cavities, death, cheating, Texas, friendship, parenthood, God and storms.
I think we're finally mature enough to trust the machine that is now our band. Case in point: "Valium Waltz" - Rhett wrote the first version of this song around 1995 and we've tried for years to make it work for us. We had always approached it (perhaps due to its lyrical content) as a Texas-songwriter-tune, a la Robert Earl Keen or Lyle Lovett. Excellent artists, but not exactly our style. It never fell into its pocket until this past January in a Cleveland nightclub. We had gotten to the club early and were rehearsing some of the songs and Murry suggested trying "Valium" (the song). We just relaxed and played the damn thing. It sounded moody and psychedelic and wonderful and that's pretty much the version you'll hear on Drag It Up.
"The New Kid" is another excellent example of the way our band works. We didn't gig much after wrapping up Satellite Rides. After years of relentless touring and recording, we decided to take a breather. When we got back together in Dallas in mid-2003 for a show at our favorite old haunt, The Sons Of Hermann Hall, we had a lot of catching up to do. As always Murry and Rhett sat down and swapped songs. Just before we had to run upstairs and go on-stage, Murry said to Rhett, "I've got this one song with a great melody, but I've only got the first line of lyrics: 'The new kid he's got money/ the money I deserveâ?¦' Do you want to take a shot at it?" Rhett got that old gleam in his eye (he loves a challenge). A couple of days later he called Murry and played it for him over the phone. "Man you nailed it," Murry said. Of course, I couldn't leave well enough alone. I made them let me write an instrumental section and "BAM!", a song was born. We hadn't missed a beat.
It's hard not to compare an album with those that came before it. Drag It Up is our most personal. We recorded it on 8 tracks, which pretty much means there was very little studio trickery. What you'll hear, or maybe I should say, what you won't hear is second-guessing, sleight of hand or revisionist thinking. Whereas Too Far To Care was an idealistic album made for big cars and air guitars, Drag It Up is better served by thinking and driving on Sunday afternoons in the middle of nowhere. Fight Songs was urban, hitchhike to rhome was a giant demo and Satellite Rides was hitchhike's opposite, that is to say, for us (four hacks from Texas) a wonderful recording of near-perfect performances. Wreck Your Life was the spiritual predecessor to Drag It Up - punk rock recorded over the course of a few days in a Chicago attic. We have grown - albeit kicking and screaming - into a complex, philosophical and mortal band. I feel good about what we've done. It's our brains, our breath, our fingers, our soul.
I hope you like Drag It Up.
A bit of history: Rhett Miller, Murry Hammond, Philip Peeples and I started the Old 97's in 1993. Everyone we knew was either in a grunge band or looking to start one. I remember talking music philosophy with Rhett and Murry and we wanted to somehow tie together the music of Elvis Costello, Hank Williams, X, The Clash, Johnny Cash, David Bowie and Camper Van Beethoven. We played small country and rock bars in Dallas, usually for tips, beer and the occasional barbecue sandwich.
Though we played a lot - two sets a night, sometimes four nights a week - nothing really felt like it was moving. Then in early 1994, a fan that had a small record label called Big Iron offered to give us $3,000 to record a CD. We recorded hitchhike to rhome over the course of three rainy days in May. To our shock, it changed everything. Until that point, we had never sold a club out. Never packed `em in. Never looked out over the faces and seen the crowd singing along to every word. Suddenly that was happening, not only in our home state, but in Chicago and in St. Louis and everywhere our desperate little Dodge (Vanna White) would carry us. I remember the sense of validation it gave me. It told me that what we were doing was right. We just needed to keep plugging away.
We hooked up with a Chicago label, Bloodshot Records, in 1995 and released our second CD, Wreck Your Life. It was less comprehensive than hitchhike, more meat and potatoes. Our fans seemed to like it and we began to build a national fan base. We toured around the country, sleeping on floors and living hand-to-mouth all of '95 and early '96. That spring, during our showcase at South By Southwest, Austin's big music industry conference, we knocked the ball out of the park. Suddenly all the majors wanted a piece of the action, and we couldn't buy a meal in NY or LA.
We signed with Elektra and, the following year, released Too Far To Care, our ode to what used to be called country rock and is now called alternative country. It was the type of high octane CD we had always wanted to make. We followed Too Far with Fight Songs in 1999 and Satellite Rides in 2001, both featured songs that got quite a bit of airplay and sold well. On Fight Songs we began tinkering with the format again by making things more poppy - although lyrically it was our darkest album. On Satellite Rides we experimented with a '60's vibe (we have some BIG Kinks fans in the band), and wound up with a bouncy rock and roll record.
After ten years of constant work, we took a hiatus. We knew we'd make another record. We just needed, as I said earlier, a breather. Philip and I spent some serious quality time with our little kids (two each, thanks), took our wives out to dinner and started a band called The Scrap Hotel. Murry got married, built a studio in his new home in LA and played beautiful music with his wife Grey DeLisle (Sugar Hill Records). Rhett made his solo record, The Instigator, and moved to upstate New York, where his wife Erica promptly gave birth to Max, the fifth (but probably not the last) Old 97's baby.
This is a family. Brothers. Friends forever. Rock and rollers.
Thursday, May 6 3:19 PM:
Old 97's Drag It Up
Release date: July 27, 2004
by Ken Bethea, lead guitarist
11 years in, I still can't quite believe what I've been doing with my life.
We just finished recording our sixth album, Drag It Up. It's the first for our new label, New West Records. After tinkering with our limits on the previous five releases, I think we've settled in with what we do best on Drag It Up - solid writing and performances, with enough bells and whistles to make things interesting. It reminds me of our earlier recordings, we mix bluegrass, surf, country, rock, folk and some good old-fashioned psychedelia.
We started the recording on a frozen February day in Woodstock, N.Y. at Dreamland Studios, a 19th century country church, full of stained glass and ghosts. We finished up in sunny San Diego at producer Mark Neill's vintage studio, four of us stomping, screaming and picking guitars into one microphone. Mark is a hard-core recording traditionalist, far removed from today's digital world. After working with modern technology on our previous three studio trips, we found old school 8-track recording both refreshing and challenging.
During the course of the project, we broke a $6000.00 microphone and my poor old classical guitar. We ate New York barbecue twice and would go back again. I played guitar with a pencil and both Rhett and I tried to play some bass (we failed). We stood in a giant echo-ey church and stared at each other. We stood in a tiny 8x8 room and stared at each other. We sang about satellites, stars, moonlight, cavities, death, cheating, Texas, friendship, parenthood, God and storms.
I think we're finally mature enough to trust the machine that is now our band. Case in point: "Valium Waltz" - Rhett wrote the first version of this song around 1995 and we've tried for years to make it work for us. We had always approached it (perhaps due to its lyrical content) as a Texas-songwriter-tune, a la Robert Earl Keen or Lyle Lovett. Excellent artists, but not exactly our style. It never fell into its pocket until this past January in a Cleveland nightclub. We had gotten to the club early and were rehearsing some of the songs and Murry suggested trying "Valium" (the song). We just relaxed and played the damn thing. It sounded moody and psychedelic and wonderful and that's pretty much the version you'll hear on Drag It Up.
"The New Kid" is another excellent example of the way our band works. We didn't gig much after wrapping up Satellite Rides. After years of relentless touring and recording, we decided to take a breather. When we got back together in Dallas in mid-2003 for a show at our favorite old haunt, The Sons Of Hermann Hall, we had a lot of catching up to do. As always Murry and Rhett sat down and swapped songs. Just before we had to run upstairs and go on-stage, Murry said to Rhett, "I've got this one song with a great melody, but I've only got the first line of lyrics: 'The new kid he's got money/ the money I deserveâ?¦' Do you want to take a shot at it?" Rhett got that old gleam in his eye (he loves a challenge). A couple of days later he called Murry and played it for him over the phone. "Man you nailed it," Murry said. Of course, I couldn't leave well enough alone. I made them let me write an instrumental section and "BAM!", a song was born. We hadn't missed a beat.
It's hard not to compare an album with those that came before it. Drag It Up is our most personal. We recorded it on 8 tracks, which pretty much means there was very little studio trickery. What you'll hear, or maybe I should say, what you won't hear is second-guessing, sleight of hand or revisionist thinking. Whereas Too Far To Care was an idealistic album made for big cars and air guitars, Drag It Up is better served by thinking and driving on Sunday afternoons in the middle of nowhere. Fight Songs was urban, hitchhike to rhome was a giant demo and Satellite Rides was hitchhike's opposite, that is to say, for us (four hacks from Texas) a wonderful recording of near-perfect performances. Wreck Your Life was the spiritual predecessor to Drag It Up - punk rock recorded over the course of a few days in a Chicago attic. We have grown - albeit kicking and screaming - into a complex, philosophical and mortal band. I feel good about what we've done. It's our brains, our breath, our fingers, our soul.
I hope you like Drag It Up.
A bit of history: Rhett Miller, Murry Hammond, Philip Peeples and I started the Old 97's in 1993. Everyone we knew was either in a grunge band or looking to start one. I remember talking music philosophy with Rhett and Murry and we wanted to somehow tie together the music of Elvis Costello, Hank Williams, X, The Clash, Johnny Cash, David Bowie and Camper Van Beethoven. We played small country and rock bars in Dallas, usually for tips, beer and the occasional barbecue sandwich.
Though we played a lot - two sets a night, sometimes four nights a week - nothing really felt like it was moving. Then in early 1994, a fan that had a small record label called Big Iron offered to give us $3,000 to record a CD. We recorded hitchhike to rhome over the course of three rainy days in May. To our shock, it changed everything. Until that point, we had never sold a club out. Never packed `em in. Never looked out over the faces and seen the crowd singing along to every word. Suddenly that was happening, not only in our home state, but in Chicago and in St. Louis and everywhere our desperate little Dodge (Vanna White) would carry us. I remember the sense of validation it gave me. It told me that what we were doing was right. We just needed to keep plugging away.
We hooked up with a Chicago label, Bloodshot Records, in 1995 and released our second CD, Wreck Your Life. It was less comprehensive than hitchhike, more meat and potatoes. Our fans seemed to like it and we began to build a national fan base. We toured around the country, sleeping on floors and living hand-to-mouth all of '95 and early '96. That spring, during our showcase at South By Southwest, Austin's big music industry conference, we knocked the ball out of the park. Suddenly all the majors wanted a piece of the action, and we couldn't buy a meal in NY or LA.
We signed with Elektra and, the following year, released Too Far To Care, our ode to what used to be called country rock and is now called alternative country. It was the type of high octane CD we had always wanted to make. We followed Too Far with Fight Songs in 1999 and Satellite Rides in 2001, both featured songs that got quite a bit of airplay and sold well. On Fight Songs we began tinkering with the format again by making things more poppy - although lyrically it was our darkest album. On Satellite Rides we experimented with a '60's vibe (we have some BIG Kinks fans in the band), and wound up with a bouncy rock and roll record.
After ten years of constant work, we took a hiatus. We knew we'd make another record. We just needed, as I said earlier, a breather. Philip and I spent some serious quality time with our little kids (two each, thanks), took our wives out to dinner and started a band called The Scrap Hotel. Murry got married, built a studio in his new home in LA and played beautiful music with his wife Grey DeLisle (Sugar Hill Records). Rhett made his solo record, The Instigator, and moved to upstate New York, where his wife Erica promptly gave birth to Max, the fifth (but probably not the last) Old 97's baby.
This is a family. Brothers. Friends forever. Rock and rollers.
The new Magnetic Fields record is kinda a disappointment so far, only a few standout tracks, and after waiting 5 years.
I love the new David Cross though.
Still trying to find a copy of Mirah's C'mon Miracle.
I love the new David Cross though.
Still trying to find a copy of Mirah's C'mon Miracle.
nice article
The new Magnetic Fields record is kinda a disappointment so far, only a few standout tracks, and after waiting 5 years.haven't listened to it enough to be definitive but I kinda like it so far
June 7 - Supergrass Is Ten - the Best of '94 to '04 tracklist:
1. Caught By The Fuzz
2. Pumping On Your Stereo
3. Alright
4. Moving
5. Richard III
6. Grace
7. Late In The Day
8. Seen The Light
9. Mansize Rooster
10. Sun Hits The Sky
11. Kiss of Life
12. Mary
13. Going Out
14. Lenny
15. Bullet
16. It's Not Me
17. Rush Hour Soul
18. Strange Ones
19. Lose It
20. Time
21. Wait For The Sun
1. Caught By The Fuzz
2. Pumping On Your Stereo
3. Alright
4. Moving
5. Richard III
6. Grace
7. Late In The Day
8. Seen The Light
9. Mansize Rooster
10. Sun Hits The Sky
11. Kiss of Life
12. Mary
13. Going Out
14. Lenny
15. Bullet
16. It's Not Me
17. Rush Hour Soul
18. Strange Ones
19. Lose It
20. Time
21. Wait For The Sun
Since just about every other U2 release that didn't have "Zooropa" in the title was released on October 30/31, I'm going to go with Late October on this one:
www.u2.com
Could it be November ? The next U2 album could be set for an Autumn release, according to comments by Paul McGuinness in the last few days.
U2â??s manager told BBC Radio Five Live that he was hoping for a November album release, with a tour to follow - opening in the US, next Spring.
Speaking after a university debate in Oxford, England, on whether â??reality TV is killing live musicâ??, Paul was up against Neil Fox (Capital Radio DJ, and â??Pop Idolâ?? judge) Damon Gough (Badly Drawn Boy) and journalist Miranda Sawyer. But, adding to his case, he had Nick Rhodes (Duran Duran) and David Hepworth (founding editor of Q magazine.)
And as to what kind of tour the band are thinking of, that remains up for discussion, according to further remarks Paul made to the LA Times.
It will be defined by â??the character of the new album and the new production.â??
â??In the case of U2, it's more a function of what kind of music they want to do, rather than what kind of box-office gross they want to achieve.
'Certainly playing indoors is much easier, and the logistics are much more controlled,' he added. 'Now that high ticket prices indoors are accepted, if you're going to take the audience to a big outdoor event, you'd really have to be doing something very, very good, and we would take that responsibility very seriously. If we decide to go outdoors, it will be because it's worth doing something on a grand scale.'
www.u2.com
Could it be November ? The next U2 album could be set for an Autumn release, according to comments by Paul McGuinness in the last few days.
U2â??s manager told BBC Radio Five Live that he was hoping for a November album release, with a tour to follow - opening in the US, next Spring.
Speaking after a university debate in Oxford, England, on whether â??reality TV is killing live musicâ??, Paul was up against Neil Fox (Capital Radio DJ, and â??Pop Idolâ?? judge) Damon Gough (Badly Drawn Boy) and journalist Miranda Sawyer. But, adding to his case, he had Nick Rhodes (Duran Duran) and David Hepworth (founding editor of Q magazine.)
And as to what kind of tour the band are thinking of, that remains up for discussion, according to further remarks Paul made to the LA Times.
It will be defined by â??the character of the new album and the new production.â??
â??In the case of U2, it's more a function of what kind of music they want to do, rather than what kind of box-office gross they want to achieve.
'Certainly playing indoors is much easier, and the logistics are much more controlled,' he added. 'Now that high ticket prices indoors are accepted, if you're going to take the audience to a big outdoor event, you'd really have to be doing something very, very good, and we would take that responsibility very seriously. If we decide to go outdoors, it will be because it's worth doing something on a grand scale.'
Again, I don't know what this means, but I'm looking forward to this too:
www.socialdistortion.com
May 14, 2004
PHASE THREE COMPLETE AND TRACKING IS FINISHED
Hey gang! Tracking for the forthcoming untitled Social D record has come to an end. The guys have hit all their licks, and laid all the tracks that will make up the new record. Ness and the boys are now currently reviewing the songs, and taking notes before going in to have it mixed. The record was produced by Cameron Webb and Mike Ness, and word of who's mixing is soon to be announced!
Stay tuned for more info. as well as song titles, artwork, and live footage of the guys in the studio.
www.socialdistortion.com
May 14, 2004
PHASE THREE COMPLETE AND TRACKING IS FINISHED
Hey gang! Tracking for the forthcoming untitled Social D record has come to an end. The guys have hit all their licks, and laid all the tracks that will make up the new record. Ness and the boys are now currently reviewing the songs, and taking notes before going in to have it mixed. The record was produced by Cameron Webb and Mike Ness, and word of who's mixing is soon to be announced!
Stay tuned for more info. as well as song titles, artwork, and live footage of the guys in the studio.
2 albums I somehow forgot to mention in my Tuesday Cheat Sheet on Big Yawn come out tomorrow -
Mclusky - Difference Between Me & You Is That Im Not on Fire
The Thermals - Fuckin A
Mclusky - Difference Between Me & You Is That Im Not on Fire
The Thermals - Fuckin A
Originally posted by pollard:I think you also forgot Green Day's American Idiot, but since it's slated for a fall release, you have plenty of time to catch up.
2 albums I somehow forgot to mention in my Tuesday Cheat Sheet on Big Yawn come out tomorrow -